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 VIII Encontro Anual da AIM irá decorrer de 16 a 19 de maio de 2018, na Universidade de Aveiro. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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Call for book proposals in gender, sexuality, and media

Routledge Research in Gender, Sexuality, and Media
An established book series edited by Mary Celeste Kearney

The aim of this series is to publish original research in the areas of feminist and queer media studies, with a particular but not exclusive focus on gender and sexuality. In doing so, this series brings to the market cutting-edge critical work that refreshes, reshapes, and redirects scholarship in these related fields while contributing to a better global understanding of how gender and sexual politics operate within historical and current mediascapes.

Affirming the integrated, multiperspectival approach associated with Cultural Studies, the series publishes richly contextualized research that explores gender and sexual politics not only in media texts but also in the practices of media production and consumption. Media are defined broadly in this series, as the books within it expand beyond these fields' historical focus on film and television to engage with other forms of media, including video games, popular music, and digital media. Books in the series centering on current media culture also explore the complexly transmedial, convergent, and participatory nature of popular culture today. Gender is configured broadly in this series also, and a key contribution is a further complicating of how multiple, intersecting modes of identity impact media representation, as well as the creation, distribution, publicity, and consumption of mediated texts.

We welcome book proposals accompanied by at least one sample chapter.

For more information, please contact Mary Celeste Kearney at <>.


/Queercore: Queer Punk Media Subculture/
by Curran Nault

/Lifestyle Media in American Culture: Gender, Class, and the Politics of Ordinariness/
by Maureen E. Ryan

/Emergent Feminisms: Complicating a Postfeminist Media Culture/
edited by Jessalynn Keller and Maureen E. Ryan


/Producing Queer Youth: The Paradox of Digital Media Empowerment/
by Lauren Berliner

/Gender and Race in Postwar Variety Television: Colorful Performance /
by Meenasarani Linde Murugan
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CFP: Journal of Digital Media & Interaction

Call for Articles for the Inaugural First Edition of the Journal of Digital Media & Interaction

Important Dates

Submission of full articles: 30 April 2018
Notification of acceptance: 30 May 2018
Final version: 15 June 2018

Publication of the nº1: 30 June 2018


The Journal of Digital Media & Interaction is an open access journal that addresses research on enhancing user experience in digital media applications in creative, cultural and social contexts. It focuses on the socio-technological challenges seen from a transdisciplinary perspective, grounded in media studies and interaction design, as well as in communication, human–computer interaction, cultural studies, design, psychology, sociology and information sciences. As an international peer-reviewed research journal, it provides an open forum for: the discussion and monitoring of trends and transformations in the digital media landscape; the presentation of new design models and emergent technologies for the innovation of the user experience; the presentation of results from empirical studies and innovative research approaches.

Specific areas of interest include:

Active and Assisted Living
Audiovisual Communication
Creativity and Innovation
Critical Algorithm Studies
Digital Accessibility and Usability
Digital Entertainment
Digital Learning Environments
Digital Literacy and Citizenship
Digital Games and Toys
eHealth and Wellbeing
Interactive Media and Arts
Interactive Television and New Media
Internet of Things
Knowledge Media Content
Machine Learning and Automation Studies
Media Convergence
Media Psychology and Engagement
Mobile Technologies
Narratives and Transmedia
Physical Computing
Screen-Time Studies
Smart Ecosystems and Identity
Social Media
Universal Inclusive Design
User Experience
Virtual, Mixed and Augmented Realities

Guidelines for authors

Papers can be submitted in English, Portuguese, French or Spanish.

All submissions must be made through the OJS platform of the journal JDMI:
The authors' guidelines can be found at the following URL , including the .doc template.

Lídia Oliveira, University of Aveiro
Nelson Zagalo, University of Aveiro

Advisory and Editorial boards still in construction…


Being an inaugural issue the ISSN will only appear after the publication of the first number. About the indexation it's our intention, and a purpose of this new project, to get the journal indexed in the main international databases as soon as it will be possible.
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CFP: NECSUS - European Journal of Media Studies

NECSUS Autumn 2018: #Mapping - call for submissions <>

NECSUS - European Journal of Media Studies

Guest edited by Giorgio Avezzù (Università Cattolica del Sacro Cuore), Teresa Castro (Université Sorbonne Nouvelle – Paris 3 / IRCAV), and Giuseppe Fidotta (Concordia University)

Recent media scholarship has been undergoing a spatial turn. Borrowed from geography, key concepts such as mapping/cartography, space/place, environment, landscape, mobility, territory, and others have gradually become unavoidable in the domain of media and visual studies, while the notion of ‘media geography’, once considered a ‘peripheral area’ of study, has already made steady progress among research institutions throughout the world. Mapping, however, remains an undeveloped field of inquiry. We will explore it in this forthcoming special section of NECSUS.

In the wake of these multiple theoretical debates, we would like to reflect on the mapping impulse of new and traditional media (film, television, video games, geospatial technologies and locative media). This notion refers to the different strategies used by media for the spatial understanding of the world, also the ordering, coding, and scaling of its places and landscapes, the imagining of territories, the production of space(s), etc. Embedded in power relations, these strategies very often translate the world into forms that answer socio-political, juridical, and administrative demands which dispose of spatial features according to the machinations of late capitalism, while at the same time restructuring more ancient scopic and discursive regimes. However, many of these strategies also propose sensible experiences and bodily affects that escape the entrapments of power so often associated with mapping (i.e. mapping as a way of possessing, objectifying, controlling, or commodifying the world). Moreover, the very notion of ‘impulse’ suggests the presence of (un)conscious desires and (ir)rational drives. In this context, we would like to invite contributions on (but not limited to) the following topics:

# theoretical intersections between media, geography, and mapping

# media, maps, and other ‘technologies of the intellect’ (grids, lists, graphs, catalogues, tables, etc.)

# media representations of the world as knowable totality/ – /e.g. as in Fredric Jameson’s concept of ‘cognitive mapping’

# colonialism, geopolitics, and the mapping impulse of media

# mapping global flows (of people, goods, and capital)

# audio-visual strategies for mapping spaces and places

# mapping as analytical thinking in media studies

# media and haptical, sensorial, and ‘emotional’ cartographies

# media and geographical imaginations

# counter-mapping, media, and the politics of space

# mapping as allegory in film and visual media

# geo-surveillance and spectacle

# media as/and topological metaphors

# community, grassroots, and alternative mapping

We look forward to receiving abstracts of 300 words, 3-5 bibliographic references, and a short biography of 100 words by 15 April 2018 at the following address:<>. On the basis of selected abstracts, writers will be invited to submit full manuscripts (5,000-7,000 words, revised abstract, 4-5 keywords) which will subsequently go through a double-blind peer review process.

NECSUS also accepts abstract submissions on a rolling basis throughout the year for a wide variety of articles on a number of themes related to media studies but not necessarily connected to a special section topic, in addition to proposals for festival, exhibition, and book reviews, as well as audiovisual essays. Please note that we do not accept full manuscripts for consideration without an invitation. Access our submission guidelines at
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Call for papers: Special issue of the "Journal of Visual Literacy"

Developing visual pedagogies in university classrooms: What, why and how?

Digital technologies and social media platforms have tremendously changed our daily communication towards more visually oriented. Various kinds of still and moving images are created, shared and discussed. Such visually stimulated environment demands new ways of teaching and learning. However, visual education is still considered mostly in a context of preschool or basic education, with repeated focus on art education, while university education is continually overlooked. As such, visual competency, that is, visual reading, writing and thinking skills of university students is often taken for granted. This can be due to the belief that daily access to digital technologies and frequent usage of images equip young adults with abilities to effectively and effortlessly communicate visually. Thus, in the process of formal education the amount and presence of visually driven and visually oriented teaching is significantly decreasing to finally, and almost solely, rely on written texts in the tertiary level. This tendency has been recently observed in scholarly literature, and followed by an urgent call to introduce visual literacy education in universities. However, the gap can be identified in regard to both the methods and content of visual literacy education.

With this special issue we attempt to fill the gap by encouraging prospective authors to reflect on visually oriented teaching practices in university classrooms. We want to compile this special issue along the argument that visual literacy should be the basic educational requirement for both undergraduate and graduate students. Therefore, we welcome theoretical, and foremost, practical papers on visual education in university classrooms. Being aware of the palette of various definitions applied, we understand visual literacy as a group of abilities (skills or competencies) in visual reading (interpreting or meaning making), writing (creating or using visuals), and visual thinking. As such, submissions across disciplines are welcome.

Types of submissions:

1. full theoretical or empirical papers discussing the need for visual
literacy, visual education and relevant visual pedagogies in
university education, or
2. innovative teaching ideas intended for university classroom that
employ visuals of any kind or form and which have a potential to
develop students’ visual literacy skills.

Topics may focus on educational activities that include, but are not limited to:

* photography (creating, interpreting)
* visual storytelling, videos, interactive documentaries and web design
* visual collage as a teaching tool
* creating graphic representations of data, information and knowledge
in research methods’ courses
* drawing and drawings
* visual methods, visual interpretation and critical thinking
* visual digital technologies and new media as tools in visual education
* video games
* memes, ideograms and animation
* infographics and visualization

Submission guidelines:

1. *Full article* (5000-7000 words) according to journal’s guidelines.
2. *Innovative teaching idea* - a short (2000-3000 words) theoretical
and practical description of activities (single task or activities
conducted throughout the course) that can be implemented in the
university classroom. This type of submission should include: a
title; short abstract (up to 100 words); learning objectives,
especially in terms of visual literacy development; goals of the
activity and/or justification for using the activity; detailed
activity description, including materials and instructions; results
and evaluation; possibilities and limitations; potential application
in other fields of study; references.

We strongly encourage visually rich submissions. In the online publication you can opt to include various kinds of visuals (videos, slide presentations, infographics, photographs, etc.) as well as a video abstract. However, you must obtain the necessary permission to use any material in your article for which you do not hold the copyright.

Submissions should be made through the journal’s Editorial Manager: When submitting your paper, please be sure to select this special issue option and follow the “Journal of Visual Literacy” reference style guide. All submissions will be blind peer-reviewed by at least two independent, anonymous expert referees.

This call for papers is open until 30th June 2018, the special issue is expected to be published by the end of 2018. Please address questions, inquiries and letters of intent to the editors of this special issue.

Special issue editors:

Joanna Kędra, PhD, Postdoctoral Researcher in the Finnish Institute for Educational Research, University of Jyväskylä, Finland, joanna.kedra[at] <>

Rasa Žakevičiūtė, Doctoral Researcher in the Department of Social Sciences and Philosophy, University of Jyväskylä, Finland, rasa.zakeviciute[at] <>

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CFP: Papers of Revista de Comunicación vol. 17, Nº 2, 2018

We are pleased to announce the Call for Papers <> for the September issue of the /Revista de Comunicación. <>/

Revista de Comunicación, vol. 17, N° 2, September 2018

The journal accepts research works written in Spanish as well as in English.

The deadline dates for the submission of works: May 15, 2018.
It’s necessary to consult the Authors guide. <>

/Revista de Comunicación <>/is a peer reviewed scholarly journal, published biannually, by the University of Piura’s Communication School <>. It has served seventeenth years of continuous research diffusion in several fields of communication, since it began publishing in 2002.

Its main purpose is to promote discussion among academics and practitioners from around the world, in the wide field of communication studies. It accepts the publication of research articles, working papers and book reviews.

It is indexed in LATINDEX, REBIUN, REDIB, DIALNET, MIAR, C&MMI, CONFIBERCOM, ERIH PLUS, EBSCO, etc. journals database. We have received the new about acceptance of indexing the /Revista de Comunicación /in SCOPUS.

It welcomes communication research in areas such as journalism, ethics and information law, political communication, public opinion, communication theory, consumer behavior, advertising, film, corporate communication, and digital communication.

More information about the Journal:


Home | Revista de Comunicación - Universidad de Piura <>
Revista de Comunicación is the academic journal of the Faculty of Communication at the University of Piura. Disseminates scientific research in the field of ...

Contact us:

/Revista de Comunicación/: <>

Editor Rosa Zeta de Pozo: <>

Deputy Editor Lyudmyla Yezers´ka: <>

Editorial Board
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Call for Presentations: Horror, Cult and Exploitation

Horror, Cult and Exploitation Media II:

A Research Workshop for PhDs and Early Career Researchers

Friday 4 May 2018, Northumbria University, Newcastle Upon Tyne, UK

A collaborative event between the Department of Social Sciences and the Department of Arts

PhD students and Early Career Researchers working in the field(s) of “horror, cult and exploitation” screen media, are invited to submit abstracts about their research to deliver at a workshop that is free to attend at Northumbria University on Friday 4 May 2018. The workshop – which follows on from a highly successful event last year – will take the format of a mini-symposium, and consist of three sessions, each made up of four speakers. Speakers will each deliver a 5-10 minute talk about their research to their peers and to a panel of academic experts from Northumbria’s Film and Television Research Group, providing a short introduction to their current project and identifying several questions for discussion. After each presentation, there will be an opportunity for the academic panel and other workshop participants to feedback to each speaker, and to ask follow-up questions.

The workshop is intended to be a small scale networking opportunity for scholars with shared research interests, and to provide a relatively informal opportunity for those newer to academia to engage in dialogue with more established researchers.

The event will close with a short presentation by James Campbell from Intellect Books, who will give advice about academic publishing (including converting a PhD thesis into a monograph).

The academic panel will comprise:

* ·Dr Russ Hunter (Senior Lecturer in Film and Television Studies,
co-editor of /Italian Horror Cinema/)
* ·Dr Steve Jones (Head of Media, author of /Torture Porn: Popular
Horror After Saw/, co-editor of /Zombies and Sexuality/)
* ·Dr James Leggott (Senior Lecturer in Film and Television Studies,
author of /Contemporary British Cinema: From Heritage to Horror/)
* ·Dr Sarah Ralph (Senior Lecturer in Media and Cultural Studies,
co-author of /Alien Audiences: Remembering and Evaluating a Classic
* ·Dr Jamie Sexton (Senior Lecturer in Film and Television Studies,
co-author of /Cult Film: An Introduction/, founding series co-editor
of /Cultographies/)
* ·Dr Johnny Walker (Senior Lecturer in Media, author of /Contemporary
British Horror Cinema: Industry, Genre and Society/and co-editor of
the /Global Exploitation Cinemas/book series)

Applicants are reminded that there are only twelve spaces available. Lunch and light refreshments will be provided throughout the day.

Please submit a 250 word summary of your project and a 50-100 word bio to the organiser, Dr Johnny Walker ( <>), by Friday 30 March 2018. Applicants will be notified of the outcome the following week.
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CFP: Essays on Resistance in Popular Culture

deadline for submissions:
April 20, 2018

full name / name of organization:
Clark Firestone Pharr
contact email: <>

The 21st century has become inculcated with a sense of perpetual crisis, reflecting a world seemingly on the verge of catastrophe. This new age of anxiety is evident not only in the breakdown of traditional hegemonies, but also in an increasingly personal sense of fear, futility, and frustration for marginalized communities. Within this context, we invite essays for a collection that explores the topic/themes/ideas of resistance in works of myriad types of contemporary popular culture. In particular, we are interested in essays that focus on the means and methods of active or subtle resistance to contemporary crises affecting those marginalized due to issues of gender, sexual identity, race/ethnicity, class, disability, and/or economic status. We welcome proposals from scholars in multiple fields of inquiry focusing on areas of popular culture that include, but are not limited to, film, TV, music, theatre, advertising, and social media.

We anticipate that this collection will include 16-20 essays, and as a working guide, the essays should be ~3500-4500 words. Essays must adhere to the most current MLA format. Special consideration will be given to essays about /Hamilton, The Last Jedi, Black Panther/, /The Shape of Water, Get Out/, video games, social media platforms, and television shows.

*Submission Guidelines: Please send a 500-word proposal in Word, followed by a short bibliography showing the paper's scholarly and theoretical context. Please also include a short professional description of yourself.*

Submission deadline: April 20, 2018

Editors have previously published: /The Last Midnight: Essays on Apocalyptic Narratives in Millennial Media, Of Bread, Blood and /The Hunger Games/: Critical Essays on the Suzanne Collins Trilogy, /and Harry Potter/ and Convergence Culture: Essays on Fandom and the Expanding Potterverse/

Direct inquires and proposals to: <>

Editors: Leisa A. Clark, Amanda Firestone, and Mary F. Pharr

Amanda Firestone, Ph. D.
Department of Communication
The University of Tampa <>

Co-Editor of Harry Potter and Convergence Culture: Essays on Fandom and the Expanding Potterverse <> and The Last Midnight: Essays on Apocalyptic Narratives in Millennial Media <>
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CFP: Experimentation, Avant-garde, and Deviation from the Norm in Classical Hollywood Cinema

We are pleased to announce the call for papers of the next issue of /L’Atalante. Revista de Estudios Cinematográficos/ which, under the title of “Experimentation, Avant-garde, and Deviation from the Norm in Classical Hollywood Cinema”, is open to contributions. You can find detailed information at:

The deadline for article proposals for the “Notebook” section is April 30th 2018. The issue will be published in January 2019.

We sincerely hope that this information may be of your interest. Please feel free to share this call among your contacts. Thank you in advance.

/L’Atalante. Revista de estudios cinematográficos/
// <> <>



Acceptance of articles for the section “Notebook”:*from March 15^th to April 30^th *

Classical Hollywood cinema is one of the better-defined periods with regard to style and mode of production. Its greatest achievement was its largely unproblematic conciliation between art and industry and between quality and commercial viability. That was precisely what allowed its world dominance and its conversion, in the cinephile imaginary, into an almost mythical Golden Age, an age that is less and less known and understood by younger generations (even in academia). Even if critics from /Cahiers du Cinéma/ insisted on defining “authors” (specially in the figure of directors) in classical Hollywood, the pictures produced under the studio system were primarily a collective art, made under a strongly specialized and hierarchized organization. That is what makes defining who is responsible of each contribution inside a film such a difficult task.

Classical Hollywood cinema’s style was very uniform and stable in essence, even after all the mutations suffered from the mid-1910s to the end of the 1950s (or even the beginning of the 1960s). Obsessed with the mass influx of people into the theatre so as to obtain the highest profits possible, and focused on the narrative, everything in these films concentrates on two key principles: do not bore the audience, and tell the story in the simplest way possible. Lighting, mise-en-scène, editing, camera movements, sound processing, etc.—everything was designed to serve the narrative structure. That is precisely what has been called transparency: nothing can distract the attention from the most important thing, the story.

But, at the same time, this well-defined and delimited system was less rigid and more flexible than it seemed and than has frequently been asserted. In fact, it always allowed for experimentation in all the elements of the creation of cinema, ever since the silent film era. Let us consider, for example, D. W. Griffith, who contributed to the development and settlement of the language of narrative continuity (what has been defined by Noël Burch as IMR), thanks to innovations that would influence all other national cinemas. Griffith himself would experiment beyond the allowed limits in /Intolerance/ (1916), leading to the public’s rejection and to the financial collapse of the project.

Many of the original solutions of classical Hollywood cinema still surprise us, seeming very modern and fresh even today. These experiments were almost always designed for the narrative structure, adapted to work in its favour. In other cases, though, they were devices that emphasized a certain self-consciousness of film language, including complex artifices. Even in those cases, these examples were deviations within the norm, and never radical departures or real alternatives to the system. That is, (almost) everything was permitted, since everything was perfectly integrated inside Hollywood’s characteristic style, a machine able to devour (in the good sense) all the filmic novelties from other other national cinemas, assimilating them and making them its own without remorse.

Hollywood, while influencing all the film industries in the world, has always paid attention to what was happening in other countries, being very receptive to their contributions, even when they seemed like alternatives to its own system. Hollywood has also tried to hire the most successful international filmmakers, as it happened —with varying results— during the 1920s with Ernst Lubitsch, Victor Sjöström, Mauritz Stiller, F. W. Murnau, E. A. Dupont, Paul Leni, and Jacques Feyder. In addition to this, the European diaspora due to the ascendance of Nazism in Germany made a little town in California the centre in which some of the most privileged minds in the History of Cinema gathered. These foreigners both adapted (with fewer or more difficulties) to the Hollywood mode of production and introduced some of their own ideas about filmmaking; ideas that most of the time were very different from the style of American cinema. As Bordwell, Staiger and Thompson explain (2005 [1985]: 74): “Hollywood has perpetually renewed itself by assimilating techniques from experimental movements”. Thompson (1993: 188) even asserts that “Hollywood could assimilate, among other things, aspects of avant-garde art”. Now, “[t]he question, though, is what principles governed this search for differentiation. What limits were set upon variety?” (Bordwell, Staiger and Thompson, 2005 [1985]: 72).

Considering all this, some of the themes and proposals for this monographic issue are:

·The diversity of experimentalism inside Hollywood’s classicism in any part of the film creation process: the technology, the cinematography (both illumination and the use of colour), the mise-en-scène (from sets to camera movements, including costume design), the editing, the sound, the narrative structure, the visual aspects, the treatment of time, the acting, the conception and development of the star system, etc.

·The influence of the avant-garde and other national cinemas in the innovations made in Hollywood. German cinema from the Weimar Republic and early Soviet cinema were, of course, the most influential, especially in regard to camera movements, editing, and cinematography. Likewise, the impact of Italian Neorealism was decisive in achieving the higher degree of realism demanded by the American audience after WWII. At the same time, the enormous amount of foreign professionals working in Hollywood allowed the studio system to be receptive to other national film industries.

·The controversial role of authorship in the innovations inside of the system. Are these experiments attributable to a few very creative filmmakers or should we take other professionals into account?

·The role of the studios, the producers, and the production team in the experimentation: between freedom and the limits to creativity. Or, better said, who could be creative and to what degree? And, of course, we must not forget that some of the most original innovations in classical Hollywood were due to producers such as Irving Thalberg, Samuel Goldwyn, David O’Selznick, Walt Disney, Walter Wanger, Val Lewton, or Arthur Freed.

·Differences in the experimentation depending on the different decades of classicism. The cinema of the 1930s is not the same as it was in the 1920s, nor is the cinema of the 1940s and 1950s. And yet, they are all part of classical Hollywood cinema. Therefore, we will accept texts that analyse the modes of experimentation in classical cinema during the whole period, but we will primarily value those proposals that focus on the presence of deviations from the norm in the first decades of classicism (including silent cinema), and not only those that resulted from the crisis of the classical model in its last years.

·Experimentalism in silent films and experimentalism in sound films. The possibility of establishing differences between both types.

·Differences in the innovations depending on genre. Are there genres that are more creative than others?

·In relation to the previously mentioned, we encourage the consideration of the possibilities inherent in B-pictures. Sometimes lower budget films were the ones that, due to a less economically risky mode of production, allowed for greater expressive audacity.

·The integration of experiments in the narrative structure of classicism.


Bordwell, D., Staiger, J., Thompson, K. (2005 [1985]). /The Classical Hollywood Cinema. Film Style and Mode of Production until 1960. /London: Routledge

Thompson, K. (1993). The Limits of Experimentation in Hollywood. /Archivos de la Filmoteca/, /14/, 186-201.

/L'Atalante. Revista de estudios cinematográficos /accepts submissions of unpublished essays on topics related to film theory and/or praxis that stand out for their innovative nature. Articles should focus on approaches to the cinematographic fact made preferably from the perspectives of historiography or audiovisual analysis. Those texts that approach novel objects of study with rigorous and well-evidenced methodologies will be appreciated. Articles that take as their main reference the processes of signification through the analysis of the audiovisual form and/or the narratological elements specific to our field, focusing on methodologies specifically related to the treatment of the image will be favoured in the selection process. Although we accept works with other methodologies that approach the filmic fact from transversal perspectives (Cultural Studies, philological approaches, etc.) we consider that the main interest of the journal is located on the studies that take the specifically cinematographic expressive tools as the main elements of discourse. Likewise, texts that are not limited to describing, enumerating or summarizing details of the plot, but that rigorously apply a specific and well-evidenced analysis methodology, reaching particular and novel results, will be given priority.

Below are a few aspects to keep in mind:

·Submissions must be original and must conform to the submission guidelines of the journal <> and to the standards and scientific rigour expected of an academic publication.

·Submissions will be evaluated for the originality of the topic explored, especially if it relates to an issue not previously addressed in the publication. Submissions dealing with topics previously addressed in the journal may be rejected. The content of the issues published to date can be consulted on the journal's website <>.

·All submissions will undergo an external peer review process that will respect the anonymity of both authors and reviewers (double blind peer review) in an effort to prevent any possibility of bias. In the event of a very high number of submissions, the Editorial Board will make a prior selection of the articles to be peer reviewed, choosing the articles deemed the most appropriate for the issue. Failure to observe the submission guidelines and/or standards of originality and academic rigour will result in rejection of the submission by the Editorial Board without external review.

·Authors of accepted submissions will be contacted within six months.

·Articles (which should be between 5,000 and 7,000 words including all sections) must be submitted via the website of the journal as .rtf, .odt or .docx files, using the template provided for the purpose. Files containing the author's statement (.pdf) and any images (.psd, .png, .jpg, .tiff) must be uploaded to the website as complementary files. A detailed version of the submission guidelines can be found at the following link <>. Any articles that fail to meet these requirements will be rejected automatically.

/·/If the /L'Atalante /team decides to publish the “Notebook” section of the present issue in a bilingual edition, authors will be required to provide the translation and cover the costs of translating or proofreading the text (in some cases, this cost may be waived for students and unemployed researchers who provide proof of status).//

·/L'Atalante/ does not offer any compensation for published articles. For more information: <>

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CFP: Journal of Science and Technology of the Arts - 2018

CITARJ call for papers 2018

The Journal of Science and Technology of the Arts (CITARJ) is an open-access, peer-reviewed publication, without any article processing fees.

The Journal covers a wide range of topics related to the study and practice of Creative and Artistic work approached through Science and Technology.

2018 Volume

CITARJ is permanently open for submissions, but to guarantee that your submission can appear in the 2018 volume, please submit by June 1, 2018.

To submit, register at and follow the submission instructions.


The CITAR Journal is indexed by several services, including Scopus and Thomson Reuters WoS - ESCI index.

Special issues

We are also open to receive special issue proposals. Check the guidelines at


Quality peer-review is a fundamental aspect for improving our journal's quality. We are always looking for experienced academics in various fields. We would appreciate if, when registering, you include your reviewing preferences and provide a link to your academic profile page with previous publications (ORCID, Mendeley, Academia, Publons etc.). If you have already registered, please take the time to update your profile.

Feel free to contact us with any question at
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Vacancy: Research Assistant / Associate FIlm Circulation

The Film University Babelsberg KONRAD WOLF, Germany’s first film university, is looking to fill a post within the research project “Film Circulation on the international Film Festival Circuit and its Impact on Global Film Culture”, funded with a grant from the German Ministry for Education and Research (BMBF).

*Research Assistant / Associate
*(Full-time at level TV-L 13)

*Contract type

This post is fixed-term until *31 July 2020*, with no option for extension.

*Key Responsibilities

The successful candidate for this post will undertake research for the BMBF-funded research project “Film Circulation on the International Film Festival Network and the Impact on Global Film Culture”.

You will:

-undertake research on the project under the direction of the Supervisor,

-participate in the development of a framework, methods and tools to support the project outcomes,

-design evaluative instruments, collect and analyze project data,

-draft reports on the project,

-coordinate research related activities and participate in the definition of research directions,

-Provide support for enhancing the project website and other online presences.

Other duties as required

You should be able to work in an interdisciplinary environment of sociologists, film and media studies and digital humanities scholars.

This requires conducting an online survey to collect data on the festival run of films, communicating with industry professionals, collating and analyzing quantitative and qualitative data, develop festival categories based on the knowledge of current film festival and media industries studies theories, support the development of a database, analytical tools and visualization models for the analysis of the festival runs (technical knowledge not required) and contribute to the data and written outputs. You will write up research work for publication in high profile journals and engage in public dissemination.

Further information:


*Requirements *

In accordance with *§ 49 Abs. 3 BbgHG *(Brandenburgisches Hochschulgesetz) a postgraduate degree in a discipline relevant to the project (film, media or communication studies, sociology, ethnography, digital humanities or related fields) is required.

The position also requires:

-a willingness to familiarize yourself with the research field, including a variety of methods (e.g. digital cultural data, statistics, data visualization) as well as the theories and topics of the research project (e.g. film festivals, distribution, media industries, film studies, global art cinema/world cinema),

-an excellent command of English (spoken and written),

-a team player with excellent communication skills.

*Desirable *

-a (good or excellent) PhD in Media or Communication Studies or another field relevant to the project,

-working knowledge of German,

-professional research experience,

-good knowledge of quantitative and qualitative research methods,

-knowledge of statistical analysis,

-familiarity with spatial data platforms and data visualization packages (please specify),

-exceptional communication and interpersonal skills,

-proven ability to understand, liaise and manage the needs of broad and complex stakeholder groups with diverse viewpoints,

-Proven ability to build professional relationships and work collaboratively.

*Further suggestions *

The Film University Babelsberg KONRAD WOLF is fully committed to achieving a diverse workforce and strives for an equal gender balance in all occupation groups. Therefore, for this post the Film University specifically encourages applications by qualified women.

In cases of equal qualification, applications by disabled persons will be preferred. If applicable, please mention your disability status in your application.


*Application *

We ask candidates to formulate their vision about how to implement gender equality within their research and how to support it in everyday academic life.

Please include the following documents: description of your professional development, a CV, experience/employment records, certificates (school, university degrees), list of publications, contact information (phone).

Please send your application stating the *reference number 02/18 *by *19 March 2018 *strictly via email to:

*Filmuniversität Babelsberg KONRAD WOLF
Dezernat 1 – Personal- und Rechtsangelegenheiten
Marlene-Dietrich-Allee 11
14482 Potsdam


Only applications sent as one PDF file will be considered.
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Encontros no ANIM 2018 - inscrições e chamada de trabalhos aberta

ENCONTROS NO ANIM 2018 (11 de maio)

Abertura de inscrições e chamada de trabalhos

A Cinemateca organiza este ano pela primeira vez os Encontros no ANIM, que terão lugar a 11 de maio de 2018. Os Encontros no ANIM são um momento de partilha de conhecimentos e de reflexão crítica sobre a história do cinema em Portugal realizada conjuntamente por investigadores universitários, conservadores de cinema e, também, pelos protagonistas daquela história. Procurando promover o diálogo entre o trabalho de arquivo e o trabalho sobre o arquivo, os Encontros no ANIM incluirão projeções comentadas de filmes recentemente restaurados ou pouco vistos em sessões públicas, visitas às áreas técnicas do ANIM e debates acerca de investigações recentes ou em curso, preferencialmente sobre obras da coleção fílmica e museográfica da Cinemateca Portuguesa-Museu do Cinema. As comunicações serão recebidas através de uma chamada de trabalhos pública e selecionadas por uma comissão científica independente. A primeira edição terá lugar no dia 11 de maio de 2018, no ANIM (Arquivo Nacional das Imagens em Movimento), o centro de conservação da Cinemateca.

A primeira edição

O programa da edição de abertura organiza-se em torno da projeção de Voyage en Angola (Suíça, 1929; real. Marcel Borle), cujo restauro fotoquímico decorre atualmente no laboratório da Cinemateca para o Musée d’Ethnographie de Neuchâtel a partir de materiais da Cinémathèque Suisse. A projeção será apresentada e comentada por Teresa Castro (Universidade de Paris III), autora de vários textos sobre este realizador e sobre a questão do cinema etnográfico neste período. Esta sessão contará igualmente a participação dos conservadores responsáveis pela preservação do filme

Chamada de trabalhos

Os Encontros no ANIM aceitam propostas de comunicação para as duas sessões de trabalho que terão lugar após o almoço. Estas comunicações podem incidir sobre qualquer tema e período cronológico da história do cinema em Portugal, devendo preferencialmente analisar obras da coleção fílmica e museográfica da Cinemateca. As comunicações serão recebidas através de uma chamada de trabalhos pública e selecionadas por uma comissão científica independente.

Envio de propostas, prazo e seleção

As propostas de comunicação devem usar este formulário online e ser submetidas até 20 de março. Todas as propostas serão sujeitas a um processo de avaliação cega pelos membros da Comissão Científica. As notificações de aceitação serão enviadas na primeira semana de abril.

A participação como ouvinte ou conferencista é gratuita mas a inscrição é obrigatória e sujeita à lotação da sala onde se realizará o Encontro.

Mais informações:

Inscrições e submissão de propostas:

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CFP: The Mondo Film and its Legacy

/Film International /

Contributions are invited for a special edition of /Film International/ devoted to the ‘mondo’ shock documentary film. The mondo genre was created in the 1960s by Gualtiero Jacopetti, Franco Prosperi and Paolo Cavara with their first feature /Mondo Cane/ (Italy, 1962). The genre quickly became an international sensation, hated by most critics but admired by large audiences and the likes of John Waters, Sergio Leone, Boyd Rice and J.G. Ballard.

Contributions can explore any aspect of the mondo film including the pre-history of the genre and its legacy.

This edition of /Film International/ will be edited by Mark Goodall (University of Bradford, UK), author of /Sweet and Savage: the World Through the Mondo Film Lens/ (2^nd revised edition, Headpress, 2018).

Individual contributions will be 5-8000 words and should be written in a style that is not overly academic and is accessible to the general reader.

Suggested topics:

·Mondo cinema and Italian film history

·Gender and Sexuality in the mondo film

·Mondo cinema and the horror film

·Mondo and documentary/ethnographic film

·The mondo film and the death film

·The exotic documentary film

·Atrocity film and video

·Music and sound in mondo films

·The mondo film and exploitation cinema

·Race and representation in mondo cinema

·Mondo aesthetics and contemporary media

Please send 200-word proposals to <>by 1 June 2018. Completed essays will be required by 31 October 2018.
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CfP VIII Lisbon Summer School for the Study of Culture "Cyber+Cipher+Culture"

VIII Lisbon Summer School for the Study of Culture


Lisbon, July 2-7, 2018


The Summer School for the Study of Culture, the yearly seminar for doctoral students in the critical humanities and cultural analysis, will in 2018 inspect the contentious realm of cyber, as it performs the fluid and the solid, the evanescence of the cloud and the heavy materiality of technology, the fear of war and the brave world of global information, surveillance and security, the right of inspection and the obfuscation of knowledge. Under the conditions of modernity 4.0, the prefix cyber seems to have become the point of entry for a new narrative of experience. One that draws on a technological unconscious to reboot modes of conviviality, modes of knowledge production, the organization of society, the very definition of democracy, the idea of the human. Coined by mathematician Norbert Wiener, the term cybernetics referred to the science of autonomous machines, that could both adapt their behavior and learn. Cybernetics developed out of a system structured upon coding models. The infrastructure of the new autonomous machines was helpless without the incision, the graphing of the software that would effectively bring them to life.

The Summer School brings together cyber with cipher in order to discuss the manifold incisions that write the machine into life and the strategies that users need to read them back. As Jacques Derrida famously claimed, writing always connotes an element of fracture, of removal from ‘the real’ context. Writing bears the signature of a physical absence – of the subject and of the context – and articulates a moment of rupture, enacted as a counter act or as a mode of dissent under the very act of writing. As our social and cultural experience is being increasingly shaped, written over and redone by the cyber world, it is also here in the utopian drive for perfectioning the human that the hope of resistance before the oblique powers of modernity may lie.

Amongst other theme-related presentations, papers are welcome on the following topics:

* Cyberculture and creativity;
* Cyber mediation and the future of cultural media;
* Citizenship, the public space and the right to privacy;
* Cyberactivism;
* Writing cybernetics: Net literature and the literary network;
* The transformation of the face of war;
* Surveillance and critique;
* Cyberterrorism/cybersecurity and the artistic conviviality;
* Critical thinking in the age of drones;
* Representing cyber.


__§__Mandy Merck (Royal Holloway College)____

__§__Carla Ganito (Universidade Católica Portuguesa)____

__§__Frederik Tygstrup (University of Copenhagen)____

__§__Marie-Laure Ryan (independent scholar)____

__§__Lev Manovich (City University of New York)____

__§__Luís Gustavo Martins (Universidade Católica Portuguesa)____

__§__Gustavo Cardoso (ISCTE – Instituto Universitário de Lisboa)____

__§__Manuel Portela (Universidade de Coimbra)____

The Summer School will take place at several cultural institutions in Lisbon and will gather outstanding doctoral students and post-doctoral researchers from around the world. In the morning there will be lectures and master classes by invited keynote speakers. In the afternoon there will be paper presentations by doctoral students.____


*Paper proposals
Proposals should be sent to <> no later than *February 28, 2018* and include paper title, abstract in English (max. 200 words), name, e-mail address, institutional affiliation and a brief bio (max. 100 words) mentioning ongoing research.
Applicants will be informed of the result of their submissions by *March 15, 2018*.____


*Rules for presentation
The organizing committee shall place presenters in small groups according to the research focus of their papers. They are advised to stay in these groups for the duration of the Summer School, so a structured exchange of ideas may be developed to its full potential.____


*Full papers submission
Presenters are required to send in full papers by May 30, 2018.
The papers will then be circulated amongst the members of each research group and in the slot allotted to each participant (30’), only 10’ may be used for a brief summary of the research piece. The Summer School is a place of networked exchange of ideas and organizers wish to have as much time as possible for a structured discussion between participants. Ideally, in each slot, 10’ will be used for presentation, and 20’ for discussion.____


*Registration fees
Participants with paper – 265€ for the entire week (includes lectures, master classes, doctoral sessions, lunches and closing dinner)
Participants without paper – 55€ per session/day | 180€ for the entire week____


*Fee waivers
For The Lisbon Consortium students, there is no registration fee.
For students from Universities affiliated with the European Summer School in Cultural Studies and members of the Excellence Network in Cultural Studies the registration fee is 50€.____

For more information, visit
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CFP ReFocus: The Films of João Pedro Rodrigues & João Rui Guerra da Mata

ReFocus: The Films of João Pedro Rodrigues & João Rui Guerra da Mata

With a career that spans over twenty years, João Pedro Rodrigues and João Rui Guerra da Mata are one of the most creative duos in contemporary filmmaking working within the context of Portuguese cinema. Acknowledged by several film festivals (Cannes, Indie Lisboa, Locarno, New York) as major Portuguese directors, and by the Harvard Film Archive as creators whose works “reflect the multifarious history of film, from classic genres to experimental film”, both filmmakers have contributed to the growing interest in Portuguese cinema.

Their works, either individually or collaborative, tell us particular stories of love and human desire, mythologizing places, environments and characters. Rodrigues and Guerra da Mata’s cinema challenge the audience by placing the viewers in hybrid territories where the auteurs explore their own obsessions: from the urban streets of Lisbon (/O Fantasma/The Phantom/, 2000), to the dark alleys of Macao (/A Última Vez Que Vi Macau/The Last Time I Saw Macao/, 2012), and to the “natural” world of/O Ornitólogo/The Ornithologist/(2016).

Together, or individually, they have been delving into different portraits that defy general cinematic conventions and focus on the constant reinvention of cinema and identity. In this sense, the authors’ own journey in cinema is also a journey on the many possibilities of the different identities and cultures that an artist (and a nation) can encompass and inhabit.

Within this context, we are accepting submissions on any aspect of these directors’ oeuvre – from comprehensive approaches (influences, themes, style) to more diverse essays –, but we are especially looking for chapters on the following:

- João Pedro Rodrigues & João Rui Guerra da Mata as auteurs;

- Melodrama;

- Identity;

- Displacements;

- The local and the global;

- Marginal cinema;

- Transnational cinema;

- Oriental cycle (Multiculturalism, Identity);

- Queer Cinema;

- Gender/Genre;

- Contemporary art cinema;

- /Mise-en-scène/and/or/dispositifs/;

- Soundscapes;

- Digital filmmaking;

- Artworks and Installations;

- Autobiography/Memory;

- Docufiction;

- Expanded cinema;

- Slow cinema;

/The Films of João Pedro Rodrigues & João Rui Guerra da Mata/will be one of the scholarly editions to be published by the University of Edinburgh Press in the /ReFocus/ series on international directors. Series editors are Robert Singer, PhD and Gary D. Rhodes, PhD.

Please send your 250-750 word proposal and CV to <>**by*June 15, 2018*. We welcome initial email enquiries to discuss possible proposals.

Final submissions will be approximately 6000 to 8000 words, in English, referenced in Chicago endnote style, and submitted by*November 1, 2018*.

Any questions can be sent to

José Duarte & Filipa Rosário

(School of Arts & Humanities, University of Lisbon)
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Call for Papers: Remaking European Cinema

REMINDER (submission deadline March 10th)

Call for Papers: Remaking European Cinema

A symposium on the theory and practice of the film remake in a European context

1 June 2018, Ghent University, Belgium

Confirmed keynote speakers:

- Professor Thomas Leitch, University of Delaware

- Professor Lucy Mazdon, University of Southampton

- Dr. Iain R. Smith, King’s College London

The film remake, whether as a practice or a concept, has been around since the very beginnings of cinema. While the earliest studies of the remake provided general overviews trying to sketch patterns and localize differing practices, this was followed by substantial attempts to define the remake as both a textual and cultural artefact and as a commercial business. Building on adaptation theories, scholars eventually pinpointed the intertextual properties that are inherent to the (relationship between) a source film and its remake(s). These evolutions in the research field spurred the idea of the remake as a kind of prism, which can be used to examine a variety of aesthetic, cultural, economic and social questions. For quite some time, most studies in the field were confined to the Hollywood practice of remaking non-Hollywood films, or, vice versa, non-Hollywood film industries remaking Hollywood films.

More recently, attempts are being made to look beyond Hollywood, inquiring into other nations or regions that, for example, remake their own films or the films of neighbouring countries. Notwithstanding these promising evolutions, there is still a lack of sustained research analysing the specific context(s) of European cinema. As a continent, Europe is known for its fragmentation and diversity due to the multitude of different languages and cultures existing next to and through each other within a relatively small geographical area. Although attempts to pinpoint the characteristics of European cinema are always questionable given that ‘Europe’ is as much a social, contingent and dynamic construction as other geopolitical entities, various cultural, economic and political dynamics grant the concept of European cinema analytical value. Accordingly, the purpose of the symposium is to bring together scholars with expertise in the currently vibrant field of remake studies for a discussion of the dynamics and particularities of the film remake in a European context.

Potential subjects to be addressed include, but are not limited to:

- Historical and contemporary approaches to film remakes in Europe

- The industrial, financial and production-related dynamics of European remake practices

- (Regional, national and transnational) public film policies towards remakes

- Cultural aspects of the European film remake (banal nationalism, cross-cultural comparison, cultural proximity, cultural identity …)

- Textual aspects of the European film remake (narration, aesthetics …)

- The distribution, programming, exhibition and reception of European remakes

- Remakes within European national/regional cinemas (including Western, Northern, Southern, and Central and Eastern European cinemas)

- Transnational or cross-cultural European remakes

- European art cinema remakes

- European popular cinema remakes

- European remakes of non-European films

- The European remake and theories of intertextuality, genre, seriality, repetition …

- European remakes and questions of adaptation, ‘originality’, authenticity, authorship, ownership, copyright …

Paper proposals should include the title of the presentation, a 300-word abstract, and a short autobiographical statement.

Submission deadline: March 10th 2018.

Proposal acceptance notification: March 30th 2018.

Please send your proposals to: <>

More information on the symposium website: <>

Following the symposium, authors of selected papers will be invited to contribute their work to an edited volume on this subject with an internationally renowned academic publisher and/or a special issue of an international academic journal.

This symposium is organized by Gertjan Willems, Eduard Cuelenaere and Stijn Joye, Centre for Cinema and Media Studies (CIMS) at Ghent University. The symposium is funded by the FWO research project ‘Lost in Translation? A multi-methodological research project on same-language film remakes between Flanders and The Netherlands’ and sponsored by the Film Studies section of ECREA and the Popular Communication division of NeFCA.
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Cinema&Cie International Film Studies Journal. "Beyond Cinema" Permanent Call for Essays

Cinema&Cie International Film Studies Journal

Permanent Call for Essay "Beyond Cinema"

Following the so-called “digital revolution”, dramatic transformations have affected the ways in which cinema is produced, consumed and perceived, to the extent that it seems to have gone “beyond” itself: beyond its very language and discourse; its traditional consumption practices and spaces; its position and function within the social (as well as the medial) sphere. As a consequence, during the last two decades, research in film studies has significantly widened its scope: the study of cinema has been re-articulated in several fields of inquiry and through a variety of methodological approaches and (inter)disciplinary perspectives, in an attempt to keep up with these most recent developments.

This section of/Cinéma&Cie /aims therefore to function as a permanent observatory of this “beyondness”. Specifically, it provides a space to re-discuss the thresholds of the cinematic medium, as well as the boundaries of traditional film studies, by addressing a variety of under-investigated contexts and objects through innovative and unconventional approaches and references.

/Beyond Cinema/encourages proposals related to the following main frameworks:

    *Cinema Beyond the Film Text.*Cinema in a transtextual perspective:
    intertextual, metatextual and hypertextual relations among films,
    and/or between films and other cultural products; practices of
    appropriation of pre-existing images (found-footage, archival
    footage, collage films, and so on).


    *Cinema Beyond the Cinematic Medium*. Cinema in a transmedia
    perspective: remediations and intermedial practices; processes of
    translation, differentiation, assimilation, hybridization and mutual
    exchange with other media formations, on both the aesthetic and
    material level.

    *Cinema Beyond the Movie Theatre*. Cinema in a translocational
    perspective: the relocation of cinema and new forms of circulation
    and consumption (from mobile phones to urban screens); musealization
    and exposition of cinema and films; non-institutional forms of
    filmmaking (amateur cinema and non-theatrical genres, such as the
    medical, industrial, touristic film, etc.).

    *Cinema Beyond Film Studies*. Cinema in a transdisciplinary
    perspective: intersections between film studies and other
    disciplines, from both the humanities and hard sciences (cinema and
    philosophy, cinema and neuroscience, cinema and cultural studies,
    etc.); the role of cinema as a didactic tool and as an instrument of
    scientific inquiry.



We invite the submission of articles in English or French (max 4000 words), edited according to the journal’s style guidelines. Contributors are also asked to provide an abstract (300-500 words), 5 keywords, and a short biographical note (150 words).

Submissions should be sent <>. Authors will be notified of acceptance or non-acceptance within one month of submission. Once their article has been assessed for suitability by the section’s editors, it will then be peer-reviewed by anonymous, expert referees.

As a permanent call for essays of a biannual journal, /Beyond Cinema/ presents two fixed deadlines for submission every year, as follows:

  * Articles submitted by *March 30th *will be considered for
    publication in the Spring issue
  * Articles submitted by *October 30th* will be considered for
    publication in the Fall issue

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Palgrave Animation: New Series Call for Proposals



Series Editors: Caroline Ruddell, Brunel University London, UK, & Paul Ward, Arts University Bournemouth, UK

*Series Description: *Animation is notoriously hard to define, exists across multiple media, and arguably has expressive capacities beyond that of other visual media. The past few decades have seen an exponential growth in the area of animation scholarship, with a number of publications contributing to what is a lively and exciting field of study. Palgrave Animation will expand on this scholarship by publishing book-length studies focusing on concepts within the field of Animation Studies. The book series aims to explore, amongst other areas: modes of representation; ontology and medium specificity; politics; memory; the varying practices and industrial contexts of animation; and historiographical approaches to animation. As such this book series will expand the study of animation in exciting new directions and develop what is already a vibrant and varied field.

We invite proposals on any aspect of animation history, theory and practice, including critical discussions of individual animators, studios or movements. Proposed volumes may take the form of single or co-authored monographs or edited collections. As we see the series broadening the scope of animation scholarship, we are particularly interested in studies that move beyond a Western context or use new and interdisciplinary perspectives and approaches.

*Editorial Board:

Lina Aguirre , Independent researcher, Colombia

Suzanne Buchan, Middlesex University London, UK

Donald Crafton, University of Notre Dame, US

Adam de Beer, Independent researcher, South Africa

Nichola Dobson, Edinburgh College of Art, UK

Erwin Feyersinger, Universität Tübingen, Germany

Cristina Formenti, State University of Milan, Italy

Gan Sheuo Hui, Lasalle College of the Arts, Singapore

Eric Herhuth, Tulane University, US

Annabelle Honess Roe, University of Surrey, UK

Fatemeh Hosseini-Shakib, Tehran University of Art, Iran

Joon Yang Kim, Niigata University, Japan

Hannes Rall, Nanyang Technological University, Singapore

Dan Torre, RMIT University, Australia

Paul Wells, Loughborough University, UK

Aylish Wood, University of Kent, UK

Contact series editors directly with proposals on and

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ECREA 2018 Abstract Submission

Have you not yet submitted your abstract for the 7th European Communication Conference, to be held in Lugano, Switzerland, from 31 October to 3 November 2018?

Do not miss the unique opportunity to be part of the official scientific programme!

Abstract Submission Deadline: 28 February 2018
The Conference Theme is “Centres and Peripheries: Communication, Research, Translation"
The Call for Papers can be found here:

Abstracts may be submitted within the following Thematic sections:

• Audience and Reception Studies
• Communication and Democracy
• Communication History
• Communication Law and Policy
• Crisis Communication
• Diaspora, Migration and the Media
• Digital Culture and Communication
• Digital Games Research
• Film Studies
• Gender and Communication
• International and Intercultural Communication
• Interpersonal Communication and Social Interaction
• Journalism Studies
• Media Industries and Cultural Production
• Mediatization
• Organisational and Strategic Communication
• Philosophy of Communication
• Political Communication
• Radio Research
• Science and Environment Communication
• Television Studies

Some networks and temporary working groups have open calls for ECREA 2018, too. Please note that networks and temporary working groups only have limited slots in the general conference programme. You can find the number of slots in the ECREA 2018 call for papers.


• Women’s Network of ECREA

Temporary working groups:

• Children, Youth and Media
• Media and Religion
• Media & the City

Please make sure to read the Abstract Submission Guidelines prior to submitting your abstract online. You can find all information regarding the submission process, including guidelines and the submission platform on the conference website

We are looking forward to welcoming you to Lugano!
If you have questions, please do not hesitate to get in touch with us:
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CFP: Storyworld Design. Creative perspectives for an Organic Transmedia

“Storyworld Design. Creative perspectives for an Organic Transmedia”

ISSN: 1697-8293 | DOI: 10.795/ri14 | URL:

Opening date for the submission of proposals: 1 July 2018
Deadline for submission of full articles: 15 September 2018

Guest Editors
Beatriz Legeren Lago, University of Vigo (Spain) []
Nelson Zagalo, University of Aveiro (Portugal) []

Publication date
1 January 2019

** Presentation **

Digitalization affects not only consumption, but also creation. Stories should not be designed only for one medium (screen), they should be created with many screens in mind. Making the most of their different characteristics will enrich the story and provide new ways to approach a fictional universe that can become pervasive through the design of organic transmedia products.

As creators we can no longer focus on only one medium, we need to be aware of how they interrelate in the new media ecosystem. We must also reflect on how to apply our creative potential, either by relying on simple multimedia, intermedia or crossmedia scenarios or by taking active steps to develop transmedia. Independently of the future ecosystem in which our creations will take place, narrative production should nowadays be understood more in terms of a fictional universe rather than in terms of a closed story. In other words, the current mix of technical possibilities, media and media channels allow, and almost demand, the continuation, extension, adaptation, or extrapolation of the story.

Note how, in recent years, we have changed our own discourse, talking about narrative design instead of narrative writing. This is explained by changes in the media ecosystem, the increased demand for narrative products but, especially, by the need to create narratives that work as organic systems capable of linking different stories, multiplying perspectives, and creating universes.

None of this is indifferent to production companies’ needs to create new intellectual property. The need for content to keep all the content networks active has led to increased production, but creating new products is always a risk. Audiences tend to prefer sequels or prequels; in other words, stories that in some way are connected to universes they already know. Spectators are quick to identify and empathise with these universes and want to access them more. This means that, increasingly, each new story can no longer be considered as just a story; it must have conditions to be expanded into new and complete narrative universes.

On the other hand, we cannot forget how the world of communication has abandoned the unidirectional creation paradigm. We can no longer think about creators and receivers, we need to understand that we are communicating with other creators. In other words, we need to be aware that fictional universes don’t end when they are released; that is the moment in which they really begin, as fans appropriate them and give them continuity in their communities. Over time, continuous creation cycles mean that these fan-based manifestations will be incorporated in next creations.

This monograph seeks to collect research contributions that will describe, explain and reflect on the story creation process from the perspective of scriptwriters and designers; producers and directors; and from the audience, readers, spectators or players.

But that won’t be all. It also seeks to understand where these new models are taking us and to present potential new approaches that new creators can implement and develop.

** Proposed topics **

Theoretical perspectives on creating for different screens.
Changes in the narrative construction of audiovisual works.
Video game script development with virtual reality interaction.
Co-creation and transmedia.
Proto narratives embedded in virtual systems.
Design of storyworlds and fictional universes.
Character design for fictional universes.
Designing for user/player participation.
Differences in transmedia models.
Narrative, game and storyworld.
Universes co-created by players.
Open and closed worlds.
The psychology of mental reconstruction of new stories.

Guidelines for authors

Papers can be submitted in English or Spanish.

All submissions must be made through the OJS platform of the journal Icono14

The authors’ guidelines can be found at the following URL:

About the Journal

The Journal ICONO 14 offers a space to disseminate quality scientific works concerning basic or applied, experimental, epistemological and descriptive research on communication, its corresponding fields, and particularly Information and Communication Technologies from a communicative perspective.

Web of Science - Emerging Citation Index, Clarivate Analytics, Google Scholar Metrics, Journal Scholar Metrics (Communication), MIAR , SJIF, INDEX Copernicus International, Cosmos Impact Factor

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Critical Arts - Open Call for Papers - The ethnographic turn

Critical Arts: South-North Cultural and Media Studies

Open Call for Papers – The ethnographic turn



Editor-in-chief: Keyan G Tomaselli

Editorial consultant: Kris Rutten

Critical Arts has hosted a number of special issues that revisit the “ethnographic turn” in contemporary art – see previous volumes 27(5), 27(6), 30(3) and 31(2). The aim of these issues has been to explore how artists engage with anthropological and ethnographic perspectives in their work, starting from the many forms in which art can present itself today. Each of these issues engages critically with the ethnographic turn in contemporary art by focusing on practice-led research and by offering a forum for artists and anthropologists themselves to explore the intersections in their work and to counter and grapple with criticism regarding their practices.

Because of the ongoing complexity of practice-led research in general, and artistic research with a focus on ethnography in particular, Critical Arts will issue an open call for papers, inviting papers and vignettes that explore issues with regard to artistic research, (ethnographic) knowledge, and (cultural) difference. The following questions remain the central focus: In what way does art connect cultures and communities across borders? How does one capture people on camera (or recorder) with respect and integrity? What does it mean to make art in an age of “superdiversity”? What are the implications of shifts in our media ecology for the production, mediation, and consumption of “culture”?

By integrating these papers as a thematic strand within the regular issues—rather than as a stand-alone special issue—the contributions will be able to engage in a dialogue with the general aim of Critical Arts, namely to focus on the development of transdisciplinary epistemologies and to approach “culture” as “a marker of deeper continuities than the immediate conflicts under the fire of which so many must somehow live their lives”. We hope that many artists, researchers, and activists will respond to this open call and we highly recommend to explore the previous special issues to get acquainted with and to respond to this on-going discussion.

Submission guidelines

Critical Arts is currently accepting submissions for publication in 2019 and 2020. To be considered for publication in 2019, full papers should be submitted by 1 June 2018.

Information and instructions for authors can be found at <>

All completed manuscripts MUST be uploaded onto the online manuscript portal ScholarOne:

Further inquiries about this open call can be addressed to <>.

*About Critical Arts*

Critical Arts prides itself in publishing original, readable, and theoretically cutting edge articles. For more information on the history and the orientation of the journal, as well as guidelines for authors, and legal and editorial procedures, please visit:

Critical Arts is now published six times annually and is indexed in the International Bibliography of Social Sciences (IBSS) and the ISI Social Science Index and Arts & Humanities Citation Index and other indexes.
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CFP: SERIES - International Journal of TV Serial Narratives


Full paper submission deadline: 30 June 2018.

“SERIES. International Journal of TV Serial Narratives” ( is an open access and peer-reviewed journal, with ISSN and indexed in major international databases. It publishes 2 issues per year, and is mainly devoted to television seriality. It is a joint project by Universitat Politècnica de València (Escola Politècnica Superior de Gandia/DCADHA) and Università di Bologna.

We are pleased to invite submissions for the eighth issue of the journal (year IV, no. 02), which will be out in December 2018. The main focus of the journal is to promote a global discussion forum and an interdisciplinary exchange among scholars engaged in research into TV serial narratives. We encourage methodological innovations and contributions concerning the narrative, technological, economic, social and cultural impact of television dramas and comedies, webseries, telenovelas and other serial forms.

SERIES encourages submissions that cover a large variety of topics, including:

* theoretical and methodological explorations on the nature and value
of television seriality;
* taxonomies and analysis of specific formats, styles, linguistic
features, genres;
* cognitive perspectives on narrative structures, characters, viewer
* investigations of creative, production, distribution and marketing
* empirical research on audiences, fandoms, digital communities;
* social network analysis, big data analysis, and other possible
frameworks and models;
* comparative studies on a transnational and/or transmedial basis;
* investigations of stylistic elements, temporality, narrative and
character design;
* historical approaches to seriality across different media;
* peculiar case histories (authors, subgenres, countries, production
companies, etc.).

Articles should range between 5,000-8,000 words (including abstract, notes and references). Full guidelines can be found on our website. In order to be included in the issue, full manuscripts must be sent by June 30, 2018. Expected publication date: December, 2018.

If you have any questions, please contact the journal at <>.
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Call for Presentations: Horror, Cult and Exploitation Media II

A Research Workshop for PhDs and Early Career Researchers

Friday 4 May 2018, Northumbria University, Newcastle Upon Tyne, UK

A collaborative event between the Department of Social Sciences and the Department of Arts PhD students and Early Career Researchers working in the field(s) of “horror, cult and exploitation” screen media, are invited to submit abstracts about their research to deliver at a workshop at Northumbria University on Friday 4 May 2018.

The workshop – which follows on from a highly successful event last year – will take the format of a mini-symposium, and consist of three sessions, each made up of four speakers. Speakers will each deliver a 5-10 minute talk about their research to their peers and to a panel of academic experts from Northumbria’s Film and Television Research Group, providing a short introduction to their current project and identifying several questions for discussion. After each presentation, there will be an opportunity for the academic panel and other workshop participants to feedback to each speaker, and to ask follow-up questions. The workshop is intended to be a small scale networking opportunity for scholars with shared research interests, and to provide a relatively informal opportunity for those newer to academia to engage in dialogue with more established researchers.

The event will close with a short presentation by James Campbell from Intellect Books, who will give advice about academic publishing (including converting a PhD thesis into a monograph).

The academic panel will comprise:

 Dr Russ Hunter (Senior Lecturer in Film and Television Studies, co-editor of /Italian Horror //Cinema)/

 Dr Steve Jones (Head of Media, author of /Torture Porn: Popular Horror After Saw/, co-editor of /Zombies and Sexuality/)

 Dr James Leggott (Senior Lecturer in Film and Television Studies, author of /Contemporary //British Cinema: From Heritage to Horror/)

 Dr Sarah Ralph (Senior Lecturer in Media and Cultural Studies, co-author of /Alien Audiences: //Remembering and Evaluating a Classic Movie/)

 Dr Jamie Sexton (Senior Lecturer in Film and Television Studies, co-author of /Cult Film: An //Introduction/, founding series co-editor of /Cultographies/)

 Dr Johnny Walker (Senior Lecturer in Media, author of /Contemporary British Horror Cinema: Industry, Genre and Society/ and co-editor of the /Global Exploitation Cinemas/ book series)

Applicants are reminded that there are only twelve spaces available. Lunch and light refreshments will be provided throughout the day.

Please submit a 250-word summary of your project and a 50–100-word bio to the organiser, Dr Johnny Walker ( <>), by Friday 30 March 2018. Applicants will be notified of the outcome the following week.
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CFP: I International Conference on Cinema and Identities

I International Conference on Cinema and Identities

Cultural Industries, Musical Flows and Transnational Discourses


May, 31 and June, 1, 2018

Universidad de Oviedo, Spain – University Historical Building

Musical discourses and images of popular dances were essential for the conformation of cinema in the first half of the 20th century, as well as for the configuration of national cultural identities in the incipient mass markets. These representations were part of a fluid and dynamic traffic of signs, sounds and images within the framework of a transmedia model, in constant dialogue with the stereotypes configured by most consolidated cinemas, such as Hollywood.

The division of the world between ‘Americans’ and the ‘others’, the most representative image and music flow exchange, resulted in a policy that eclipsed ethnic and cultural differences in a particular world view that crossed national borders. This homogenizing exoticism opened the debate around what was national authenticity, as well as realism and ‘for export’. Thus, images of the national were conformed as frontier spaces where there was an important traffic of signs and elements that, according to the case, merged, agglutinated or were put in tension.

This conference promotes the study and research of cultural identities articulated in cinema, in which music plays a prominent role. It also establishes an interdisciplinary framework that bridges musicology, film studies, cultural studies, sociology and audiovisual communication. Among the main topics of study are:

-National, border and ‘for export’ cinemas

-Cinema, stars and cultural industries

-Cultural identities

-Performance, corporality and gender studies

-Subgenres and author cinema

-Promotion, advertising and reception of cinemas in the margins

-Animation film

-Music in new cinema consumption devices

All proposals dealing with any of the topics mentioned above or any other contribution on related topics will be welcomed. The results of the conference will be published in a renowned publication.

*Keynote Speaker*: Kathryn Kalinak (Professor of English and Film Studies, Rhode Island College)

*Special Activity*: Audiovisual Essay Workshop

*Abstracts *

Papers (20 minutes)

Panels (3-4 speakers, 90 minutes)

Abstracts will include title, type of participation, name and surname of the author, institutional affiliation, contact details and summary of a maximum of 250 words.

Papers can be sent in the official languages of the Conference: Spanish, English or Portuguese.

Abstracts may be sent until March 1, 2018 to <>.

The Scientific Committee will evaluate the proposals and on March 30 the final list of accepted papers will be communicated.

For more information please visit,

*Scientific Committee *

Ana Laura Lusnich (CONICET/Universidad de Buenos Aires)

Ana María Fernández García (Universidad de Oviedo)

Carlos Roberto de Souza (Universidade Federal de Sao Carlos)

Clara Kriger (Universidad de Buenos Aires)

Eduardo Viñuela (Universidad de Oviedo)

Gauri Chakraborty (Amity University)

Jeremy Barham (University of Surrey)

Julio Arce (Universidad Complutense de Madrid)

Ling Zhang (Purchase College New York)

Margaret Farrell (Manhattan College)

Núria Triana-Toribio (Universidad de Kent)

Peter Schulze (Universidad de Colonia)

Suzanna Reck Miranda (Universidade Federal de Sao Carlos)

Teresa Fraile (Universidad de Extremadura)

Vicente Galbis (Universitat de València)

Vicente Sánchez Biosca (Universitat de València)

*Organizing Committee *

Alejandro Kelly (CONICET/Universidad de Buenos Aires)

Carmen Pérez Ríu (Universidad de Oviedo)

Edson Zampronha (Universidad de Oviedo)

Sonia Sasiain (Universidad de Buenos Aires)

Lucía Rodríguez Riva (Universidad de Buenos Aires)

*Leadership *

Cecilia Nuria Gil Mariño (CONICET/Universidad de San Andrés)

Laura Miranda (Universidad de Oviedo)
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Lecturer in Film Studies, Trinity College Dublin

The Department of Film Studies, Trinity College Dublin, seeks to appoint an Assistant Professor in Film Studies with a Specialism in Digital Theory and Practice. The successful candidate will have completed a Ph.D. in a relevant area, and will have already shown evidence of research potential and teaching. He/she will be expected to design, develop, and contribute to, undergraduate and postgraduate modules in film studies with a specialism in digital theory and practice, and to supervise postgraduate and doctoral research. The person appointed will be expected to contribute to administrative duties in the Department of Film Studies also.

Please see below for further information:

Assistant Professor in Film Studies with a Specialism in Digital Theory and Practice
Trinity College Dublin, The University of Dublin - Department of Film Studies, School of Creative Arts
Location: Dublin
Salary: €33,875 to €48,091
£29,848.58 to £42,374.86 converted salary* per annum
Hours: Full Time
Contract Type: Fixed-Term/Contract
Placed on: 30th January 2018
Closes: 12th March 2018
Job Ref: 032813
★ View Employer Profile

Post Status: 5-year Fixed Term Contract, Full Time (with a view to permancy)
Department/Faculty: Department of Film Studies, School of Creative Arts, Trinity College Dublin, the University of Dublin
Location: Department Film Studies, 191/192 Pearse Street, Trinity College Dublin, the University of Dublin, College Green, Dublin 2, Ireland
Reports to: Head of Department of Film Studies
Salary: Appointment will be made on the Assistant Professorship Salary Scale at a point in line with Government Pay Policy [€33,875 to €82,280 per annum], appointment will be made no higher than point 8 (i.e. €48,091)
Hours of Work: Hours of work for academic staff are those as prescribed under Public Service Agreements. For further information please follow the link below:
Closing Date: 12 Noon (GMT) on 12 Noon (Irish Standard Time), 12th March 2018

Please visit for more information and to apply.

Post Summary

The Department of Film Studies seeks to appoint an Assistant Professor in Film Studies with a Specialism in Digital Theory and Practice. The successful candidate will have completed a Ph.D. in a relevant area, and will have already shown evidence of research potential and teaching. He/she will be expected to design, develop, and contribute to, undergraduate and postgraduate modules in film studies with a specialism in digital theory and practice, and to supervise postgraduate and doctoral research. The person appointed will be expected to contribute to administrative duties in the Department of Film Studies also.

Person Specification


An excellent academic record and a PhD in a related area.

Skills & Competencies

Excellent communication skills in the English language, both written and oral.
Excellent presentation skills with the ability to enthuse listeners.
A commitment to research-led and innovative teaching methods.
Strong organisational skills with the ability to effectively manage a demanding workload.
The ability to work effectively as a member of a team and to engage in the administrative requirements of the Department, School and College.
The ability to work effectively as a member of a team, to collaborate with colleagues at an inter-disciplinary level and to participate at School, Faculty and College level.
Demonstrated potential to manage and develop courses in a University setting.
Demonstrate vision and commitment.
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CFP: "Capitalist Aesthetics" - Special Issue of Open Cultural Studies

Capitalist Aesthetics

A Special Issue of Open Cultural Studies

Deadline for submission is March 1, 2018.

Issue Editors: Dr Pansy Duncan and Dr Nicholas Holm

In 1989, surveying the hyper-commodified, performance-driven and information-saturated conditions of what he called “late capitalism,” Fredric Jameson diagnosed the rise of a world-system that, as he put it, “assign[ed] an increasingly structural function and position to aesthetic innovation” and aesthetic judgment. Today, in what’s variously dubbed “networked,” “neoliberal,” “communicative” or “platform” capitalism, Jameson’s appraisal seems more pertinent than ever. Aesthetic objects, from holiday selfies to “lolcatz” memes, are the bread and butter of our everyday online social exchanges. Aesthetic debate on the merits of Melania Trump’s sartorial choices has become a proxy for popular political deliberation. And aesthetic criteria, from “streamlining” and “flexibility” to “excellence,” serve as the alibis of fiscally-driven restructuring across the public and private sectors. In fact, while the aesthetic practices that preoccupied Jameson in 1989 remain sealed in the realm of “culture” (whether high or low, elite or popular), the rise of the so-called creative economy, the data-fication of cultural production and distribution, the increasingly intimate imbrication between culture and techno-science, and the apparent “democratization” of design, mean that, today, what Jan Mukarovsky calls the “aesthetic function” extends into spaces as diverse as the workplace, the body, the bedroom, the social media-sphere, and the environmental or extra-planetary imaginary.

“Capitalist Aesthetics,” then, will build on Jameson’s attention to the rich seam between aesthetics, ideology and political economy in light of the above developments. Assessing a world marked by what Hal Foster, bleakly, calls “total design” and by what Jacques Ranciere, more optimistically, calls the “aestheticization of common life,” this special issue of Open Cultural Studies welcomes articles that explore the aesthetic configurations—from the cute to the comfortable, from the no-brow to the fringe—through which the economic logics of late capitalism come to crystallize today. It invites work that treats the stylistic and formal dimension of cultural objects, and the verdictive and affective dimensions of cultural discourse/experience, as valuable “cryptograms” of contemporary ideological formations and the economic relations they sustain. In the process, it will foreground the fact that—despite widespread suspicion, post-Bourdieu, of the discourse of the aesthetic—scholars associated with cultural studies, from Raymond Williams to Rosalind Gill, have developed a powerful set of critical tools for analysing aesthetic configurations, both as vehicles of ideological and economic domination, and as sources of subversion, pleasure, critique, and renewal.

We welcome essays on any topic related to the intersection of capitalism and aesthetics, including:

·Aesthetic manifestations of capitalism;

·Capitalist mediations and expressions, genres and forms;

·“Post-Capitalist” aesthetics: designing the future;

·White collar aesthetics: corporate aesthetics, from the bank to the boardroom;

·Aesthetic subversion or critique of/as capitalism;

·Aesthetics and techno-science: datafication of/as aesthetics;

·Aesthetics as domination and/or liberation: between autonomy and heteronomy;

·Digital aesthetics and “platform capitalism”;

·Beyond “zany,” “cute” and “interesting”: late capitalism’s (other) aesthetic categories;

·The aesthetics of the Capitalocene: eco-catastrophe and environmental activism as late capitalist spectacle;

·Capitalist structures of feeling, capitalist affects;

·Neoliberal aesthetics;

·Representations of capitalism;

·Late capitalist temporal aesthetics, from speed to slowness;

·The “creative industries” and the “cultural economy” as late capitalist aesthetic formations;

·The fate of “political aesthetics” in cultural studies;

·New aesthetic currencies, from the corporeal to the celestial;

·Aesthetics and/of class.

Please submit your *proposals* to <> by *March 1, 2018*. The deadline for submissions of*full papers *is *June 1, 2018*. The issue will be published in 2018. There are no Article Publishing Charges.
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