PT/EN

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 IV Encontro Anual decorre de 15 a 17 de maio de 2014, na Universidade da Beira Interior (Programa/Formulário para Ouvinte). Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
[Saber mais] [Inscrever-se na AIM]


NOTÍCIAS

Aniki: Revista Portuguesa da Imagem em Movimento | Call for papers # 2.2


Os artigos para este dossier devem ser enviados até ao próximo dia 30 de dezembro de 2014 | The call for papers for this dossier will be open until December 30th, 2014 | Artículos de este archivo para ser enviado hasta el próximo 30 de diciembre 2014.

(Scroll down for English and Spanish versions) 


OS ARQUIVOS FÍLMICOS E A MEMÓRIA: DOCUMENTOS E FICÇÕES
Dossier da Aniki editado por Vicente Sánchez-Biosca (Universitat de València)

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

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

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

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

Vicente Sánchez-Biosca é professor catedrático de Comunicação Audiovisual na Universitat de València e foi professor visitante nas Universidades de Paris III e Paris I, New York University, Universidade de São Paulo, entre outras. Entre os seus últimos livros contam-seNO-DO: el tiempo y la memoria (2000), El pasado es el destino. Propaganda y cine del bando nacional en la guerra civil (2011), ambos em colaboração com Rafael R. Tranche, Cine de historia, cine de memoria. La representación y sus límites (2006), Cine y guerra civil española: del mito a la memoria (2006). Atualmente, dirige um projeto de investigação sobre a função da imagem na construção do carisma dos líderes políticos em Espanha e outro sobre a representação das vítimas de genocídios.

Visite http://www.aim.org.pt/aniki para consultar as Instruções aos Autores e para submeter o seu artigo. Os artigos recebidos serão sujeitos a um processo de selecção e de revisão cega por pares.

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FILM ARCHIVES AND MEMORY: DOCUMENTS AND FICTIONS
Special section of Aniki edited by Vicente Sánchez-Biosca (Universitat de València)

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

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

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

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

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

Visit http://www.aim.org.pt/aniki for Author guidelines and to submit your article. Submitted articles will be selected and subject to a blind peer review process.

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LOS ARCHIVOS FÍLMICOS Y LA MEMORIA: DOCUMENTOS Y FICCIONES
Dossier de Aniki editado por Vicente Sánchez-Biosca (Universitat de València)

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

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

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

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

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

Visite http://www.aim.org.pt/aniki para consultar las Instrucciones para los autores y para enviar su artículo. Los artículos recibidos son sometidos a un proceso de selección y evaluación anónima.

(info atualizada em 24/07/2014)

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Streaming Video Platforms and the Television Industry
Call for Proposals
Society for Cinema and Media Studies (SCMS)
March 25-29, 2015 in Montreal, Canada

Although streaming video platforms have been a growing presence in the television industry for nearly a decade, 2014 has been an especially notable year. Netflix scored significant awards attention for both House of Cards and Orange is the New Black and helped revive AMC’s The Killing yet again; Amazon unveiled the second round of its uncommon Pilot Season process and purchased streaming rights to HBO programming for its expanding digital library; and Hulu hit an all-time high in subscribers and became the exclusive streaming home of South Park. More importantly, it’s not just those “big three” platforms making waves. Yahoo’s Screen saved NBC’s Community from sure cancellation, stories about HBO GO crashing due to overwhelming demand have become part of the news cycle, and Crackle is now a multi-time Emmy nominee.

But how does the increasing prominence of these platforms—as producers, buyers, and distributors—impact the established groups within television industry? When should networks and studios view the platforms as partners and when are they more clearly competitors? Are these platforms truly changing business models or just parroting old approaches in new spaces? This panel seeks to highlight the future of streaming video platforms and their integration (or lack thereof) into industry practices. Paper topics may include but are not limited to:
*Analysis of the streaming video platforms’ growing interest in original series production and its influence on broadcast or cable network output or the typical development process
*Investigations into platforms’ various approaches to distribution such as Netflix’s “all at once” release strategy or Hulu and Amazon’s use of paywalls
*Considerations of platforms’ revival of cancelled series or the purchase of significant library content
*Examinations of the various discourses surrounding the platforms, including trade press chatter, critical acclaim, fan responses, awards season promotion, and branding
*Studies of particular partnerships or feuds between the platforms and more veteran networks, studios, or production companies
*Case studies of lesser known or nascent streaming video platforms

Please submit an abstract of 250-300 words and a brief bio to Cory Barker (barkerc@indiana.edu) by August 11. Decisions will be made by August 18.
(info atualizada em 23/07/2014)

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International Conference on Communication, Media Studies and Design
(www.cmdconf.net)
Call for Participation
May 16 – 18, 2015 - Dubai - UAE - Grand Excelsior Hotel
Abstract Submissions Deadline: April 15, 2015

Invitation
The International Conference on Communication, Media Studies and Design which is powered by Anadolu University - Institute of Communication Sciences - Turkey, Journal of Information, Communication & Society – ICS, Journal of Television & New Media – TVNM, Online Journal of Communication and Media Technologies – OJCMT, Contemporary Educational Technology – CEDTECH, Online Journal of Art and Design - OJAD is an international annual conference (www.cmdconf.net).

This year theme of the conference for the exchange of information on research, development, and applications are categorized under three headings as Communication Technologies, Social Media, Visual Communication and Design, Integrated Marketing Communication, Communication Education, Communication Barriers, Health Communication, Media Management and Economics, Political Communication and Communication and Media Studies in General.

We invite you to attend The International Conference on Communication, Media Studies and Design and submit proposals for papers. All presentation proposals are reviewed and selected by a respected Editorial Board Members of the OJCMT (www.ojcmt.net).

Proceedings
Accepted papers will be published in the conference Proceedings. Moreover, selected papers will be published in:
Journal of Information, Communication & Society - ICS
Journal of Television & New Media - TVNM
Online Journal of Communication and Media Technologies - OJCMT (www.ojcmt.net),
Contemporary Educational Technology - CEDTECH (www.cedtech.net),
Online Journal of Art and Design - OJAD (http://ojad.emu.edu.tr)
(info atualizada em 22/07/2014)

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Collectivity: Camera Obscura 40th anniversary special issue
For the fortieth anniversary of Camera Obscura, we invite submissions on the theme of collectivity.

Collectives often emerge in periods of crisis in response to new social, economic, and technological conditions. Camera Obscura’s feminist editorial collective has functioned in this way since its beginnings in the 1970s, a time when many forms of cooperative action proliferated. In this period, collectives formed around issues of gender, race, and politics, with many organizing around forms of media production. In the last ten to fifteen years, a growing constellation of collectives, many international, has emerged, configuring artists and activists in new political and cultural formations. These collectives are a response to developments like the growing impact of digital media and mobile technologies, new paradigms of relational aesthetics, new configurations of labor and precarity, and the rise of neoliberal policy, which has worked to erode the public sphere and shared resources in favor of the idea of individual responsibility. In contrast, the theory and practice of collectivity emphasize participation, consensus, and working toward common goals. However, as anyone who has been part of a collective knows, these formations are never free of difficulty and disagreement—difficulties that relate to issues of communication as well as to the very dynamics of gender, sexuality, class, race, and multinationalism that demand collective responses.

Topics might include, but are not limited to:
Conceptualizing “collectivity,” “cooperation,” and “commons”
Historically specific investigations of past and still-functioning collectives
The affective economies of collectivity
The analysis of films, videos, or other media objects produced through collective action or participation
The cultural, discursive, and economic structures that underlie and produce collectivity
Collectivity and forms of labor and media
The temporality of collectivity
Collectivity and utopianism
The relationship of technological change to collectivity
The relation of collectivity to identity, individuality, and subjectivity
Transnational forms of collectivity
Collaboration, microtopias, communities of practice, and the space of the commons
Swarms, multitudes, and political uprising
Specific dynamics of gender, sexuality, race, and class in collective formations

We welcome both essay-length submissions and shorter writings appropriate to our “In Practice” section. Please visit http://cameraobscura.dukejournals.org/ for our complete submission guidelines. Submissions and queries should be sent to cameraobscura@filmandmedia.ucsb.edu. The deadline for submissions is 15 October 2014.
(info atualizada em 21/07/2014)

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Lecturer position in Film & Visual Culture at the University of Aberdeen
To apply, visit http://www.abdn.ac.uk/jobs.

College / University Administration
College of Arts & Social Sciences
School / Section
Language & Literature
Discipline/Area
English & Film
Position Type
Full-time
Closing Date
29 Jul 2014
Salary From
£37,756
Salary To
£45,053

Job Summary
The School of Language & Literature is seeking to appoint a Lecturer in Film and Visual Culture, a programme which students can take either as a four-year single honours degree or as a joint degree with a wide variety of other disciplines, most regularly English Literature or a European language. The programme combines the historical and theoretical study of film with opportunities for practical engagement in film-making. The successful candidate will be expected to carry out undergraduate teaching and administrative duties across all years of the ‘Film and Visual Culture’ programme but will also be expected to contribute to other aspects of the School’s work, especially in relation to the activities of its various research centres and, in particular, to the development of the recently established Washington Wilson Centre for Visual Culture. The successful candidate will also be expected to contribute to postgraduate supervision, and to the administrative requirements of the School as a whole – all members of the School, for instance, act as personal tutors to c. 20 undergraduates. Candidates will be required to have a documented research profile consistent with the current stage of their career as well as clear potential for a high-scoring submission in any future evaluation of research achievement.

Salary will be at the appropriate point on the Grade 7 salary scale (£37,756 – £45,053 per annum) with placement according to qualifications and experience.

Informal enquiries are welcome and should be made to Professor Cairns Craig, Head of School (Telephone: +44 (0)7900 221289, Email: cairns.craig@abdn.ac.uk).

Should you require a visa to undertake paid employment in the UK you will be required to fulfil the minimum points criteria to be granted a Certificate of Sponsorship and Tier 2 visa. As appropriate, at the time an offer of appointment is made you will be asked to demonstrate that you fulfil the criteria in respect of financial maintenance and competency in English. Please do not hesitate to contact Heather Mcewan, Human Resources Graduate Trainee, for further information on this.

Please quote reference LAN042A on all correspondence.

The closing date for the receipt of applications is 29 July 2014
Criteria
• PhD in some aspect of Film and Visual Culture
• Documented research ability at a level consistent with place on career trajectory.
• Experience of organising research, and demonstrable plans for high quality research outputs.
• Demonstrable experience of teaching film and visual culture.
• Ability to teach at both undergraduate and postgraduate levels.
• Good interpersonal skills with the ability to interact constructively with a wide range of colleagues and students.
• Aptitude for lecturing to large groups and for small-group teaching
• Ability to think creatively and innovatively, and to impart enthusiasm for subject.
• Enquiring, critical approach to work.
• Excellent written and oral communication skills.

(info atualizada em 18/07/2014)

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Studentships for PhD in Film at Liverpool John Moores University
Liverpool John Moores University offers up to 10 full time Graduate Teaching Assistant Studentships (GTAs) in a number of areas, including Film Studies.
Closing date for applications: 12 noon, 22nd August 2014.
Starting date: October 2014

Details:
This studentship scheme offers a valuable opportunity to study for a PhD while teaching in subjects broadly related to your PhD research. The studentship covers full tuition fees and a bursary of £13,863 for three years, based on successful PhD progression. GTAs work with academic staff in a range of teaching, learning and assessment activities to support student learning for up to 180 hours in each academic year. These activities include supporting lectures, leading seminars, providing tutorial support, demonstrating in practical classes, marking student assessments and exam invigilation. GTAs will undertake a programme of teaching and learning skills development during the first year, and will be encouraged to attend a range of researcher development sessions in line with the Vitae Researcher Development Framework throughout their three years of study.

In FILM STUDIES we welcome applications in any areas, but especially in European and transnational cinemas, documentary, American cinema, film festivals, and film-practice as research. Further staff research specialisms include Greek and Balkan cinema, African American film and culture, and film pedagogy. For enquiries about research degrees in Film Studies, please contact Dr Lydia Papadimitriou (l.papadimitriou@ljmu.ac.uk)

To apply you should send the following to Pat MacHenry (p.e.machenry@ljmu.ac.ukp.e.machenry@ljmu.ac.uk>) by the deadline of 12 Noon, 22nd August 2014:

1. A covering letter outlining your area of research interest, and any relevant experience in the field. Please explain what makes you suitable for this position.
2. Your CV (maximum two pages) indicating the names of two academic referees.
PLEASE CLEARLY STATE THAT YOU ARE APPLYING FOR THE GTA/GRA STUDENTSHIP SCHEME IN THE SUBJECT HEADING AS WELL AS THE TEXT OF YOUR EMAIL

For more information, please visit:http://ljmu.ac.uk/APS/128238.htm
(info atualizada em 17/07/2014)

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V Encontro de Jovens Investigadores do CEIS20

V Encontro de Jovens Investigadores do CEIS20
Abril: só há liberdade a sério…
26, 27 e 28 de Novembro – CEIS20 (dia 26 e manhã do dia 27) e Casa da Escrita (tarde do dia 27 e dia 28)

CALL FOR PAPERS | Encontra-se aberto, até ao dia 1 de setembro, o período de submissão de propostas de comunicação para o V Encontro de Jovens Investigadores do CEIS20.

Amarrada à trilogia revolucionária de 1789, que Napoleão dizia ir espalhando pela Europa na ponta das baionetas da grande armée, a ideia de liberdade continuaria, desde então, a prestar-se aos mais diversos entendimentos, encarnando uma série de palavras afins: libertação, liberalismo e até libertinagem. O 25 de Abril de 1974, ao pôr fim a quase cinquenta anos de ditadura, foi reconhecido, em Portugal e no mundo, como um movimento revolucionário imbuído de rara poesia – cravos orlando as armas, pouca efusão de sangue, música – assim como um campo de experiências políticas e sociais, sem esquecer as independências em África, celebrando liberdade e libertação.

Numerosas iniciativas assinalaram o quadragésimo aniversário de Abril, quase todas enfatizando o diálogo temporal passado/presente/futuro, através do memorialismo, do jornalismo e da historiografia, entre outros saberes.

O V Encontro de Jovens Investigadores do Centro de Estudos Interdisciplinares do Século XX – CEIS20 será também ele dedicado à reflexão sobre a herança de um movimento em tantos versos imortalizado.

Abril: só há liberdade a sério…. bebe no poema de Sérgio Godinho o desafio que ora se lança a mestrandos, mestres, doutorandos, doutorados e pós-doutorandos a apresentar propostas de trabalhos, que poderão assumir duas modalidades distintas: resumos de comunicações individuais e programas de mesas redondas pré-constituídas.

O V Encontro de Jovens Investigadores de 2014, que pretende ser um amplo espaço de partilha e de debate, aguarda propostas que se enquadrem nas seguintes áreas de estudo:
- Abril: História e Memórias
- Abril na Europa e Europa de Abril
- Abril nas Ciências
- Artes de Abril
- Saberes de Abril
- Expressão de Abril
- Outros Abris

Aguardamos pelas vossas propostas, que deverão ser enviadas para o endereço do Encontro (inscricoes.ceis20@gmail.com) até ao dia 1 de setembro de 2014.

Mais informação em http://www.uc.pt/iii/ceis20/jovens_investigadores_2014

(info atualizada em 17/07/2014)

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Aniki: Revista Portuguesa da Imagem em Movimento #1.2



O segundo número da Aniki: Revista Portuguesa da Imagem em Movimento já está online em www.aim.org.pt/aniki! Este número inclui um dossier temático intitulado “Arte e Cinema”, editado por Carolin Overhoff Ferreira, com artigos de Susan Felleman, Cecília Mello, Angela Dalle Vacche, Gabriele Jutz e Volker Pantenburg, e uma entrevista ao realizador chinês Jia Zhang-ke.

A chamada de artigos para as diversas secções da Aniki está aberta em permanência e o registo no sistema é obrigatório para a submissão de trabalhos, bem como para acompanhar o processo editorial em curso. Antes de submeter o seu artigo completo, consulte as Políticas de Secção, as Instruções para Autores e a Política de Revisão por Pares. Fiquem também atentos aos call for paper para os dossiers temáticos.

Boas leituras!

Os Editores,
Carolin Overhoff Ferreira, Susana Viegas, Tiago Baptista, Maria do Carmo Piçarra, Teresa Castro e Daniel Ribas

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Aniki: Portuguese Journal of the Moving Image 1.2 is online now at www.aim.org.pt/aniki! This issue includes the thematic dossier “Art and Cinema,” edited by Carolin Overhoff Ferreira, with contributions by Susan Felleman, Cecília Mello, Angela Dalle Vacche, Gabriele Jutz, and Volker Pantenburg, and an interview with Chinese filmmaker Jia Zhang-ke.

The call for papers to Aniki’s different sections is constantly open and registration and login are required to submit items and also to check the status of current submissions. Please read the Author Guidelines, the Section Policies and the Peer Review Process information page before submitting your complete paper. Also pay attention to our specific call for papers for special dossiers.

Enjoy the new issue!

The Editors,
Carolin Overhoff Ferreira, Susana Viegas, Tiago Baptista, Maria do Carmo Piçarra, Teresa Castro and Daniel Ribas
(info atualizada em 16/07/2014)

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Social Media, Discourse and Culture
The Journal of Multicultural Discourses is playing an important role in promoting the role of culture in discourse studies. Different cultural communities interact differently, in terms of worldviews, concepts, values, rules, strategies, means, channels, purposes and consequences. And in and between all these communities there are inequalities and power relations that discourse researchers can and should reveal. Yet at the same time we live in a world dominated by some key kinds of power relations, specifically with the continued dominance and global spread of American-Western free-market capitalism and media formats and styles. What may not be so important is how and if people are different, but the power relations they inhabit are.

For this special edition of Journal of Multicultural Discourses authors are invited to submit abstracts that offer new insights into how social media can reveal, foster, facilitate or suppress, culturally specific kinds of communication, identity expression, forms of social relations, intercultural understandings and discourses. In social media such as Facebook or Twitter who speaks and how, what social position is taken, what is said and not said? And importantly in the case of social media how does this evolve over interactions and what kinds of engagement between users take place? What kinds of cultural norms, patterns, relations, rules and values are revealed and through what kinds of discourses, genres and modes?

Papers are welcome from across disciplines and methods that deal with discourse and communication, though it is preferred that there is close linguistic, multimodal or semiotic analysis. At the same time, papers that use ethnography, or political economic approaches are welcome, too. Topics can be as broad as those found on social media. Studies can be of the smaller details of conversation but also those that point to broader changes and patterns in use and participation, issues of resistance, off-line/ on-line relations, community management, patterns in uses of platforms and language style itself.

Please send abstracts (300-450 words) directly to the guest editor Gwen Bouvier gwen.bouvier@gmail.com.

Deadline: 5/08/2014.
(info atualizada em 16/07/2014)

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The First Annual British Cinema and Television Conference: Visions of Identity – British Cinema and Television Now
We are now accepting proposals for Papers and Panels at ‘The First Annual British Cinema and Television Conference: Visions of Identity – British Cinema and Television Now’.

The conference, to be held in Bloomsbury, London on 7-8 November 2014 as part of THE LONDON SYMPOSIUM 2014, is organised by Academic Conferences London in association with New York University in London and ‘The Journal of British Cinema and Television’. Conference Directors: Phillip Drummond and Julian Petley.

Proposals for 20-minute Papers and three-Paper Panels can be made through our website atwww.thecinematograph.com. Proposals are Peer-reviewed within a two-week turnaround. Full Papers are not required in advance. Proposal Deadline: 1 August 2014.
(info atualizada em 15/07/2014)

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Seasonal Television, A Special Issue of the Journal of Popular Television
The subject of seasonality in relation to broadcasting is one that is acknowledged in a number of places, but barely researched in any depth. Roger Silverstone in Television and Everyday Life and Frances Bonner in Ordinary Television both refer to the way that television relates to the passing of seasons, and the rhythms and patterns of everyday life, but research beyond that is fairly minimal. Tara Brabazon has considered 'Christmas and the Media' in Sheila Whiteley's collection Christmas, Ideology and Popular Culture and David Budgen has discussed the Doctor Who Christmas episodes in Andrew O'Day's The Eleventh Hour. But seasonality in television and radio extends beyond Christmas specials, and raises wider questions about how broadcasting interacts with various social, cultural and industrial structures, formal and informal.

We are currently seeking proposals of around 300 words, to be received by 1 August 2014. Full versions of the accepted articles would be required by 30 June 2015, being between 6,000 and 8,000 words in length using the Harvard referencing system. If you have any queries, including if you wish to informally discuss ideas before making a formal proposal, please contact Derek Johnston at derek.johnston@qub.ac.uk.

This call for papers invites proposals for articles relating to seasonality in relation to broadcasting in its broadest scope for a special issue of The Journal of Popular Television. The issue will broadly consider the question: how does broadcasting mark out the calendar year, in terms of shifting patterns of programming, or seasonal specials? Articles may include broad overviews, or specific case studies, and may relate to any broadcasting structures internationally. Subjects may include, but are certainly not limited to:
• Specific celebrations - Christmas, Hogmanay, Easter, April Fool's Day, Holi, Diwali, Kwanzaa, and many others. How are they marked by broadcasters? Are there particular programmes, or a general shift in emphasis across programming? How do they operate in different broadcasting contexts? Do particular programmes make changes, as in seasonal specials? How has the presentation of these celebrations changed over time?
• Sporting seasons - how does broadcasting shift to interact with different sporting seasons? How do the different power structures of sports organisations and broadcast organisations interact?
• Political calendars - how does broadcasting interact with the calendars of politics, of Parliamentary sessions, of Presidential holidays, of summits, and elections?
• Genres - are certain genres related to certain times of year? Does horror belong to winter? Is serious drama inappropriate to summer? Are variety programmes better suited to holidays?
• Internationalising calendars - how do the international markets in broadcasting influence the production and reception of programmes that relate to holidays? Has the American Halloween been popularised by its presence in television programming? What about Christmas, and Valentine's Day? Are celebrations with religious roots secularised in broadcasting in order to appeal to an international audience?
• Roots of celebrations - how do the broadcast forms of these celebrations relate to their cultural roots? How much is programming in industrial nations influenced by the agricultural calendar? What effect does industrialisation have on scheduling?
• Transferring traditions - how does broadcasting adopt and adapt existing traditions? Why have broadcast pantomimes been so popular in Britain when the significant element of audience interactivity has been lost? How do seasonal episodes travel, or not travel, between nations and cultures?
• Calendars and taste - why are programmes that would normally be considered minority interest promoted during certain seasonal celebrations? Opera and ballet become more prominent during the BBC Christmas schedule, for example. Countries also compare taste: why is Dinner for One a Christmas tradition in Germany, Denmark and Australia, and why do the BBC run items declaring this to be 'strange' every Christmas?
• Media rituals - probably the most widely-researched subject related to calendar and seasonal broadcasting, but how can the marking of the seasons by broadcasting be considered in terms of media rituals? Or does the delineation of the broadcast year by programming need its own theoretical framework?
• Channel branding and identity - how do different channels use the broadcast calendar to brand themselves? Do channel identities shift with the seasons, and why?
• Dominant and subordinate cultures - how does broadcasting's treatment of different cultural calendars operate to promote division or integration into society?
• Depicting the seasons - how are the seasons used in broadcast programmes to project ideas of time, the calendar, culture and society? What does the popularity of the televised observation of the natural seasons in programmes such as Lambing Live, Springwatch and Autumn Watch tell us about British society?
• Calendars, seasons and identity - how do broadcasters suggest a national or cultural identity through their interaction with calendrical and seasonal events? How do their audiences use these broadcast patterns in their constructions of identity? How are multiple cultural and religious calendars dealt with in multi-cultural societies? What does this suggest about cultural and social roles of broadcasters?
(info atualizada em 14/07/2014)

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Postdoc researcher vacancy at King's College London
King’s College London invites applications for a position of a research associate to work on the INFOCORE project in close collaboration with the Principal Investigator at King’s, Professor Christoph Meyer. INFOCORE is a major international collaborative research project funded under the 7th European Framework Program of the European Union and led by the LMU Munich. Its main aim is to investigate the role(s) that media play in the emergence or prevention, the escalation or de-escalation, the management, resolution, and reconciliation of violent conflict.

The researcher should have a PhD in the area of international relations or related disciplines, ideally with a topic involving the role of NGOs and/or the media in violent conflict and peace-building. The successful candidate will be expected to conduct research on role of NGOs as communicators, advocates and sources of open-source intelligence in impending, current or past cases of violent conflict. Moreover, the postholder will contribute to the sampling of relevant digital content for the analysis by other members of the INFOCORE team and conduct interviews with practitioners such as journalists, officials, politicians, and NGO staff in the UK and France. Working knowledge of French and experience of conducting interviews will thus be important for this role as well as the ability to work to deadlines and within a multi-national team of researchers located across Europe. The candidate is expected to publish in high-quality journals and contribute to joint-project publications. The project provides some funds for travel to present research results at conferences.

For further details, including the job and person-specifications, please visit King’s College website and submit your application via the online submission system by 20 July. If, after reading the relevant documents, candidates have further question they can informally approach Professor Meyer at christoph.meyer@kcl.ac.uk.
(info atualizada em 11/07/2014)

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Journalism, Media and Democracy (JMAD)
Deadline extended to July 30

AUT University (Auckland, New Zealand)
Conference Call for Papers:
Media, War and Memory
September 18–19, 2014

Venue: Sir Paul Reeves Building
Keynote Speakers: Andrew Hoskins, University of Glasgow and Fay Anderson, Monash University

A century after 1914, it is timely to consider how World War I was started, prosecuted and reported on, from different national perspectives. How does this conflict appear in retrospect? As a prequel to World War II? The ‘beginning’ of the 20th century? Or as an avoidable, stand-alone catastrophe? These questions provoke wider reflection upon the connections between media, war and memory. What are these connections? How have they changed over time? Conference participants will, we hope, respond to these questions.

To this end, the following themes suggest themselves.

World War I
• Paths to war, patterns of news coverage
• Diplomacy, communication and the telegraph
• Atrocities and propaganda
• Frontline testimonials, journalism, poetry
• Domestic dissent

Race, culture, genocide
• Imperialism, colonialism, indigineity
• Jewish holocaust
• Armenian massacres
• Testimonies, amnesia Gender and depictions of war
• Masculinity, heroism
• War and patriarchy
• War, rape, testimony
• Women war journalists
• Women combatants

Journalism, media, civil conflict
• Spanish civil war
• Sri Lanka
• Balkans, Bosnia, Serbia
• US civil war
• Occupation, resistance, testimony

War, historiography and revisionism
• War novels
• Non-fiction tomes, wars, battles
• Military biographies
• Documentaries
• Conflicting retrospectives of major conflicts

Australia and NZ coverage of ‘overseas’ conflicts
• Boer War, WWI, WWII 
• Cold war conflicts; Malaysia, Vietnam, Timor, Kuwait, Iraq, Afghanistan etc. 
• ANZAC mythologies 
• Wartime censorship 
• War, mobilization and dissent

War, propaganda, ideology
• Chomsky, Herman and the ‘propaganda’ model 
• News ‘framing’ and war coverage 
• Orientalism and colonial wars 
• War and national identity
• Memorialism; ceremonies, monuments, museums 
• Forgotten wars

Frontline war reporting
• War correspondents 
• ‘Embedded’ journalists 
• Journalistic ethics 
• Patriotism and ‘independent’ reporting

Information-communication technologies and war
• Global television, 24/7 ‘real time’ wars 
• War and media spectacle 
• Media space, battle space, ‘full spectrum dominance’ 
• Information and cyber warfare 
• Online journalism, blogospheres, social media

Media constructions of ‘terrorism’
• Legitimate vs. illegitimate violence 
• Terrorists, revolutionaries, freedom fighters 
• Post 9-11 media discourses in US, Middle East 
• Terrorism and orientalism

Abstracts due: July 30, 2014 (400 words maximum)
Send to: jmad@aut.ac.nz; wayne.hope@aut.ac.nz; verica.rupar@aut.ac.nz

(info atualizada em 10/07/2014)

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Cyborgian Images: The moving image between apparatus and body
(Deadline for Articles: December 31, 2014)

The double-blind peer-reviewed Yearbook of Moving Image Studies (YoMIS) is now accepting articles from scientists, scholars, artists and film makers for the first issue entitled »Cyborgian Images: The moving image between apparatus and body«. YoMIS will be enriched by disciplines like media and film studies, image science, (film) philosophy, art history, game studies and other research areas related to the moving image in general.

Modern perspectives on the structure of moving images exemplify a complex multimodal mechanism that interacts in specific ways with the recipient and various levels of the perception of images. In this case neither moving images nor the subjective reception are passive processes. Movement, time, space and different modalities interact with senses, memories and anticipation and create a complex hybrid structure of medium, recipient and sensory stimulus processing. This refers to the fact, that on the one hand the technological structure of displays and interfaces are relevant, and that on the other hand the role of the lived-body and mind is crucial for an understanding of the effects of the moving images. It is the interaction between the image, the dispositive and the recipient which brings the pictures to life and unfolds its meaning in diverse dimensions. This remarks become obvious when looking at the recent evolution in media technologies. New displays and interfaces like the Cinemizer (Zeiss), Oculus Rift (OculusVR) or Kinect (Microsoft) promote the progressive embodiment of the recipient or user by the medium, and, in doing so, they force the amalgamation of the subject of perception with the moving image.

Therefore »Cyborgian Images« addresses the broad field of the relationship between the technological dimension of the medium, its aesthetic and structural impact on the representational status of the moving image and the effect on the bodily level of the recipient, including affective and somatic reactions.

Contributions should be 5000 to 8000 words in length. Please send your abstract, biographical informations, contact details and your article to Dr. Lars C. Grabbe and Prof. Dr. Patrick Rupert-Kruse via: kontakt@bewegtbildwissenschaft.de. The official deadline for articles is December 31, 2014. If you are interested in contributing an article you will find a style sheet online: www.movingimagescience.com. If you have any questions, please do not hesitate to contact the managing editors via mail.

Messages to the list are archived at http://listserv.liv.ac.uk/archives/philos-l.html and http://blog.gmane.org/gmane.science.philosophy.region.europe. Current posts are also available via Facebook: https://www.facebook.com/PhilosL. Discussions should be moved to chora: enrol via http://listserv.liv.ac.uk/archives/chora.html. To sign off the list send a blank message to philos-l-unsubscribe-request@liverpool.ac.uk.

(info atualizada em 09/07/2014)

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Dramatic Architectures. Places of Drama - Drama for Places
International Conference
Porto, ESAP November 3-4, 2014

Architecture and theatre always had a close connection throughout time, but this connection, and the way these two art forms intertwine through multiple dimensions is still an undeveloped field of study, highly promising for both arts and a way of aprehending and transforming space.
With this Conference, we invite portuguese and international scholars and artists to contribute to the construction of knowledge in this field, mainly about the understanding how architectonic spaces are used by theatre and performance, and the use of buildings as performing spaces and the adaptation of previous theatre venues to contemporary practices of performing arts.
Papers about how architecture can be dramatized, and how you can build dramaturgies about specific sites will be welcome. But we are also interested in creating a theoretical framework based on common ground between architecture and performing arts, like the problems of space and the use of light as projectual device, besides case studies and interpretations of architectural, dramatic, performative experiences.

Proposals for papers should consider the following elements (in English):
-Title of the proposal
-Applicant’s identification (name, institution, country, position and email)
-Abstracts (should not exceed 300 words).
-Short curriculum vitae (should not exceed 300 words)
All proposals must present original research, and must not have been previously published. Presentations should be no longer than 20 minutes and the official languages of the conference are Portuguese, Spanish, Italian, French and English.
Proposals must be sent in word (.doc format) by email to arqdram@gmail.comil.com

Conference Schedule:
Deadline for abstract submission – July 25, 2014
Notification of acceptance of abstract – August 10, 2014
Deadline for full paper submission – September 30, 2014
Deadline for Registration – October 20, 2014
Conference – November 3-4, 2014

Conference Registration Fees: 175 Euros
The conference fees will include lunches, opening cocktail, coffee breaks and seminar package with book of abstracts and conference proceeding.

Publication Proceedings:
Conference papers will be published in the conference proceeding CD with ISBN.
The guidelines for full paper are available in the conference site. To make it easier for authors the document for author guidelines may be used as a template. It is crucially important to know that only papers formatted according to the guidelines can be accepted for publication. The other condition for publication is that at least one author of the paper is registered for the conference.
Additionally, a signed “copyright license agreement” form must be sent at the same time of the paper submission.

Conference Organizing Committee:
Jorge Palinhos and Maria Helena Maia

Conference site: http://arqdram.weebly.com/

This conference is organized within the project Dramatic Architectures and as so is funded both by the ESAP budget (ESAP/2013/P08/TRV) and by national funds by FCT - Foundation for Science and Technology (PEst-OE/ EAT/ UI4041/ 2014) under the Development, Consolidation and Strengthening of National ID Institutions Network (OE) trough Centro de Estudos Arnaldo Araújo.
(info atualizada em 08/07/2014)

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Struggle and Style: African Youth Cultures Today
12 September 2014 University of Helsinki, Finland

“Struggle and Style: African Youth Cultures Today” is an international symposium organized by the University of Helsinki’s discipline of Social and Cultural Anthropology in cooperation with South Africa’s Human Sciences Research Council. The symposium seeks to address current issues concerning youth cultures across Africa from an interdisciplinary perspective, and warmly welcomes contributions from across the humanities and social sciences.

This symposium expands upon the themes in the previously advertised event “Struggle and Swagg: South African Youth Today” which will form one part of the symposium program.

“Struggle and Style” approaches youth as a flexible and often prolonged period of life; according to conventional measures, such as establishing an independent household, many Africans remain reluctantly “youthful” well into their 30s. Yet even by more basic measurements, Africa is experiencing a demographic “bulge” with approximately sixty per cent the population under 24 years of age. Subject to high levels of unemployment and relatively low levels of education, Africa’s youth are alternatively depicted as a “ticking time bomb” ready to explode if new opportunities are not made available, and a vital asset to be harnessed in rapidly developing economies.

It is in the cultural sphere that African youth are increasingly exercising their economic muscle and making their voices heard. Youth are the key producers of popular media and style, and the key market for information and communications technology. Youth culture, particularly popular music, has had an important economic and social impact on African society and the global African diaspora.

It is therefore necessary to understand African youth cultures from perspectives that move beyond the familiar narratives of youth as a social problem or youth as an undifferentiated statistical cohort. This symposium seeks to work towards more nuanced understandings of the cultural lives of young people in Africa, taking into account not just factors such as ethnic and class differences, but questions of consumerism, gender, globalization, media, migration, music, sexuality, spirituality, technology, pedagogy and urbanization.

We invite individual presentations (30 minutes including discussion) and complete sessions (90 minutes). Proposals (abstracts with approximately 250 words) with contact information should be submitted tostruggleandstyle@gmail.com by 21 July 2014. Notifications of acceptance will sent on 25 July 2014 by email. News and updates on the program will be available on the project blog (www.southafricanyouthtoday.com). We have confirmed two international keynote speakers, Alex Perullo (Bryant University, USA) and Benita Moolman (Human Sciences Research Council, South Africa).

The symposium organizers regret that they are unavailable to provide funds for the travel or accommodation costs of participants.

Alex Perullo is Associate Professor of Anthropology and African Studies at Bryant University in the USA. An expert in African popular music, youth culture, and migration, he is the author of Live from Dar es Salaam: Popular Music and Tanzania’s Music Economy (2011), Artistic Rights: Copyright Law for East African Musicians, Artists, Writers, and Other Authors (2012) and articles in journals including Africa Today and Ethnomusicology.
(info atualizada em 07/07/2014)

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VII Jornadas do Cinema em Português
Data limite para submeter propostas: 24 de Agosto de 2014

São bem-vindas propostas sobre os seguintes tópicos:
Cinema Português
Cinema em Português: Cinema Brasileiro; Cinema Angolano; Cinema Moçambicano; Cinema Guineense; Cinema Cabo-verdiano
Mobilidade e intercâmbio cultural
Colonialismo, póscolonialismo/pós-colonialismo
Transnacional - práticas/teorias

Mais informação em http://www.cinemaportugues.ubi.pt/conteudos/call_for_papers-2014.php
(info atualizada em 07/07/2014)

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Global Genres/Local Films: The Transnational Dimension of Spanish Cinema
Cinema, Culture and Society
University of Zaragoza

This is a second CFP looking for specific contributions for a volume on transnational Spanish cinema currently under consideration by Bloomsbury. The book examines the interactions between world cinemas and the Spanish film industry. It is framed by a notion of the filmic text as an artistic form of expression equally linked both to dynamics of genre transformation and hybridization, and to its historical and cultural context. The ultimate goal of this publication is to study the adoption of film genres by Spanish cinema and analyze the ways in which transnational genre conventions have evolved in response to the particular political, social and cultural upheavals besetting Spanish society.

In this second round we are specifically looking for articles about the interactions between global genres and Spanish cinema on the following topics:
-History of the transition to sound in early Spanish cinema.
-Spanish cinema during the Second Republic.
-Spanish and Latin-American co-productions in the 1940s and 1950s.
-“Nuevo Cine Español” and the film festival aesthetics.
-Indigenous Spanish genres from the 1960s to the 1980s (e.g. quinqui cinema, musicals, spaghetti western, cine con niño, comedia sexy ibérica, etc.) and their transnational influences.
-Features of film production in contemporary Spanish cinema.

Please contact the editors with expressions of interest by 15 July, to cinema.culture.society@gmail.com.

THE EDITORS
Elena Oliete, Beatriz Oria, Juan Tarancón
(info atualizada em 04/07/2014)

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TV Special Issue Journal of Screenwriting 6.2
We invite researchers, educators and practitioners to contribute to Issue 6.2 of the Journal of Screenwriting, a peer-reviewed journal that focuses on this important aspect of moving image pre-production and conceptualisation.
This special issue is concerned with writing for television. Papers submitted for consideration might include but are by no means limited to the following areas:
• The television writer as auteur
• The writer and his or her relationship with the television industry.
• Television institutional practice and the writer.
• Writing television series and serials.
• Television writing practice in different nations and national contexts.
• Collaborative writing.
• Analysis of television scripts.
• The script development process.
• The history of television writing.
• Genre and television writing.

The peer reviewed Journal of Screenwriting brings together research and reflection on pedagogy, professionalism and practice in an area which has been somewhat overlooked in academic discourse. New work has conventionally been scattered throughout journals devoted to specific aspects of media theory or practice, and this academic journal aims to bring together serious screenwriting related work under one title. The Journal is international in scope, and seeks wide-ranging work that is critical, rigorous and original in its contribution to this developing area of study. We expect to include work that employs a diverse range of methodological approaches, including textual analysis, production analysis, practice as research and historical investigation.
Articles should be between 4000 and 8000 words in length.

Articles, to include a 200 word abstract, should be sent by 15th July 2014 to the Principal Editor, Jill Nelmes (j.nelmes@uel.ac.uk), and to the Co-Editors of this issue, John Cook (J.Cook2@gcu.ac.uk) and Eva Redvall (eva@huk.ku.dk). Please contact either Jill, John or Eva regarding any queries about suitability of subject or other requirements.
(info atualizada em 03/07/2014)

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Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums
International Conference
31 October | 1 November 2014, Calouste Gulbenkian Foundation, Lisbon, Portugal

Over the past decades, and especially since the generalization of the Internet, artists have been actively exploring the potentialities of new media languages and communities, often blurring artistic categories. Movements like Digital Art or Internet Art clearly demonstrate how these technological means came to shape challenging new territories for contemporary art, not only in terms of creation, reception and participation, but also regarding its preservation, collection, curatorship or exhibition.

Yet, interestingly enough, while many of these virtual projects successfully embrace immateriality as a prolific category, many others fail to propose utterly innovative environments, as they merely seek to reproduce conventional museum models: uncritically digitizing existing collections, following the same classification and display criteria or duplicating, online, real exhibition spaces.

To what extent is the permanence of the ‘physical’ determining the shape of virtual art works and environments? What are the differences between digital representations of an existing museum building and a purely virtual, web-based exhibition space? How are we to study, classify, preserve and exhibit Internet art works and collections? How is the emergence of the ‘intangible’ affecting heritage, exhibitions design, art practices and public participation? Is ‘intangible museography’ a new field of specialization for scholars, museum professionals and independent curators?

We welcome 20-minute presentations, in English, (followed by 10-minute discussion) from a wide variety of disciplinary perspectives related to contemporary art. Encouraged topics and case studies may include, but are not limited to:
* Digital and Internet Art
* Virtual Exhibitions
* Online Collections, Archives and Data Bases
* Collaborative Contemporary Art Projects
* Digital Preservation / Media Obsolescence
* Communities and Social Participation
* Art and Piracy
* Romanticism, Empathy and Affect
* Politics and Activism
* Virtual Museums as Utopian Architecture

SUBMISSIONS
Please send 300-word abstracts, in English, no later than 15th July 2014 to: info@unplace.org
Submissions should include the following details:
* Full title of your paper;
* Your name and institutional affiliation;
* E-mail and postal address;
* Short biographical note (100-150 words).

Submitted proposals will be peer-reviewed. Selected papers will be eligible for publication.
The conference will include plenary lectures by keynote speakers and thematic sessions for registered delegates, as well as debates with artists and curators.
For more information, please check the website: http://unplace.org/opencall-papers/




(info atualizada em 03/07/2014)

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Theatre and Television: Adaptation, Production, Performance
A call for papers for a one-day conference at the University of Westminster,
Friday 20 February 2015

Proposals are invited for twenty-minute papers (or three-paper panels) addressing issues and topics related to theatre plays on British television from 1930 to the present. Strong proposals which engage with the history of theatre plays on the television networks of other countries and offer useful comparands with the British example will also be considered. In order to encourage a truly interdisciplinary discussion we warmly welcome proposals from scholars and postgraduate students engaged with adaptation studies, broadcasting and film histories, media and cultural studies, and the histories of theatre and performance. Possible topics for examination and exploration include, but are not limited to, the following:
* The forms and screen languages of British television presentations of theatre plays.
* The evolution of what may be regarded as the ?normative¹ style of studio drama, and the development of new forms within and beyond the studio.
* Discussions of the concept of ?adaptation¹ applied to television productions of theatre plays.
* Studies of particular genres, plays or playwrights across time.
* Drama on television within educational contexts, such as school or university strands.
* Audience and reception studies of how viewers engaged with these productions.
* The changing social and cultural meanings of theatre on television and the ways in which these were regarded and exploited by broadcasters in particular historical circumstances.
* The institutional, production, technological and aesthetic contexts of television adaptations within both broadcasting and British theatre.
* The extensive commercial and cultural relationships between the theatre, individual companies and television.
* The movement of practitioners between the spheres of theatre and television.
* Comparative studies of theatre plays on radio and as produced for the British cinema.
* The post-1980s decline of theatre on British television and the recent revival of interest in its possibilities in the multi-platform age.

Proposals in the form of a 250-word abstract and brief biography (or 200-word panel outline, with accompanying individual abstracts and brief biographies), should be submitted to both John Wyver (john@illuminationsmedia.co.uk) and Dr Amanda Wrigley (a.wrigley@westminster.ac.uk) by Friday 11 July 2014.

This conference is the culminating event of the AHRC-funded research project Screen Plays: Theatre Plays on British Television. Screen Plays is concerned with all plays written for the theatre that have been produced for British television since 1930. The project documents and develops new critical approaches to the television presentation of these plays, seeking to understand the institutional, production, technological and aesthetic contexts for these adaptations within both broadcasting and British theatre. 

More can be read about the project¹s aims, activities and research areas on the blog at http://screenplaystv.wordpress.com.

(info atualizada em 03/07/2014)

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I Jornadas Nacionales de Humanidades Digitales: Culturas, Tecnologías, Saberes
Los invitamos a participar de las I Jornadas Nacionales de Humanidades Digitales: Culturas, Tecnologías, Saberes, organizadas por la Asociación Argentina de Humanidades Digitales (AAHD), que se celebrarán en el Centro Cultural General San Martín, ciudad de Buenos Aires, del 17 al 19 de noviembre de 2014.

Las Jornadas proponen debatir sobre el concepto de Humanidades Digitales desde un lugar de cruce entre la teoría y la práctica, y desde la pluralidad y la interdisciplinariedad. Con ese propósito buscan indagar en las particularidades de las culturas, tecnologías y saberes que las atraviesan.

La fecha límite para el envío de abstracts para participar en mesas de ponencias y proponer talleres es el 1 de agosto de 2014. Son bienvenidas las propuestas de investigadores, docentes y asimismo estudiantes e interesados en las Humanidades Digitales.

Aquí, la Primera Circular de las Jornadas. Más información en nuestra página web, http://aahd.com.ar/, o a través del email de las Jornadas: jornadasaahd@gmail.com
(info atualizada em 02/07/2014)

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Web Archives as scholarly Sources: Issues, Practices and Perspectives
A two-day conference, Aarhus University, Denmark, 8-10 June 2015

In March 2014, the web celebrated its twenty-fifth birthday. This vast information resource is of enormous importance to scholars, both as a primary source and as a means of networking and communication. It is, however, strikingly ephemeral, and much important data has already been lost. The archiving of this vast range of material, so that it is accessible to both contemporary and future researchers, increasingly occupies national memory institutions, and researchers are also beginning to realise and explore its value. This conference seeks to explore the potential of web archives for scholarly use, to highlight innovative research, to investigate the challenges and opportunities of working with the archived web, to identify opportunities for incorporating web archives in learning and teaching, and to discuss and inform archival provision. This multi-disciplinary conference is aimed at scholars, web archiving institutions, web archivists, curators, IT-developers, companies
and public institutions interested in web archiving and research using web archives. In conjunction with the overall topic of web archives, general areas of interest include, but are not limited to:
• the history(ies) of the web
• the changing structure of the web
• material culture and display in a digital context
• political and literary reputation online
• public engagement online
• patterns of culture online
• networks of social communication
• the evolution of language on the web
• the history of institutions and organisations online
• the history of social and political movements on the web
• the relationship between image, sound and text online
• the web as a forum for commemoration
• health and education online
• using web archives in the classroom
• national/international boundaries online
• approaches to web archiving
• research methods for studying the archived web
• providing access to the archived web
This list is not exhaustive, and we are keen to attract the widest possible range of topics.

Important dates:
• June 2014: first call for submissions
• September 2014: second call for submissions and submissions open
• 1 November 2014: third call for submissions
• 8 December 2014: submissions due
• 19 January: notification of acceptance
• 9 March 2015: registrations for presenters open
• 20 April 2015: papers uploaded (if we decide this)
• 20 April 2015: registrations for presenters close
• 27 April 2015: registrations for non-presenters open
• 11 May 2015: programme released
• 25 May 2015: registrations for non-presenters close
• 8-10 June 2015: Conference

Keynotes:
Meghan Dougherty, Loyola University, Chicago

One more keynote, TBA

Organised by RESAW, Aarhus University, the State and University Library (Denmark), the Royal Library (Denmark), l'Institut des sciences de la communication du CNRS, Université de Lille 3, the Institute of Historical Research (University of London), the University of Amsterdam, the British Library, and Leibniz University Hannover

Read the full call athttp://resaw.eu/events/international-conference-aarhus-june-2015/
(info atualizada em 02/07/2014)

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Artists, Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960-1990
Guest editors: Joanna Raczynska and Ksenya Gurshtein, National Gallery of Art, Washington; Sonja Simonyi, New York University

Submission deadlines: Those interested in writing a 6,000-7,000 word article should submit a proposal by July 15, 2014 consisting of a title and a 300-500 word abstract, along with the author's (or authors’) bio(s) or CV(s). Submissions should be sent to ecee.special.issue@gmail.com
Authors will be notified in mid-August 2014; the deadline for completed manuscripts is January 15, 2015.

Today, there exists a substantial and growing body of literature on the history and significance of the feature films, both fiction and, to a lesser extent, documentary, that were produced in former Eastern
Europe in the socialist era. Seen largely through the lens of national film schools, the cinematic “waves” that emerged forcefully in the 1950s, 1960s and beyond (such as the Polish School, Czech New Wave, and Yugoslav Black Wave) have received considerable attention, as have the oeuvres of many individual auteurs.

What has received much less consideration is the history of the various forms of experimental and alternative cinema that also existed and at times even thrived throughout the region prior to 1989. Often seen in art historical rather than film studies contexts, films made by amateurs (such as those who participated in the extensive networks of amateur film clubs in Poland and the former Yugoslavia) and visual artists (the OHO group in Slovenia; Ion Grigorescu and Geta Bratescu in Romania; Tibor Hajas, Tamás St. Auby, and Dora Maurer in Hungary; and the KwieKulik Group in Poland, among many others) are rarely discussed as part of larger national or international film cultures in the region. Similarly, films by professionals who found ways to make highly experimental work at state-funded studios (such as the Béla Balázs Studio in Hungary, Neoplanta Studio in Serbia, or the Riga Film Studio in the former USSR) and film schools (such as the Lódz Film School and its Workshop of the Film Form) await further consideration, especially in a transnational context.

In the spring of 2014, the Department of Film Programs at the National Gallery of Art is hosting a series of screenings titled “Artists, Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960–1990,” which through a combination of thematic and country-specific programs aims to begin mapping the full of range of experimental filmmaking in the region, from the work of such acknowledged masters as Dusan Makavejev to films that have rarely been screened in public fora, such as the work of the Serbian amateur Ljubomir Šimunic.

As an academic counterpart of this project, the special issue of Studies in Eastern European Cinema seeks scholarly contributions that expand our knowledge of experimental film production in the former Eastern Bloc, which we define broadly to include all of the Warsaw Pact countries (including the former USSR), as well as former Yugoslavia. The films to which we seek to give greater visibility are those that straddle the worlds of professional and amateur filmmaking and those that transgress classificatory boundaries, being neither purely fictional narratives nor traditional documentaries. Of
particular interest are studies that shed light on films and filmmakers who conducted formal artistic explorations of the medium, often while also pursuing other aesthetic or political goals. What is
the significance of such films within the larger cultural landscape of post-war, socialist Eastern Europe? And how does a history of the region’s cinema that incorporates artists, amateurs, and the creative output of ‘alternative spaces’ look differently from the one we know today?

Suggested topics to be explored in this special issue may include, but are not be limited to:
- Studies of artistic schools, national schools, or individual filmmakers who created significant experimental or avant-garde oeuvres, including experimental animation
- Histories of studios, film schools, art schools, festivals and other official, state-funded entities that supported experimental filmmaking at the local, national, or regional level
- Connections and relationships between official and unofficial modes of production and distribution, with amateur film clubs as a subject particularly ripe for in-depth study and theorization
- The impact of available technological and other resources on the aesthetic choices of both professional and non-professional experimental filmmakers
- Histories of exchange both within individual countries and internationally and both on the level of official structures and individuals that shed light on networks of mutual support and influence among experimental filmmakers
- Connections and relationships between the work of experimental filmmakers and celebrated auteurs
- Questions of periodization of experimental filmmaking in either individual countries or across the region, particularly as they relate in the context of political “thaws” and “freezes” and changes in
cultural policy
- Interaction between popular cinemas (both domestic and foreign) and experimental filmmaking
- Relationship of experimental cinema in Eastern Europe to other genres; the utility of “experimental” as a genre designation, particularly in the Eastern European historical context
- Shared themes, stories, leitmotifs, and aesthetic strategies that possibly define a regional film language; themes, stories, and motifs particular to certain countries and possible reasons for such
particularity
- The role of censorship in shaping experimental filmmaking in Eastern Europe

(info atualizada em 01/07/2014)

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Two Lectureships in Visual Cultures at Goldsmiths
Two full-time, permanent research and teaching Lecturers are being sought in Goldsmiths' vibrant Department of Visual Cultures: one specialising in non-Western art and theory, the other in the visual cultures of science.

http://bit.ly/1iBRC6l
http://bit.ly/1jddTCr
(or via http://jobs.goldsmiths.ac.uk/)

Closing date: Monday 21 July 2014

BRIEF DETAILS:
1. Lecturer in Visual Cultures
Reference Number: VCU000017
Department: Visual Cultures
Type of Contract: Open-ended/Permanent
Full Time/Part Time: Full Time
Interview Date: 6-8 August 2014
Closing date for applications: 21 July 2014
Salary: £35,303 to £39,374 pa including London Weighting

The Role
We are looking to appoint a full-time lecturer in Goldsmiths’ Department of Visual Cultures.
The role holder will be required to teach generalist and specialist courses in the history and theory of modern and contemporary art and visual culture. Candidates should have a research specialism in non-Western visual art, with applications from scholars working on cultures of the global south particularly encouraged. Scholarly perspectives reflecting upon globalization, post-colonialism, migration and diaspora in visual culture are welcome.
The successful candidate will demonstrate an innovative approach to their subject of study, and an interest in inventive forms of pedagogy. They will contribute to the Department's research; teach, advise and supervise our students (ranging from BA to PhD level); and play an active part in Department life, for example through committees, working parties, and administrative roles.

2. Lecturer in Visual Cultures
Reference Number: VCU000016
Department: Visual Cultures
Type of Contract: Open-ended/Permanent
Full Time/Part Time: Full Time
Interview Date: 6-8 August 2014
Closing date for applications: 21 July 2014
Salary: £35,303 to £39,374 pa including London Weighting

The Role
We are looking to appoint a full-time lecturer in Goldsmiths’ Department of Visual Cultures.
The role holder will be required to teach generalist and specialist courses in the history and theory of modern and contemporary art and visual culture. Candidates should have a research specialism in the visual and material cultures of science which could include the ecological, technological, or non-human. Scholarly perspectives from the fields of animal studies, the environmental humanities, art history, visual culture and performance studies are welcome.
The successful candidate will demonstrate an innovative approach to their subject of study, and an interest in inventive forms of pedagogy. They will contribute to the Department's research; teach, advise and supervise our students (ranging from BA to PhD level); and play an active part in Department life, for example through committees, working parties, and administrative roles.
(info atualizada em 01/07/2014)

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