A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O V Encontro Anual irá decorrer de 21 a 23 de maio de 2015, no ISCTE-IUL, Instituto Universitário de Lisboa. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
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The Materiality of Love
2-3 July 2015, Sosnowiec, Poland

The interest of love studies in the ways affection can be materialized has been reflected through various scholarly perspectives. Although material culture studies have given the issue less attention, there has recently been a revival of research into the intersection of materiality and love. The conference is seeking to reexamine love from the perspective of materiality studies, especially new materialism and object-oriented philosophy, to sparkle a debate on a relationship between love, objects and new forms of materializing affection. The conference aims to analyze the role of things and material culture in practicing and conceptualizing love. It intends to provide an insight into how materiality (in its broadest sense) impacts the understanding of love today (its meanings and practices), and reversely, how love contributes to the production and transformation of the material world.

With a focus on rereading the emotional through the material and vice versa, the event intends to revisit the already existing academic approaches towards objectification of love, and address the following areas of interest / investigation:
(1) affectionate fetishism (the ways in which objects extend or embody “the loved being” (Barthes, 1977); the forms in which people use things to attach themselves to beloved subjects; being in love with the objects of love through collecting and display)
(2) cultural semiotics of love (new cultural tokens / representations of love; the development of “collective symbols and meanings [to help] people make sense of their romantic experiences” (Illouz 1997))
(3) narratives of love (representations of love through objects in literature, art, film)
(4) technologies of love (love’s (self)constructedness, its self-engineering and “the technology of being together” (Pettman 2006); the impact technology has on practicing love today: the new media and digital realities in practices of affection)
(5) cultural transfer, cultural mobility in love practices (global flow and the circulation of “goods, signs, slogans and styles” (Appudurai 2005) in shaping the materiality of love; transcultural experiences (practices, activities, phenomena, texts) that impact geographically local contexts of love;
(6) love’s physiological materiality in cultural perspective (human physiology and cultural manifestations of affection; the significance of bodily substances for communicating (objectifying) feelings, emotions and desires (Nicholson 2011)).

The conference invites interdisciplinary perspectives and welcomes proposals from all approaches and disciplines including (but not limited to) cultural studies, cultural history, sociology, anthropology, literary studies, critical theory, philosophy, media studies, art etc. It expects papers and panel proposals to explore the variety of themes and problems at the intersection of love and material cultures (as specified in points 1-6), and to engage in a debate on:
· contemporary material discourses of love,
· cultural history: objects and love in historical perspective,
· philosophy of love and the material,
· love and the digital-material: accessibility, image-making and non-contact togetherness,
· love and/in the “old” and new media,
· nature, senses, technology: the use of science and data in materializing affection,
· romanticizing of the objects of love (meta-fetishism),
· collecting as love / love as collecting,
· love and the problem of agency,
· the ethics of chemical intervention in relationships,
· the form of conceptualizing / communicating love,
· material qualities of affection,
· objects and the forbidden love.

The conference, cohosted by Love Research Network, will take place at the Institute of English Cultures and Literatures, University of Silesia (Poland) on 2-3 July 2015, and is intended as a one panel event to ensure the highest quality of the debate.

Proposals for presentations, papers and full panels (of approx. 500 words) followed by a short bio note should be submitted to by 30 March 2015.

All proposals will be peer reviewed. The cost of the conference is 400 PLN (Polish participants); £90, 100€; 120$ (international participants). Conference fee includes lunch, coffee and snacks, conference dinner and conference materials. For further queries, please contact Dr Karolina Lebek (, Dr Ania Malinowska ( or Professor Michael Gratzke (, or follow the conference website

The Keynote Speaker for the event will be Professor Dominic Pettman
(Culture and Media Department of The New School for Social Research, New York)
(info atualizada em 02/03/2015)


Studentships available in the Department of Media and Communication Design
Supervisor: Dr Russ Hunter
Italian Film Genres (ADSS/DRFMED7P/61877)

Supervisor: Dr Steve Jones
New Theoretical Approaches to “Extreme” Media (ADSS/DRFMED7P/61878)

Supervisor: Dr Bruce Mutsvairo
The African Blogosphere (ADSS/DRFMED7P/61871)

Supervisor: Prof Karen Ross
Gender and Media (ADSS/DRFMED7P/61875)

Supervisor: Dr Johnny Walker
The industrial contexts of horror cinema (ADSS/DRFMED7P/61873)

Application Deadline: 31 March 2015
(info atualizada em 02/03/2015)


Cultural Studies job at U of Melb
Here is an opening for a 5 year fulltime position in Cultural Studies. Applications close April 7.

Job no: 0012491
Work type: Fixed Term
Location: Parkville

School of Culture and Communication
Faculty of Arts

Salary: $89,955 - $106,817 p.a. [Lecturer, Level B] or $110,190 - $127,054 p.a. [Senior Lecturer, Level C], plus 17% superannuation. Level of appointment is subject to qualifications and experience.

The 5-year fixed term Lecturer/Senior Lecturer in Screen and/or Cultural Studies will be expected to develop an energetic program of research in new fields of cultural studies, that may include sexuality studies, the Asian region, the new urbanism, digital humanities, ecological humanities or the global creative and cultural industries. Recognised nationally and internationally for its innovative teaching, scholarship and research, Cultural Studies at Melbourne was awarded the highest possible rating of 5 in the Excellence in Research Australia (ERA) national report in 2012. Screen and Cultural Studies encourages students to explore a variety of cultural texts, sites and practices from a range of interpretive angles, including screen studies, lifestyle and consumer studies, subcultural studies, and critical studies of sexuality, race and cultural globalization.

The successful candidate will be mentored to develop research resulting in publications with leading international publishers in the field, apply for external research funding, and take on administrative tasks associated with the appointment. They will be expected to teach undergraduate and graduate students in the Cultural Studies stream. Undergraduate subjects to be taught ideally include CULS30004 Thinking Sex, and the high-enrolment first year subject CULS10005 Media, Identity and Everyday Life. Plans are in progress for the establishment of increased graduate provision in the Creative Industries sector, and the appointee will be expected to play a role in curriculum development for the program, provide high-level supervision (Honours and RHD), make a significant contribution to the School's research output, and engage with other areas of the School.

The appointee will have experience in teaching at tertiary level, hold a PhD in Screen or Cultural Studies or a closely related discipline, and be committed to working within an interdisciplinary environment.

Close date: 7 Apr 2015
(info atualizada em 02/03/2015)


Research Fellow - Project on Digital News in Selected European Countries
The Reuters Institute for the Study of Journalism is seeking to recruit a Research Fellow to work on a major new research project funded by Google aimed at analysing media use, with a particular emphasis on digital media, news, and politics, in a sample of selected European countries.

The Research Fellow will undertake a wide range of research tasks, including conducting desk-based research to gain a clear understanding of the main structural features of the media system in Czech Republic, Poland, Turkey, Portugal, Austria, and the Netherlands and work with survey data on media use in these countries.

This post is based on fixed-term contract terms, and is required over the course of 6 months, to commence no later than 1 May 2015.
The closing date for applications is 12.00 noon on Wednesday 18 March 2015.
(info atualizada em 02/03/2015)


21st Century Photography: Art, Philosophy, Technique
5-6 June 2015
Central Saint Martins
University of the Arts London

This trans-disciplinary conference aims to explore a series of themes that emerge from the understanding of contemporary photography as the basic unit of visual communication of the age of technology: online, off-line and between the lines.

The aim is to bridge the gap between aesthetic, philosophical and technological approaches to the photographic image and to prompt participants from different backgrounds (fine art, critical theory, philosophy, software/hardware) to engage with each other and to open new avenues for the critical interrogation of the roles of images in contemporary culture.

In the past decade, photography has gained momentum in public and private environments becoming one of the determining factors of contemporary life. The hyper-growth in various forms of digital imagery for screens provides a quintessential example. The triumph of the photographic image as the internally eloquent and profoundly apt expression of computational culture also provides a new philosophical lens upon which to investigate how representation affects norms of meaning-creation, and the ethical and political consequences of the acceptance of images as purveyors of truth.

In light of such dynamics, 21st century photography: art, philosophy, technique seeks to address the re-birth of photography from a diversity of visual narratives and from the strange roles images get to perform in the digital moment.

Possible themes may include, but not limited to:
• Situating photography within the framework of contemporary philosophy
• The aesthetics of repetition, reproduction and copy
• The political implications of visual practices
• New theoretical models for assessing contemporary image culture
• Duration and temporality of the ‘still’ image
• Sensorial and bodily experience of photography
• Photography and the post-human
• Theoretical dimensions of the idea of ‘representation’
• Data, information and algorithms in the visual field
• Archiving and curating the immaterial image
• Augmented reality and immersive visual environments
• Non-visual dimensions of photography

Confirmed keynote speakers:
* Prof. Claire Colebrook, Edwin Erle Sparks Professor of English at Pennsylvania State University
* Prof. Johnny Golding, Professor of Philosophy and Fine Art, Director of Centre for Fine Art Research, BCU
* Prof. John Roberts, Professor of Art and Aesthetics, University of Wolverhampton.

To submit a proposal:
500-word abstracts for 20-minute presentations should be sent to Dr Daniel Rubinstein at by 10/03/2015.
Selected conference papers will be published in a special issue of the journal Philosophy of Photography.
Tickets to the conference will be available at the end of March.
(info atualizada em 02/03/2015)


Call for Stream Proposals
October 14-17, 2015 Millersville University’s Ware Center, Lancaster PA
Twitter: @affectWTF

Confirmed plenary speakers: Ben Anderson, Brian Massumi, Erin Manning, Heather Love, Jasbir Puar, Jason Read, Jeremy Gilbert, Katie Stewart, Lauren Berlant, Lawrence Grossberg, Lisa Blackman, Melissa Gregg, Natasha Dow Schüll, Patricia Clough, Shaka McGlotten, and Tavia Nyong’o.

Over the course of the last decade especially, it is safe to say that affect, studies of affect, and theories of affect have steadily risen to prominence within and across a variety of academic disciplines, artistic practices, and research approaches. Not without some amount of controversy and pushback, the relatively rapid movement of affect toward the forefront of critical attention has been opening new paths of intellectual inquiry, reshuffling longstanding debates and conceptual formations, and inspiring imaginative cross-fertilizations of disciplinary and aesthetic genres. Now seems a perfect time to pause and take stock. So, let’s do that.

Gathering together many of the leading and emerging voices that have helped give contour and texture to the contemporary discourses of affect, this three-day conference – with a lively mix of plenaries and selected panel-streams – will be devoted to addressing affect from a broad spectrum of vantage points.

Located in and around Millersville University’s downtown Ware Center in Lancaster Pennsylvania, this setting will provide a truly intimate and distinctive opportunity to engage in-depth and at length in discussions about the past, present and future state(s) of affect study. Duke University Press will publish work drawn from this conference in a follow-up volume to the Affect Theory Reader (Gregg & Seigworth, 2010).

What is at stake in the contact-encounters or singular worldings of affect as sensed through and between sometimes divergent disciplinary (as well as undisciplined) registers and atmospheres? How have inevitable tensions (political, aesthetic, ethical, theoretical, and more) catalyzed debates over the utility of bringing affect to established and nascent fields of knowledge and practice? Where are the futures for affect and theories of affect pointing us? These starting orientations are meant only to offer initiating categories for what will become timely themes and specific topics surrounding affect at this conference.

We encourage direct participation in the creation and flow of our conference’s conversations through the submission of STREAM PROPOSALS. A stream proposal is a single-person (or duo) submission that identifies and expands upon a specific theme related to affect / theories of affect that will, ideally, become two or three conference panels of three to four panelists each. The issues and engagements that serve as a stream’s central concerns should be clearly framed and conceived in a way that encourages – as much as possible – potential participation from different disciplines. The stream proposal should include a list of possible topics and sub-topics that would fit within its overall framework. Stream proposals should be no more than 500 words in length and must be submitted to ‘’ no later than MONDAY, MARCH 16. Acceptance/rejection of stream proposals will be communicated within two weeks of the deadline for submissions.

a) CALL FOR PAPERS: After the acceptance of stream proposals, a CFP for 250-word PAPER ABSTRACTS – oriented to the accepted stream proposals – will be posted on the conference website no later than March 30. Those who have their stream proposals accepted will then take an active role as ‘stream organizers’ working with the conference committee to promote panel submissions to their stream through their social networks and helping to give shape to the ultimate make-up of their panels. The final deadline for proposed paper abstracts to be submitted to a specific stream -- at ‘’ -- will be MONDAY, MAY 11.

b) WRECK THE FORMAT: For those who pursue affect in ways that might be somewhat less formally academic and more aesthetic/performative/poetic/evocative, etc, we welcome the submission of proposals for performances, art installations, musical pieces, film and video showings, and similarly provocative interventions. Please submit a detailed description of no more than 500 words regarding any such activity – including special requirements for space and some sense of the time-range – to ‘’ by no later than MONDAY, MAY 11. Initial inquiries about the possible inclusion of such work at this conference would be encouraged well before the May 11 deadline however.

FINAL PROGRAM: The make-up of the stream proposals will be finalized – with all paper proposals accepted/rejected – by the end of May. The conference’s program, including any performance-related works, will be posted by early June.

PhD WORKSHOPS (one or two) are presently in their early planning stages. More information will be available about these workshops soon.

REGISTRATION for the conference will begin June 15th and is set at $100 graduate student received on or before August 15 ($150: after Aug 15) and $150 faculty ($200: after Aug 15). Registration includes admittance to all conference events, at least one conference meal, and special related downtown Lancaster/conference activities.

(info atualizada em 02/03/2015)


FACA 2015. Festa de Antropologia, Cinema e Arte.

Já falta muito pouco para arrancar a 2ª edição da FACA.

A FACA é organizada por um grupo heterogéneo de pessoa associadas ao Núcleo de Antropologia Visual e da Arte do CRIA [NAVA], do Centro em Rede de Investigação em Antropologia [CRIA], que têm em comum a vontade de explorar as fronteiras entre o trabalho de investigação e a criação artística. Ao longo das últimas décadas, os antropólogos têm sentido uma necessidade crescente de utilizar suportes não verbais para dar corpo a um conhecimento fenomenológico que emana do seu objecto, enquanto os artistas recorrem cada vez mais a conceitos e sensibilidades etnográficas. Neste contexto, a FACA surgiu como uma arena de discussão e exploração destas inter-relações com o intuito adicional de estimular o diálogo entre a academia e a população em geral.

Toda a informação em

(info atualizada em 28/02/2015)


The mediated society: Living and working with immersive media technologies
Deadline for Articles: 16. March 2015

We are happy to accept articles for the peer-reviewed, interdisciplinary Yearbook of Immersive Media (Jahrbuch immersiver Medien). The 2015 issue is entitled “The mediated society: Living and working with immersive media technologies“.

The catchphrase of the “all embracing media” can be related the ubiquitous media in our daily life, but also to the fact that there seems to be more and more media, which actually immerse the users in a physical way. Such innovative media technologies are used in research and development, science and entertainment, but their paradigms of use are not nearly explored yet.

Because the media evolution progresses rapidly, we are forced to integrate new technologies into our life world, and it seems to make sense, to reflect and to anticipate this development scientific and conceptually. In the course of this we can only guess how the media of the future will look and work. However, reflections from media theory or feasibility studies like the Illumiroom by Samsung and Microsoft or Movies like Minority Report (2002), Gamer (2009) or Prometheus (2012), are showing us today what we might can expect from future media. But some immersive media technologies and aesthetic strategies of immersion are already present in almost all areas of our present daily life - in the entertainment sector, in teaching and research, in medicine or in our own living rooms.

The yearbook of immersive media is a peer-reviewed interdisciplinary publication aimed at an international academic readership. The Yearbook invites to send articles dealing with themes like sound design, movie, virtual reality, augmented reality, gaming and game studies, Transmedia storytelling etc. applied to the concept of immersive experiences or media technologies.

Submitted articles must be original contributions that engage with the reflection of the (r)evolution of immersive media, the anticipation and design of new media technologies and applications or other related issues. Contributions should be 5000 to 8000 words in length. Please send an abstract, a brief biographical information and contact details and your article to Prof. Dr. Patrick Rupert-Kruse via: The deadline for articles is the 16. March 2015. A style sheet can be obtained through our website at
(info atualizada em 27/02/2015)


The 8th Screenwriting Research Network (SRN) International Conference
Deadline for abstracts Monday 2nd March 2015

The 8th Screenwriting Research Network (SRN) International Conference will take place at the University of London, UK on Thursday 10th to Saturday 12th September 2015.
It is organised by a committee grouped around the London Screenwriting Research Seminar – the University of Bangor, the University of East London, The University of Greenwich and Royal Holloway, University of London.

The key theme of this year’s conference is Screenwriting: Text and Performance.
We invite discussion about screenwriting as process and practice, and how it engages with and can be understood in relation to text and performance across a wide field of media and practices, including film, television, games, online, transmedia and other digital platforms. We are particularly interested in abstracts for presentations on the following topics:
Interpreting screenplays – how do producers, directors, actors work with screenplays?
How screenplays affect and invoke performance?
What can performance reveal about writing screenplays or screenplay structure? Screenwriting and literature
Screenplays and screenwriting by authors best known in another field
Case studies on individual writers or texts
We would also like to invite abstracts for presentations on (but not limited to) the following topics:
National traditions of screenwriting and storytelling
Different screenwriting practices and formats
Historical perspectives on screenwriting and screenplays
Screenwriting, the screenplay and different production structures
Screenwriting and adaptation
Practice based research in screenwriting
Screenwriting for television, games and animation
Screenwriting for new media forms, online, transmedia etc.
Please send abstracts (250-300 words) as a word or pdf document, with the email subject heading “SRN Conference abstract” to:

Abstracts may be submitted until March 2nd 2015. Earlier submissions are welcome. Remember to state your name, affiliation and contact information. Also include a brief statement (100 words) detailing your publications and/or screenwriting practice.
We aim to let you know by mid April 2015 whether your paper has been accepted. Keynote speakers will be announced early in 2015.
(info atualizada em 27/02/2015)


General Intellect, CAMIRA’s multilingual journal is under way
If you are a CAMIRA member, please submit your proposal to Identify yourself and the theme (see below) of your paper.

Dossier I: what is film criticism in the electronic-digital age?
The question involves extremely complex and related themes that go beyond the environment within which film criticism can be practiced. We first must go back and return to the question of medium, to the difference between orality and writing, print and electronic, etc. (1). Secondly, we must ask ourselves what are the distinct features of the electronic-digital age (2). Next we must interrogate, not so much the essence, but at least the characteristics of criticism in general and film criticism specifically (3). Finally, after having understood what a medium is – since our criticism is always inscribed in a medium – we will have to forge a logical and well founded connection with the characteristics of our age as well as with the specificities of film criticism, all while understanding that this must always pair clear thought and an artistic sensibility (4). Only in this way can we imagine working on the problem in an adequate way, or even arriving at its solution.

Dossier II: cinema and theatre today
The relationship between cinema and theatre is well known and well catalogued throughout the history of film critic and theory. The legacy of theatre at the beginning of cinema, the controversy over “filmed theatre” in the early sound film or even the modern approach by directors like Jacques Rivette, Carmelo Bene, Werner Schroeter or Manoel de Oliveira, all these issues have been debated in a fruitful way. But what happens when, right in the middle of a fast, highly technological and ever-changing age, some contemporary directors decide to approach the old art of theatre again?
Today, there seems to be a new generation of filmmakers (or, in some cases, a renewed approach by veterans) that are explicitly proposing a dialogue with theatre, recovering classic texts, approaching theatrical procedures of mise en scène, proposing dissonant acting styles. The recent oeuvre of directors like Júlio Bressane, Paul Vecchiali, Rita Azevedo Gomes, Pierre Léon or Matías Piñeiro shows us that theatre-related films are not old-fashioned nor decadent, but one of the most vivid and stimulating traits of contemporary cinema.
The first edition of General Intellect proposes a dossier to discuss this topic and encourage writers to deal with some of these intriguing questions: which aesthetical problems are at stake, today, when cinema approaches theatre? What forms and expressions can arise from this encounter? Which filmmakers are proposing the most enthusiastic gestures in this field? When cinema goes to the theatre today, what is it searching for?

(info atualizada em 27/02/2015)


21st century photography: art, philosophy, techniques
Central Saint Martins, London
5-6 June 2015

This trans-disciplinary conference aims to explore a series of themes that emerge from the understanding of contemporary photography as the basic unit of visual communication of the age of technology: online, off-line and between the lines.

The aim is to bridge the gap between aesthetic, philosophical and technological approaches to the photographic image and to prompt participants from different backgrounds (fine art, critical theory, philosophy, software/hardware) to engage with each other and to open new avenues for the critical interrogation of the roles of images in contemporary culture.

In the past decade, photography has gained momentum in public and private environments becoming one of the determining factors of contemporary life. The hyper-growth in various forms of digital imagery for screens provides a quintessential example. The triumph of the photographic image as the internally eloquent and profoundly apt expression of computational culture also provides a new philosophical lens upon which to investigate how representation affects norms of meaning-creation, and the ethical and political consequences of the acceptance of images as purveyors of truth.

In light of such dynamics, 21st century photography: art, philosophy, techniques seeks to address the re-birth of photography from a diversity of visual narratives and from the strange roles images get to perform in our world.

Possible themes may include, but not limited to:
Situating photography within the framework of contemporary philosophy
The aesthetics of repetition, reproduction and copy
The political implications of visual practices
New theoretical models for assessing contemporary image culture
Duration and temporality of the ‘still’ image
Sensorial and bodily experience of photography
Theoretical dimensions of the idea of ‘representation’
Data, information and algorithms in the visual field
Archiving and curating the immaterial image
Augmented reality and immersive visual environments
Non-visual dimensions of photography

500-word abstracts for 20-minute presentations should be sent to Dr Daniel Rubinstein at by 10/03/2015

Selected conference papers will be published in a special issue of the journal Philosophy of Photography.

Conference blog:
(info atualizada em 27/02/2015)


Testimony: Memory, Trauma, Truth, Engagement Project: 2nd Global Meeting
Saturday 11th July – Monday 13th July 2015
Mansfield College, Oxford, United Kingdom

The meeting seeks to examine, assess and explore the multiple uses and contexts in which testimony finds a voice. It takes for its theme Testimony: Memory, Trauma, Truth, and Engagement. Why testimony? How is it defined? How is testimony used in contexts such as legal, restorative, pedagogical, artistic, clinical, to name a few? Why does it continue to thrive and evolve in the twenty-first century and does it, or does it not, differ from earlier modes, times, cultures?

Testimony encompasses a diversity of expression and representation—from oral to written as well as nonfictional to fictional. Testimonial production also covers a diverse range of topics and practices, including human rights and storytelling; trauma and memory; ethics, witnessing, redress, reconciliation; narrative therapy, cognitive behavioural therapy, and critical pedagogy, among others. It is undeniable that testimony implies a spectrum of disciplines, conventions and practices, art forms, and embraces a broad range of geographical and historical contexts.

We therefore welcome proposals that speak to the diversity and varied approaches to testimony and its engagement. Proposals may address, but are not limited to the following themes:
– Purpose and function of testimony: activism, denouncing human rights abuses, social justice education, healing and recovery, etc.
– Practices of testimony: legal, legislative, clinical, pedagogical, religious, artistic, performative, etc.
– Modes of testimony: written and oral accounts, film, media, music, photography, capacity for fiction to reveal truth, life writing genres, performance, architecture, museums, rituals
– Legacies of trauma and testimony: cultures of acknowledgement, cultures of redress, truth and reconciliation commissions, survivor groups, memorialisation, haunted geographies, spectral spaces
-Technologies that enable/disable testimony: Social media, Internet, digital archives, photoshop and other means of manipulating the visual/narrative record
-Impact of gender, race and class on individual and collective experiences with trauma, memory and testimony; collective testimony
– Ethics and reception of testimony: factors that influence the believability of a witness; false memory, amnesia as self-defense mechanism for dealing with trauma; effectiveness of testimony, etc.
– Economics of trauma and memory: tourism, self-help industry, exploitation and commercialisation.

The Steering Group welcomes the submission of proposals for short workshops, practitioner-based activities, performances, and pre-formed panels. We particularly welcome short film screenings; photographic essays; installations; interactive talks and alternative presentation styles that encourage engagement.

What to Send:
Proposals will also be considered on any related theme. 300 word proposals should be submitted by Friday 13th March 2015. If a proposal is accepted for the conference, a full draft paper of no more than 3000 words should be submitted by Friday 22nd May 2015. Proposals should be submitted simultaneously to both Organising Chairs; proposals may be in Word or RTF formats with the following information and in this order:
a) author(s), b) affiliation as you would like it to appear in programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords.
E-mails should be entitled: Testimony2 Proposal Submission

All abstracts will be at least double blind peer reviewed. Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:
Cristina Santos, Adriana Spahr, Tracy Crowe Morey:
Rob Fisher:

The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.All proposals accepted for and presented at the conference must be in English and will be eligible for publication in an ISBN eBook. Selected proposals may be developed for publication in a themed hard copy volume(s). All publications from the conference will require editors, to be chosen from interested delegates from the conference.

Inter-Disciplinary.Net believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract for presentation.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
(info atualizada em 27/02/2015)


21st SERCIA Conference
University of Artois, Arras, France
3-5 September 2015

Masculine/ Feminine:
Gender in English-Language Cinema and Television

The 21st SERCIA conference will be held at the University of Artois, in Arras, France, from September 3 to September 5, 2015. It is organized jointly by the research centers Textes et Cultures at the University of Artois and CORPUS at the University of Picardie Jules Verne.
SERCIA (Société d’Etudes et de Recherche sur le Cinéma Anglophone) is a French organization encouraging teaching and research in English-speaking cinema. It brings together film scholars from all over the world at its annual conference and publishes selected articles from each conference in themed books and in its electronic peer-reviewed journal, Film Journal (

Masculinity, femininity, and the relations between men and women are central issues in film studies as well as within the film industry. What models and norms of femininity/masculinity do film and television images present? Have these models changed over time? Can they be linked to specific actors and filmmakers? Are films made by women “special”? In her seminal 1975 article, Laura Mulvey added a political dimension to the analysis of gender models and stereotypes by taking into account specific film strategies to highlight the underlying relations of power between men and women. While Mulvey herself wrote “afterthoughts” in order to expand and qualify her concept of “male gaze,” power remains a fundamental issue, whether it be the power of the camera (what difference does the camera make between female/feminine and male/masculine bodies? How can male objectification be analyzed?), or the relations of power between men and women on- and off-screen. Can a commercial enterprise subvert the heteronormative gender order? How do independent productions deal with gender issues? The question of gender, its construction, representation and performance in the world of the moving image, is especially crucial in a context of controversies in France surrounding the so-called “theory of gender” (“la théorie du genre”), thus requiring further analysis.

The 21st SERCIA conference warmly invites film scholars to examine issues of gender through a variery of approaches (film aesthetics, film history, reception studies, sociology, economics, etc.). Comparative studies including at least one English-language film will be considered.

Keynote speakers will be Yvonne Tasker (University of East Anglia) and Jacqueline Nacache (Université Paris 7 – Denis Diderot).

List of possible topics
- Masculinity and femininity in film and television productions
The changing models of masculinity and femininity according to historical, national and industrial contexts: what gender norms do silent stars embody? Has Girl Power given real power to women? What are the specificities of British, Australian, South-African masculinities and femininities?
Gender in film genres
Relationships between men and women at home and at work
Star studies
Gender and film technique: are men and women shown onscreen in the same way? (Differences in editing, in the use of close-ups, voice-over, music, special effects…)

- Women and men in the film and television industry
Relationships between filmmakers (male and female) and actors (male and female)
Women directors, producers, scriptwriters and actors in the industry and at the box office
Gender equality in the industry
Analyzing the paratext: gender in film and television marketing, posters, trailers, etc…

- Audiences and academia
Reception studies (how do films address women or men or both? How do audiences receive or “decode” the models put forward?)
Examples of readings against the grain or “queered” reception
Importance of gender in film criticism (Pauline Kael vs. Roger Ebert for example)
Women’s or LGBT film festivals and prizes
Controversies around “feminist” or “anti-feminist” productions (Gone Girl) or the representation of homosexuality (Brokeback Mountain)
Gender research within film and television studies and its evolution

Deadline for proposals: March 16, 2015.

Please send abstracts (300 words) in English or in French, along with a short biography, to Julie Assouly (, Jean-François Baillon ( and Marianne Kac-Vergne (
(info atualizada em 26/02/2015)


Aniki 2.1 (2015) online!

Aniki 2.1 (2015)Dossier 'Cinema Expandido'

O novo número da Aniki: Revista Portuguesa da Imagem em Movimento já está online em! Este número inclui um dossier temático sobre “Cinema Expandido”, editado por Susana Viegas, com artigos de Yvonne Spielmann, Laura Rascaroli, Carlos Vara Sánchez, Miguel Mesquita Duarte e Bruno Marques, Laila Melchior, e Giuliana Bruno, e uma entrevista a André Parente.

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. Fique atento aos call for paper para os dossiers temáticos.

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


The new issue of Aniki: Portuguese Journal of the Moving Image is now online at! This issue includes the thematic dossier “Expanded Cinema,” edited by Susana Viegas, with contributions by Yvonne Spielmann, Laura Rascaroli, Carlos Vara Sánchez, Miguel Mesquita Duarte and Bruno Marques, Laila Melchior, and Giuliana Bruno, and an interview with André Parente.

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 check the website for thematic call for papers.

Enjoy the new issue!

The Editors,
Tiago Baptista, Susana Viegas, Carolin Overhoff Ferreira, Maria do Carmo Piçarra, Teresa Castro e Daniel Ribas
(info atualizada em 26/02/2015)


Culture in Disarray: Destruction/ Reconstruction
King's College London CMCI Postgraduate Conference , 11-12 JUNE 2015

Keynote Speakers
Prof. Nick Couldry, Department of Media and Communications, London School of Economics and Political Science
Prof. Peter Dahlgren, Department of Communication and Media, Lund University

Cultures are in disarray as never before assaulted and undermined by a complex mix of alienating ideology and transformational technologies. Is culture craving for a paradigm shift? Or is this state of disarray just another moment of re-construction within culture? Looking at culture not just as a concept, we can understand it as being permanently reconfigured, in a constant process of adaptation and symbiosis with social and economic developments, reflecting the Zeitgeist. The tide of neo-liberalism has long since left the narrow realm of economics and infiltrated not just the social realms of education, media, and arts, but even the complex structures of everyday interaction – degrading the construction of the self and the purpose of life. Digital technologies are creating a disintermediation across all spheres of society empowering and enriching the top 1% while the middle collapses as a power law distribution polarise the mass from the political economic and cultural elite. Moreover these technologies reinforce the neo-liberal project affording it with the social techniques of pervasive surveillance, endless assessment, targeting, grading, and the corrosive obsession with competition and instrumentalism, consumption and individualisation. Meanings are being co-opted, with ‘culture’ arguably being replaced by ‘creativity’ in policy agendas, leading to disarray in the definitions, discourses, and policy implications. Globalisation is having a transformative impact on local cultures. The algorithmic affordances of digitalisation reduce the human experience to one dimensional formulaic constructions devoid of complexity or even culture itself.

This analysis is imprecise, limited and does not pretend to do justice the nuance and perspective required to fully appreciate this vast but pressingly important subject. However, it highlights some aspects of the multi-faceted dynamics that academics, policy-makers and activists are struggling with across all cultural spheres. Our question then is what are the reconstructions that oppose and go beyond this destruction? What and where are the cultures of resistance and transcendence, the creative policies and strategies, the structural bases of renewal and re-empowerment, the micro-techniques and individual transgressive statements of dissent? How can the vast cultural and economic resources of our civilisation be socialised and humanised? How can the anarchistic emergences we see on the periphery of established networks of control and privilege be made effective and credible? How can this horizontalist emphasis on participation and direct democracy create viable cultural and political alternatives? And more profoundly but vitally, how can our primal urge for creativity, authenticity, spontaneity, and co-operation (not to mention joy and humour!) be harnessed to reconstruct a rehumanised culture? Should we accept this condition of disarray as automatically defining contemporary culture or as the point of departure for a complex process of social reconstruction? Is creativity the magic word to cure what culture cannot? Can it shake off the scent of elite culture so that policy can be implemented? Will we keep changing the buzzwords or do we need to return to the quintessential debate on culture?

The conference is unashamedly multidisciplinary, or even anti-disciplinary. It calls for innovative statements which break down the academic silos, which separate the culturalist, stucturalist and rationalistic, the analytic from the normative, and the deconstructive from the constructive. We are driven by a commitment to truly critical thinking and innovative perspectives – to make a real ’impact’. To this end we are calling for papers which address the above themes in ways that challenge established categories and conventions. We encourage unorthodox and provocative approaches. We are interested in ideas that break out of assumed rationalities, which may outrage and appear monstrous – that certainly won’t get in the top journals which make up the ’dead heart’ of academia. After all isn’t this what creative destruction always was and therefore must still be all about? In these ’end times’ times then uncensor yourself and make real that paper you always wanted to write. The moment is now and remember, as Keynes said, ’in the long run we are all dead’!

We invite abstracts on the following themes but welcome papers that may not fall directly within them, and feedback about how me may alter or add to them:
? The Problems: analyses of cultures in disarray, common explanations, causes, dynamics and configurations.
? Conceptual Frameworks: changes and developments in the basic notions and questions about the idea of culture, ontology and technology.
? Specific Sites of Contention:
? The Arts / Creative Industries
? Education / Knowledge Production
? Media / Public Sphere
? Management / Entrepreneurship
? Politics / Ideology
? Economy / Culture of Money
? Urban Culture / Community Development
? Reconstructions: ideas, strategies, designs, and case studies of emergent cultures that provide instruction and hope.

We welcome contributions until 15th of March 2015 (paper title, a 250-word abstract and author information - full name, institutional affiliation and email address). Please send to: Notifications regarding acceptance will be sent by 15th of April 2015.
Full paper (Max. 8,000 words) submission before 20th of May 2015

In case of queries please contact:
Agnieszka Widuto: Mengying Li: Leandro Augusto Borges Lima: leandro_augusto.borges Ya-Chiao Tu: To keep yourself updated, please visit our conference website:

(info atualizada em 26/02/2015)


MFM International Research Studentship (2015)
The School of Media, Film and Music (MFM) at the University of Sussex is pleased to invite applications to study for a PhD. We offer expert supervision in the following areas:
· Creative and Critical Practice
· Film Studies
· Gender Studies (Humanities)
· Media and Cultural Studies (including Digital and Journalism Studies)
· Music/Musical Composition/Music Theatre

Successful international applicants to MFM will be eligible to compete for this scholarship, which covers the international fees for a 3 year full-time PhD course.

MFM has an outstanding record in research, and is currently home to over 90 research students who contribute actively to our lively interdisciplinary research culture.

· For more information about the School, its Research Centres, our faculty and their research interests, please visit:

· You can also find more information about doctoral research at Sussex via our Doctoral School website:

· For information about how to apply, see:

· or get in touch with the School’s Director of Doctoral Studies, Mr. Andy Medhurst, who is happy to answer any questions about our doctoral programmes and the application process:

The deadline for applications to go forward for consideration for the scholarship (including all supporting information such as references, etc.) is 1st April 2015. You are encouraged to contact the School as soon as possible to start the application process (NB. this deadline only applies if you are want to be considered for the scholarship).

1) International fee paying students from any discipline can apply.
2) Applicants will need to have received an offer from one of the following PhD courses by May 15th 2015:
· Creative and Critical Practice
· Film Studies
· Gender Studies (Humanities)
· Media and Cultural Studies
· Music
· Music Theatre
· Musical Composition

3) Applicants must commence their academic studies in the United Kingdom by the start of the UK academic year in September 2015

4) Applicants will be expected to hold, by September 2015, the UK equivalent of a first class honours degree and a Masters degree graded at merit or above.

5) Applicants must meet or ideally exceed the University's English Language Requirements as set out in the postgraduate prospectus.

1) To apply, use the Sussex University on-line admissions at:

2) You must state in the "Other Information" section of the on-line admissions system that you are applying for the MFM Doctoral Research Scholarship (or email Jaime Huxtable ( if you already have an offer to indicate your desire to be considered for the scholarship).

3) An internal panel of subject specialists will judge the applications according to academic merit (academic record, quality of research proposal, fit of supervisory expertise)

1st April 2015 - Deadline for completed applications
15th May 2015 - List of applicants holding offers to be sent to Panel for consideration
5th June 2015 - Deadline for applicants to be informed of the outcome

Successful international scholars will be expected to support the University's international strategy. This could include supporting international partnership development, promotional or ambassadorial activities, up to a maximum of 6 paid hours per week and not exceeding 180 hours in any one academic year.

Queries should be directed to:
Andy Medhurst
Acting Director of Doctoral Studies
School of Media, Film and Music
Silverstone Building
University of Sussex
Falmer, Brighton

(info atualizada em 26/02/2015)


The Seen and Unseen: The Visual Culture of Imperialism
Much of the perception of the world around us is constructed visually. This visual representation, which includes drawings, paintings, artworks, photography, and more recently moving images such as films, cartoons, book covers, posters, and advertisements illuminates the ways we see ourselves and those around us. Derived and informed by social, political and historical shifts these visual representations form what scholars call a ‘visual culture’ of representation.

This visual culture of representation plays a significant part in social and political power relations and control. What has been continuously represented or seen gradually can form a preferred mode of reading and viewing of certain cultures. On the other hand, what is unseen, due to continuos misrepresentations, silences, or inabilities of expressions, as well as social and political censorships and control, can lead to an inability of those represented to break free from preferred modes of representation.

This edited collection brings together essays and scholarly examinations of the visual representation of the Islamic Identity within a wide visual context, including on film, posters, photography, book covers, etc. In particular, it aims to examine how visual imperialism through the seen and unseen, has formed and constructed an already established visual culture of representation which has defined Muslim identities. By focusing on the broad theme of "representation", this edited volume seeks for an interdisciplinary re-thinking of the sociopolitical and cultural issues of the visual imperialims in the conetxt of Muslim representation. We invite papers on a broad range of topics pertinent to the theme of visual culture of imperialism including but not limited to:
· Visual Orientalism/Imperialism of Muslims
· Theoretical discussion of the concept of representation
· Representation of the “other”
· Orientalism and self-orientalism
· Rethinking Muslim identity
· Representation of gender and sexuality

Please send a 500 word abstract along with your affiliation and biographical statement to Dr. Sanaz Fotouhi at Dr. Esmaeil Zeiny at by November 25. Full paper must be submitted no later than March 31, 2015.
(info atualizada em 25/02/2015)


Thing Theory, Material Culture, and Object-Oriented Ontology
Transformations is calling for submissions for Issue 27, which is dedicated to the topic of Things.

The investigation of things is an important subject across many disciplines in the humanities and social sciences. In The Social Life of Things (1988), Arjun Appadurai provided an innovative exploration of how things, as commodities, shaped their human agents, rather than the other way around—an idea that would have important repercussions for a new scholarly interest in material culture. In attempting to illuminate the problematic notion of a “Thing Theory” (2001), Bill Brown has pointed to the complex relationship between objects and things, arguing that things lie outside a simple subject-object framework, leading a multifaceted “life” that humans only glimpse rather than truly see. More recently, in Vibrant Matter (2010), Jane Bennett has investigated the political ecology of things and scholars such as Gay Hawkins (2009) and Gillian Whitlock (2010) have taken up this rich field of enquiry in their explorations of topics as diverse as cultural detritus, the posthuman, the consumption of water and plastic, and the production, dissemination and reception of testimony and artifacts concerned with asylum seekers’ life narratives.

We welcome expressions of interest in submitting articles addressing, but not restricted to, the following research themes:
· How can we understand “things” in relation to shifting technological and social contexts, to works of art or literature, or in relation to the cultural biographies or “lives” of things themselves?
· Where are the lines that divide the sentient from the non-sentient, the human from the non-human, and what are their consequences?

Transformations invites proposals for academic journal articles on any aspect of the theme of “Things.”

Articles should be between 3,500 and 5,000 words and should conform to the style guide <> and submission guidelines <> on the Transformations website.

Please submit an abstract (200 words) as well as a succinct author biography (two sentences) and contact details via email to Associate Professor Jane Stadler at the University of Queensland ( by 13 March 2015. Complete articles will be due by Monday 15 June 2015.
(info atualizada em 25/02/2015)


Poirot Meets Miss Marple - Agatha Christie and Intermediality
See the complete CfP as PDF here:

Judith Kretzschmar, Sebastian Stoppe, Susanne Vollberg (Eds.)
Poirot Meets Miss Marple: Agatha Christie and Intermediality (working title)

Agatha Christie is an unprecedented iconic figure in 20th century detective fiction. In 2015, it is her 125th anniversary and to date about two billion copies of her books have been sold making her third in the rankings of the world’s most-widely sold books (behind Shakespeare and the Bible).
Therefore it is no surprise at all that her entire oeuvre has been adapted into other media again and again. Besides numerous film and television adaptations, Christie’s novels and short stories were transformed into theatre plays and radio dramas but also into graphic novels, games, and a Japanese anime series. In our book we want to shed some light on the intermediality of Agatha Christie’s oeuvre. We expressly want to include all kinds of media (not only film and TV) as well as all of Christie’s work. So, proposals which deal with other Christie stories aside from Poirot and Miss Marple like Tommy and Tuppence Beresford are welcomed.

Proposals shall refer to one of these topics we are interested in:
- Plot Differences: There are many ways to adapt an Agatha Christie story. Sometimes a Poirot story has been rewritten for a Miss Marple adaption or an original Miss Marple screenplay was written which did not have a direct literary source. Christie herself did a heavy rewrite of Appointment With Death for the theatre by eliminating Poirot as the main character. How do different adaptions relate with the original stories? Why do some adaption remain faithful to their source? Why there are certain changes in plot details with other adaptations?
- Good Old Days: Over the years, Agatha Christie established different times in her novels. Curtain, for example, is set after the Second World War while her first Poirot story The Mysterious Affair at Styles happened during World War I. However, the TV series Poirot is largely set in the 1930s. Likewise, both of the two TV series starring Miss Marple establish different time periods than their literary source. Why is that and in which ways different time periods were used for aesthetic or dramaturgical reasons in the adaptations?
- Complex Motifs: Most Agatha Christie stories are classic whodunits. A murder is committed, the de-tective character enters and solves the crime. In the end, the entire cast of characters is summoned to a final meeting: the denouement begins. Often, Christie used a special group of people in her novels: a travel group, patrons in a hotel, a social gathering. In which way the complex motifs of these people are being treated, both in original and adaptation?
- Cast of Characters: Most of Christie’s characters are somewhat stereotypical. Poirot is a foreigner and most often being taken for a French instead of Belgian, Miss Marple is some sort of a gossip (most evident in The Murder of the Vicarage), there is the noble British gentry, veterans from the colonies of the British Empire, but also the newly-rich but still vulgar American. In the adaptations, Peter Ustinov and Margaret Rutherford were radical different in their portrayal of Poirot and Miss Marple than David Suchet and Jane Hickson, respectively, in the TV series. So how are the characters of the Christie sto-ries being shown in different media?
- Distant Places: Agatha Christie chose distinct venues for her stories. There is the train or a hotel as a recurring location but also the river boat, the country house or places in the British colonies. In which way these locations are important in original and adaptation?
- Intertextuality: There have always been direct or indirect references (visually as well as in dialogue or sound) on Agatha Christie’s oeuvre in other works of fiction? Where do we find these references either as tribute or parody in other works regardless of specific genres or media? In which ways these references are made (use of characters, plot or dialogue) and how do they relate to Agatha Christie’s stories?

The call addresses all academics in media and communication studies as well as people with interdisciplinary skills in literary and dramatics studies.
Chapters shall be written in English or German. The book is scheduled to be released at the end of 2015 within the book series MedienRausch of Zentrum für Wissenschaft und Forschung | Medien, a scientific association of media scholars based in Leipzig, Germany. The series is published by the Büchner Verlag Darmstadt, Germany.

We are looking forward to a one-page proposal from you describing your contribution and including a short CV. Please send your proposal to until March 15, 2015. You will be notified whether your proposal has been accepted. The complete chapters shall be finished until mid of August 2015.

For further information, please ask Sebastian Stoppe at
(info atualizada em 25/02/2015)


Media@McGill Postdoctoral Fellowship - Art, Media and the Public Sphere
Description: Media@McGill is a hub of interdisciplinary research, scholarship and public outreach on issues in media, technology and culture, located in the Department of Art History and Communication Studies at McGill University in Montreal, Canada. To see the list of postdoctoral fellowships, click here.

Media@McGill offers Postdoctoral Fellowships to promising scholars engaging in media-related research, as defined in Media@McGill’s mission statement.

Fellows are provided with a workspace, and are expected to take an active role in the research activities and academic life of Media@McGill (participation in conferences, seminars, etc.). They may also have the possibility of teaching a course within the Department of Art History and Communication Studies at McGill.

Eligibility: The Media@McGill Postdoctoral Fellowship is open to both national and international scholars who completed their doctoral degrees in a university other than McGill no earlier than June 1, 2011. Candidates must have received their PhD by May 1, 2015. Fluency in English is essential; working knowledge of French is an asset.

Value and Duration: The stipend for the Media@McGill Postdoctoral Fellowship is $45,000 CAD for 12 months (this includes a travel research stipend) beginning in September 2015.

Application Process Deadlines: Media@McGill will be offering one Postdoctoral Fellowship for 2015-2016.

1. In a cover letter, applicants must stipulate how their research is related to Media@McGill’s mission statement and to Media@McGill’s 2015-16 theme: Art, Media and the Public Sphere. Applicants should also identify a potential faculty supervisor who is a member of Media@McGill and whose research is closely tied to that of the applicant. Please do not contact a potential supervisor at this stage.

The following should be included in all statements of interest and be sent in a single pdf (the application will not be accepted otherwise). The documents’ order follows the list below:
1. a cover letter;
2. a research proposal (750 words);
3. a Curriculum Vitae (maximum 5 pages);

Deadline: Complete statements of interest should be sent to by Friday, January 30, 2015 at 5 p.m. E.S.T.

2. Statements of interest will be reviewed by the Media@McGill potential supervisor, and candidates will be notified of results shortly after. If successful, applicants will be asked to provide the following additional documents:

1. official copies of transcripts during graduate studies;
2. three letters of recommendation (one of which is by the potential Media@McGill faculty supervisor);
3. a writing sample (maximum 20 pages).

Deadline: Complete applications should be sent to by Thursday, March 26, 2015 at 5 p.m. E.D.T. Applications will be reviewed by Media@McGill’s Steering Committee, and candidates will be notified of results in early May 2015.

For additional information, please contact or visit
(info atualizada em 24/02/2015)


PhD Scholarships in Media and Communication at University of Leeds
Full PhD Scholarships in the School of Media and Communication

The School of Media and Communication is offering a number of full PhD Scholarships for study commencing in October 2015. Research Council funded awards are available from the AHRC through the White Rose College of the Arts and Humanities and from the ESRC through the White Rose Doctoral Training Centre. Closing dates for these are 2 February and 3 February 2015 respectively.

In addition the School is funding full scholarships covering maintenance and fees, equivalent to the Home/EU rate, for a period of three years from October 2015. They support full-time study leading to a PhD in any area of the School research activities, and are open to home/EU and international applicants. Closing date for School Scholarships is 1 May 2015.

Further details for can be found on the ‘Fees & Funding’ tab at
(info atualizada em 24/02/2015)


Revista n. 27
Convidamos todos os investigadores das ciências e tecnologias de informação e comunicação a submeter, até 31 de março de 2015, propostas de artigos, entrevistas e recensões para publicação na Revista n.º 27 (2015).

Os artigos devem respeitar as normas e estilos de redação e ser submetidos por via eletrónica, para o e-mail da Revista – prisma.cetac @

A PRISMA.COM está indexada no DOAJ, no WebQualis e no RCAAP.

O n.º 26 da Revista, dedicado aos 40 anos do Método Quadripolar, será publicado muito brevemente, com seis artigos originais, o primeiro dos quais do Professor Jacques Herman, um dos criadores deste método de investigação em ciências sociais.

- // -
Until April 31, 2015, will be accepted proposals for research articles, interviews and reviews for publication in Revista n. # 27 (2015).

Articles must respect the rules and styles of writing and be submitted electronically to the Revista e-mail - prisma.cetac @

Revista n. # 26, dedicated to the 40th anniversary of the Quadripolar Method, will be published very soon.

(info atualizada em 23/02/2015)


Media Mutations 7. Space Invaders. The impact of digital games in contemporary media ecosystems
Bologna, Dipartimento delle Arti, Salone Marescotti, May 26th and 27th 2015

Confirmed keynote speakers: Tanya Krzywinska (Falmouth University) and Geoffrey Long (Annenberg Innovation Lab - University of Southern California).
Final remarks by Peppino Ortoleva (Università di Torino)

Organized by: Paolo Noto (Università di Bologna), Riccardo Fassone (Università di Torino), Claudio Pires Franco (University of Bedfordshire)

In the past years digital games have progressively become more visible in the media ecosystem, and now occupy a prominent position, economically and culturally, in the mediascape. As a consequence, scholars in TV and Film Studies have been incorporating the study of video games into their field of interests, working in particular on the aesthetic and narrative relationship between digital games and other media. Scholarly production has extensively focused, on the one hand, on issues such as intermediality, narrative aspects in digital games as well as on modes of representation and enunciation and, on the other hand, on playful aspects of the cinematic and televisual narration.
What seems to be nearly absent in this field of analysis is a more structured reflection on the impact of digital games in the contemporary media ecosystem. In particular, we would like to foster a further exploration of the spaces traditionally occupied by cinema and television that have been significantly modified, both by the pervasiveness of digital games and by the design of gameful products. Moreover, we encourage an exploration of current and potential technological developments that determine interactions and convergences in the different aspects of production between videogames and other media.
Coherently with its previous editions, Media Mutations 7 encourages ecosystemic analyses, encompassing games and play and their role within the wider space of media, of the aspects listed below. We accept proposals for 20 minute papers on:

* Space of creation and production: What kind of unprecedented products emerge from the coexistence between games and other creative objects? What types of products have been subject to mutations triggered by the increasing presence of digital games in the media ecosystem? How might models of production and creative work migrate between games and other media? How does the increasing importance of games affect the organization of contemporary media franchises? To what extent the need to engage viewers through playful elements influences the styles of writing and filmmaking? How has this changed the professional routines as well as the geography of workplaces? What are the potential educational applications of video games and how do they relate to the use of other media in the same context?
* Space of delivery and consumption: How are games showcased and sold in physical as well as digital stores, in competition (or in collaboration) with other items, such as films and TV series? What are the forms of monetization and the marketing strategies they adopt in the competition for the limited resources of users’ money and time? How are promotional practices and discourses of games affected by other media, and vice versa? How are forms of interactive technology and distribution contributing to the development of new cross-media experiences, such as second screens, mobile media, augmented reality and the like?
* Space of discussion: How have games achieved a culturally legitimate status? How are games brought into traditional spaces of exhibition? What is the meaning of buzzwords, such as interactive, immersive, gamification and transmedia according to the contexts in which they are employed (in academia, marketing, industry, etc.)?

We will also consider proposals on the following subjects:
serious games, advergames, interactive Web-docs, educational games, amusement parks, gamification of blockbuster movies and TV, Alternate Reality Games (ARG), casual games.

The official languages of the conference are English and Italian. Abstracts (250-1000 words for 20-minute talks) should be sent to by March 5th 2015. Please attach a brief biography (maximum 150 words) and an optional selected bibliography (up to ten titles) relevant to the conference theme. Notification of paper acceptance will be sent to proponents between 15-30 March.
A registration fee will be requested after notification of paper acceptance (€40 for speakers; admission to the conference is free for students). Papers will be published in the online repository of the University of Bologna and a selection will be included in an edited collection to be submitted to an international publisher (a volume based on the proceedings of Media Mutations 5, The Politics of Ephemeral Digital Media is forthcoming by Routledge). For more information on the previous editions of Media Mutations, please check the conference's website,
(info atualizada em 23/02/2015)


Social Media & Society Conference
6th Annual International
Toronto, Canada
July 27-29, 2015

Call for Submissions
Academic research on social media is growing exponentially across various disciplines including: Communications, Information / Library Science, Computer Science, Business, Sociology, Education, Psychology, Health and others. The Web of Science alone indexed nearly 5,000 journal and conference publications over the last decade. This growing body of research revealed many interesting factors about social media platforms, their users, and a glimpse of our society at large. But are we any closer to understanding the broader implications of social media on our increasing networked society?

The 2015 Social Media & Society Conference (#SMSociety15) invites scholarly and original submissions that build on the previous work and critically evaluate the role of social media for social and political change, community engagement, marketing, new forms of governance, support of individuals and organizations in domains such as business, information, management, public administration, academia, health, and journalism (just to mention a few). We are also calling for submissions that develop and apply novel methods and theories to collect, analyze, and visualize social media data as well as those that discuss ethical and privacy implications of using big and small data. We welcome both quantitative and qualitative work in the broad area of Social Media & Society that crosses interdisciplinary boundaries and expands our understanding of the current and future trends in social media.

Whether you are just starting a new research project or ready to report on the final results, you will find that #SMSociety15 is a great venue for you! The 2015 conference invites a wide range of submissions:
- short papers on completed or well-developed projects (Due: March 2, 2015)
- work-in-progress paper abstracts (Due: April 10, 2015),
- panel discussions (Due: March 2, 2015)
- poster presentations (Due: May 1, 2015).

New to this year, we are also calling for proposals to host:
- half-day workshops (Due: February 2, 2015) on a well-defined area or technical tutorials that will examine a particular method or tool for the analysis of social media data in more detail

All accepted short papers will be published in the Conference Proceedings by the ACM International Conference Proceeding Series (ICPS). Authors of accepted top papers will be invited to submit their full papers to the special issue of the Information, Communication & Society journal (published by Taylor & Francis).

The Social Media & Society Conference is an annual gathering of leading social media researchers from around the world. Now, in its 6th year, the 2015 Conference will be held in Toronto, Canada from July 27 to 29, 2015. From its inception, the conference has focused on the best practices for studying the impact and implications of social media on society. Organized by the Social Media Lab at Ryerson University, the conference provides attendees an opportunity to exchange ideas, present their original research, learn about recently completed and work-in-progress studies, and strengthen connections with their peers. The 2014 conference hosted over 200 attendees, featured research from 238 authors across several fields from 21 different countries.

Social Media & Small Data
? Case Studies of Online Communities Formed on Social Media
? Case Studies of Offline Communities that Rely on Social Media
? Sampling Issues
? Value of Small Data

Social Media & Big Data
? Visualization of Social Media Data
? Social Media Data Mining
? Scalability Issues & Social Media Data
? Social Media Analytics
? Ethics of Big Data

Social Media Impact on Society
? Private Self/Public Self
? The Sharing/Attention Economy
? Virality & Memes
? Political Mobilization & Engagement
? Social Media & Health
? Social Media & Business (Marketing, PR, HR, Risk Management, etc.)
? Social Media & Academia (Alternative Metrics, Learning Analytics, etc.)
? Social Media & Public Administration
? Social Media & the News

Theories & Methods
? Qualitative & Quantitative Approaches
? Opinion Mining & Sentiment Analysis
? Social Network Analysis
? Theoretical Models for Studying, Analysing and Understanding Social Media

Online/Offline Communities
? Trust & Credibility in Social Media
? Online Community Detection
? Influential User Detection
? Online Identity

Social Media & Mobile
? App-ification of the Society
? Privacy & Security Issues in the Mobile World
? Apps for the Social Good
? Networking Apps

The list of the Program Committee members is available at

Anatoliy Gruzd
Associate Professor, Ted Rogers School of Management
Director, Social Media Lab
Ryerson University, Canada
Twitter: @gruzd

Barry Wellman
Professor & Director, NetLab
University of Toronto, Canada
Twitter: @barrywellman

Philip H. Mai
Manager of Academic Communications
Ryerson University, Canada
Twitter: @phmai

Jenna Jacobson
PhD Candidate, Faculty of Information (iSchool)
University of Toronto, Canada
Twitter: @jacobsonjenna

(info atualizada em 23/02/2015)


Twenty-First Century TV: Television in the Digital Era
Postgraduate Conference
12 May 2015
The University of Northampton

This one day conference aims to bring together postgraduate students working on all aspects of television in the digital, or post-digital, age. Television today can be online, on demand, downloaded, streamed, live, timeshifted, watched on multiple screens across multiple platforms. Producing and consuming television might involve games, apps, extended narratives, social media and a range of ancillary products. Have recent changes in technology radically transformed TV, or do traditional means of making and watching TV still persist?

Proposals are invited on (but not limited to) the following topics:
· Overflow and paratexts
· Online content
· User-generated content
· Social media
· Red button
· Regional and local TV
· International TV
· Branding
· Authorship, collaboration
· Marketing
· Advertising
· Platforms and delivery
· Multi screening
· Time shifting and recording
· Archiving
· HD, 3D
· CGI, special effects
· Production, consumption
· Communities, audiences, fans

We welcome contributions from students registered on any postgraduate degree, and perspectives are invited from different disciplines.

Please send proposals (250 words) for 20 minute papers plus a brief biography (100 words) to Lorna Jowett and Michael Starr by 12 March


[CULT3D] The Cult TV: TV Cultures Network is funded by the Arts& Humanities Research Council (AHRC) as part of the Digital Transformations in the Arts and Humanities<> theme and is affiliated with the Centre for Contemporary Narrative and Cultural Theory (CCN&CT) in the School of the Arts at the University of Northampton.

(info atualizada em 23/02/2015)