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 IX Encontro Anual da AIM irá decorrer de 13 a 16 de maio de 2019, na Universidade de Santiago de Compostela - Faculdade de Geografia e História. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
[Saber mais] [Inscrever-se na AIM]


CFP: Ideologies in mass media

University of Seville, 10, 11, 12 April, 2019.

Seville, Spain.

*We accept proposals in English, Portuguese and Spanish.

This call is an invitation to a three days international congress, out
of which it is proposed to prepare an edited collection of papers
arising from it, on the theme of ideology theory, politics and
representation. We are interested in receiving submissions from a range
of disciplines: social sciences, cultural studies, life science and others.

We invite papers that engage with and showcase your research on any or
all of the following topics:

* Ideologies in mass media.
* Ideologies in the digital environment.
* New interactive narratives.
* Critical Discourse Analysis (entertainment formats, information
formats, social networks. . . ).
* Analysis of discourse in mass culture (television series, comics,
cinema. . . ).
* Digital platforms and contents (Netflix, Amazon, Hulu. . . ).
* Propaganda: the discourse of power.
* Media effects.

Abstracts of no more than 400 words, a working title, and a short
proposer biography are invited for submission no later than February
25th , 2019
to Once you
are registered you can submit your paper by clicking on 'Symposium 4:
ideologías en la comunicación mediática'.

Papers accepted for the conference will be included in the edited
collection proposal although speakers are welcome to submit proposals
intended for the conference.

For detailed submission instructions, please visit
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CFP: Global Colour and the Moving Image Conference 2019

Global Colour and the Moving Image

10 - 12 July 2019

University of Bristol

*Keynote speakers:

*Professor Barbara Flueckiger, University of Zurich

*Professor Ranjani Mazumdar, Jawaharlal Nehru University

Special screening and Q&A at the Bristol Watershed with British film
director John Boorman CBE

Ten years on from the ‘Colour and the Moving Image’ conference in
Bristol, the study of film colour has grown impressively. While the
majority of research has been undertaken on early 20th century colour
processes, far less is known about the introduction and application of
colour technologies from the second half of the 20th century onwards. As
stocks such as Eastmancolor, Agfacolor, and Fujicolor became cheaper,
national film industries increasingly converted to colour, exhibiting a
variety of aesthetic, cultural, economic and intermedial approaches to
its application.

We are pleased to announce our call for papers for the*‘Global Colour
and the Moving Image’*conference which aims to attract speakers on
themes, countries and contexts that will add to our knowledge of the
origins and nature of colour film’s increasing ubiquity since the 1950s.
The conference is organised by the AHRC-funded ‘The Eastmancolor
Revolution and British Cinema, 1955-1985’ project between the University
of Bristol and University of East Anglia in an attempt to reach a
greater understanding of the multiple, comparative complexities of
global colour and the moving image.

We are seeking individual papers or panel proposals (consisting of three
or four papers) of up to*20 minutes*which are invited on, but are not
limited to, the following themes:

* Comparative histories and applications
* Film colour and its intermedial contexts
* Colour and genres
* Film stars and colour
* Histories and case studies of particular film stocks / processes
* Colour, avant-garde and experimental practices
* Colour and television
* Colour and advertising
* Technicolor after Three-Strip
* Costume and set design
* Methodologies for studying film colour
* Issues of preservation and restoration
* Digital colour technologies and aesthetics
* Colour theories and the moving image
* Colour and film industry economics
* Colour, audiences and reception
* Colour in amateur and industrial films
* Invisible labour in the colour industries – laboratories, etc.

Please visit
guidance on how to download and submit an individual / panel proposal form.

Please return your proposal
<>by no later than 31 January

Further details about the conference will be announced after the
submission deadline.

If you have any questions at this stage, please do not hesitate to
contact the project team
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CFP: Shaping Knowledge: encounters between word and image

‘Shaping Knowledge: encounters between word and image’

Media Practice Education and MeCCSA Practice Network Annual Symposium 2019
Hosted by the School of Arts, University of Kent

Friday 14^th June 2019

This symposium will explore the interaction between word and image
within media-based practice research. As creative practice has
increasingly found a home within academia, and as digital technologies
have made possible new methodologies and forms of output, the hegemony
of the written word within arts and humanities scholarship has been
challenged from different directions. From curated exhibitions, through
audiovisual essays and interactive websites, to sound and Internet art,
practice research now challenges the logocentric focus of humanities
research across all media.

Yet media-based practice research cannot entirely escape the written and
spoken word. Words permeate it - for example, in the narratives of
podcasts, the voice overs of films, and the wall texts of artworks. They
also surround it – for example in the framing statements provided in
programme notes, catalogues, and websites, in the written components of
PhD dissertations, and in REF portfolio submissions.

The interplay between word and image that underpins much practice
research has opened new opportunities but also raised new challenges.
For example, how to translate detailed research into shortform or
non-durational media and artworks without simplifying it? How to put
words and images into non-hierarchical relationships? How to acknowledge
and articulate the process of research and creation?

The symposium will explore ways in which practitioners in various fields
engage with the interdependence of word and image. By bringing together
disciplines including film, photography, online video, sound art, radio,
graphic design, and digital and media art, it will aim to bring the
audiovisual strategies for ‘shaping knowledge’ adopted within different
media forms into conversation with each other, and allow them to
illuminate each other.

Themes for presentations may include:

* Essayistic practices (essay films, photo essays, video essays,
podcasts, etc.)**
* The human voice: the spoken and performed word
* The aesthetic and affective qualities of words
* Reflexivity into creative practice and practice research
* Abstracts, synopses and REF statements: articulating practice
* The PaR PhD: articulating and contextualising research in the
* Impact: presenting practice research for non-academic audiences**
* Non-verbal knowledge: can creative research outputs ‘speak for

Proposals may take the form of scholarly papers on these or other
relevant themes, or presentation of practice-based work that works
through the relationship of word and image. Non-traditional forms of
presentation (for example, lecture-performances, videos, photo essays,
simple installations, interactive websites, etc.) are encouraged.

Papers presented at the symposium will be considered for a special issue
of/ Media Practice and Education/ in 2020.

Please send proposals (300 words approx.) for all presentations, papers,
artworks or screenings, outlining their aim and form, along with a short
biography to the symposium conveners: Richard Misek
( <>) and Maurizio
Cinquegrani ( <>)
by Friday 29th March 2019.

Hosted by the Centre for Film and Media Research at the School of Arts,
University of Kent, the event will take place at the university’s
beautiful hilltop Canterbury campus, an easy 55-minute train journey
from Central London.

The MeCCSA Practice Network champions practice within the Media,
Communications and Cultural Studies Association, ensuring that those
that teach and research practice have a strong voice within the subject
association and beyond. We are dedicated to maintaining and developing
links with the creative industries and relevant national and
international networks and associations.
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Screenwriting Research Network (Porto, 2019): CFP and KEYNOTE SPEAKERS

In 2019, the SRN conference will be hosted by the Research Centre for Science and Technologies of Arts (CITAR), operating within the School of Arts, Universidade Católica Portuguesa (Porto). CITAR develops actions to foster both art-based and theoretical-based research in four subject fields: Cinema and Cinematic Art, Heritage and Conservation-Restoration, New Media Art, and Sound and Music. Following on the work that CITAR has been developing on complex narratives, the Cinema and Cinematic Art research group co-organizes the 2019 SRN's conference. We aim to offer participants an opportunity to deepen their knowledge on this issue and to broaden the discussion on screenwriting narratives to the interplay between chaos and order.

Submissions deadline: 15th January 2019
(Know more at: )


Thomas Elsaesser 

Thomas Elsaesser is Professor Emeritus at the Department of Media and Culture of the University of Amsterdam. Since 2013 he is Visiting Professor at Columbia University. Among his recent books are German Cinema - Terror and Trauma: Cultural Memory Since 1945 (New York: Routledge, 2013), Film Theory – An Introduction through the Senses (with Malte Hagener, 2nd revised edition, New York: Routledge, 2015) and Film History as Media Archaeology (Amsterdam University Press, 2016). His latest book is European Cinema and Continental Philosophy: Film as Thought Experiment (London: Bloomsbury, 2018).

Christoph Bode

Christoph Bode was Chair of Modern English Literature at LMU Munich until March 2018 and Visiting Professor at UCLA and at UC Berkeley. He has published 28 books and some 80 scholarly articles. Former president of the German Society for English Romanticism, co-editor of three book series, permanent Fellow of LMU’s Centre for Advanced Studies and of the Academia Europaea, Bode is also the recipient of various research grants, among them a 1 million Euro Advanced Investigator Grant from the ERC for his project on Future Narratives. Bode was the first German Humanities scholar and the first English Studies person in Europe to receive such a grant. He was awarded the Order of Merit of the Federal Republic of Germany in 2013.

Maria Poulaki

Maria Poulaki is a lecturer in digital media arts and film studies at University of Surrey, United Kingdom. Her research has approached narrative complexity from the perspective of complexity theory. With a background in psychology and media psychology, Poulaki is further interested in applications of cognitive theory, psychology, and neuroscience to aesthetics, particularly in moving image media. Her work has appeared in journals such as Projections, Gestalt Theory, Screen, New Review of Film and Television Studies, Film-Philosophy, and Cinema et Cie and in a number of edited volumes, such as Hollywood Puzzle Films (2014) and Ubiquitous Computing, Complexity, and Culture (2015). She also coedited the volumes Compact Cinematics: The Moving Image in the Age of Bit-Sized Media (2017), and Narrative Complexity: Cognition, Embodiment, Evolution (2019).

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CFP: Anuário Internacional de Comunicação Lusófona


Informamos que está aberto o prazo para o envio de propostas para a edição 2017/2018 do Anuário Internacional de Comunicação Lusófona. O tema central desta edição é "Os desafios da pesquisa em comunicação no espaço lusófono", mas também poderão ser aceites artigos que tratem de outros temas no domínio da comunicação e cultura no espaço lusófono.

Data limite de envio de propostas (artigo completo): 31 de março de 2019.
Email para o envio de propostas:,
Data da resposta sobre a aceitação: 30 de abril de 2019.

Normas para publicação no Anuário
Os artigos deverão ser redigidos em formato Word, tamanho A4, tipo Times New Roman, tamanho de letra 12 e espaço 1,5.
Os gráficos e ilustrações deverão ser apresentados em jpg ou tif, com resolução de 300 dpi (mínimo), no final do texto e em páginas destinadas especificamente a esse fim.
Os artigos deverão incluir um resumo de no máximo 1000 caracteres (incluindo espaços) e palavras-chave num máximo de 5, em ambos os casos escritos num dos dois idiomas do Anuário (português ou galego) e também em inglês.
O texto completo tem como limite 50.000 caracteres (incluindo espaços).
Os elementos de identificação do(s) autor(es) deverão ser enviados numa página separada e deverão incluir: título do artigo, nome(s) do(s) autor(es), instituição(ões) de afiliação e endereço(s) de e-mail.
As citações e referências do artigo deverão ser feitas utilizando as normas APA, 6ª edição, disponíveis no site da APA ( e nos seguintes tutoriais:
- Tutorial em inglês:
- Tutorial em português:

J. Paulo Serra
Presidente da Direção da Sopcom

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CFP: View Journal - Canned Television Going Global?

VIEW Journal invites proposals for the upcoming issue on "Canned
Television Going Global?". This special issue of VIEW focuses on the
international circulation and distribution of ready-made content, in the
form of scripted products, considering both TV fiction and films.

Possible proposals are invited in (but not limited to) the following areas:

*The history of transnational TV content circulation;

*The TV distribution of films and ready-made content in the European
context and beyond;

*US content versus EU content in past and contemporary European TV;

*The role of emerging markets and nations in the production and
distribution of ready-made programs;

*The circulation of traditional and innovative ready-made genres: TV
movies, series, factual entertainment, etc.;

*New models for international distribution of content: the emerging
role of OTT services in the internationalisation of programs;

*International co-productions and their distribution policies;

*Practices of TV industry professionals in the area of international
distributions: markets, deals, professionals, routines;

*Localizing and adapting foreign ready-made content, for example
through dubbing, subtitling and voice-overs;

*The role of bottom-up circulation: fan-subbing practices and
communities, and the “shadow economy” of content.

Contributions are encouraged from authors with different kinds of
expertise and interests in media studies, television and media history.
Paper proposals (max. 500 words) are due on February 1st, 2019.
Submissions should be sent to the managing editor of the journal, Dana
Mustata at <>.

Visit our website for more information

VIEW is an open-access e-journal dedicated to sharing research on
European Television History and Culture. VIEW is supported by the
EUscreen Network and published by the Netherlands Institute for Sound
and Vision in collaboration with Utrecht University, Royal Holloway
University of London, and the University of Luxembourg.
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CFP: Hispanics and Film - VI Academic Conference Tecmerin
International Conference
Hispanics and Film: Modernity and Social Emergency
VI Academic Conference Tecmerin, 2-5 July 2019, University Carlos III de

Deadline: 1st April 2019
In the last years, the interest in Film Studies has grown within the
disciplines of Hispanics. It can be argued that film and other media
have contributed to the strength of Hispanics in times of cultural and
economic globalization.

This boom in the union between Film and Hispanic studies has occurred
in parallel with the establishment and consolidation of cinema as an
academic discipline. Several factors have favored this union. First, the
very notion of Hispanics has contributed to the reduction of distances
between the different cultural and geographical schools. Second, cinema
has proven itself as a useful tool for teaching Spanish as a second
language. Third, the epistemological and methodological modifications of
comparative literature studies have helped hispanists to analyse the
complexity of film. Scholars of film and Hispanic studies have welcomed
a great variety of proposals and theoretical frameworks from other
disciplines (from psychoanalysis to cultural studies, or gender studies,
to name just a few). Finally, scholars from different countries have
specialized in Hispanic cinemas, and have contributed with their PhDs
and other bibliographical works. This has been accompanied by the
proliferation and consolidation of national and international
institutions that have helped to welcome and give visibility to the
studies of Hispanics and cinema.

The geographical possibilities of Hispanics have been expanded too:
the cultural productions in the Iberian peninsula (including its
minority languages), in Latin America, the United States, other
diasporas... Cinema, with its many forms of circulation, has favored
intercultural communication in a world in which the coexistence of
modernity and globalization has displaced and questioned traditional
modes of representation.

We invite researchers from all over the world to present their work from
any of the perspectives offered by the collaborations between Hispanics
and Film Studies, including:

* Representation.
* Memory.
* Aesthetics and form.
* Gender and identity.
* Auteur cinema.
* Popular cinema.
* Industry.
* Star Studies.
* Coproductions and transnationality.
* Exile and migrations.
* Adaptations.
* Comparative Studies.
* Teaching film and hispanics.
* Civilization and culture.
* Post-colonial studies.
* The histories of Hispanic Studies.
* Internet and new media.
* Television Studies.

During the conference, there will be a tribute to some of the most
relevant associations and research groups of Hispanic Studies, such as

In addition, Filmoteca Española will program the film retrospective
"Hispanismo y Cine". It will be a collective proposal with the selection
of some of the most representative titles of film and Hispanic studies.
Each screening will be accompanied by a presentation and discussion.

Proposal must be submitted through the web:

Contact: <>
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CFP: XII Jornadas Cinema em Português - UBI

Chamada de trabalhos para as XII Jornadas Cinema em Português | UBI 

As Jornadas de Cinema em Português da Universidade da Beira Interior, cuja primeira edição data de 2008, têm como enfoque a discussão de cinematografias de territórios onde o português é língua oficial ou dominante, procurando integrar estas obras como um exemplo das novas dinâmicas artísticas, culturais e sócio-económicas que têm marcado os anos mais recentes.
O prazo de submissão de artigos termina em 15 de janeiro de 2019:

+ info

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Vacancy: Associate Professor / Professor of Screen Studies

Associate Professor / Professor of Screen Studies
University of Melbourne

Job no: 0043282

Work type: Continuing

Location: Parkville

Division/Faculty: Faculty of Arts

Department/School: School of Culture and Communication

Salary: $145,685 - $160,500 (Level D)

Role & Superannuation rate: Academic - 17% superannuation

We are seeking an Associate Professor/Professor to enrich and advance
our program in Screen and Cultural Studies. The appointee will have
expertise and significant publications in areas of Screen Studies
scholarship that complement and enhance our Program.

Screen Studies at the University of Melbourne is concerned with the
aesthetics, history and theory of film and screen media. The Program
offers students the critical, analytical, theoretical and creative tools
required to understand the cinema and work with the moving image in
diverse forms. Students taking undergraduate and graduate subjects
encounter a diverse range of moving images from various countries and
creative and industrial contexts, from the pre-history of cinema to the
most contemporary developments in global digital screen media. Screen
Studies places film, television and screen texts firmly in the context
of their essential relationships with the visual and performing arts and
the creative arts generally. It also examines the role screens play in
the study of a variety of humanities and social science disciplines.
Screen Studies at Melbourne is widely recognised for its excellence and
innovation in teaching, scholarship and research. Staff in the stream
are committed to classroom-based teaching as well as developing online,
interactive projects to support students and encourage them to excel in
the discipline. Screen Studies staff are active in publishing in their
areas of expertise and are successful in attracting research funding,
including Australian Research Council Discovery and Linkage grants,
University and Faculty funding as well as collaborating to develop
grants with colleagues across the globe. We aim to continue to develop
these strengths, particularly in the areas of:

Local and global film cultures, genres, movements and industries;

Gender, sexuality, and feminist film theory;

Film history and media archaeologies from pre-cinema to new
digital media;

Screen media’s relationships with the visual, performing and
creative arts;

Interdisciplinary collaborations across the humanities and social

The materiality of film and digital cinema;

Phenomenology, aesthetics, politics and ethics of the cinema.

The Screen and Cultural Studies Program at the University of Melbourne
is an innovative and distinctive formation that fosters research and
teaching in both Screen Studies and Cultural Studies, as well as the
critical intersections between these disciplines.

PLEASE NOTE the close date for applications has been extended; revised
close date shown below.

Position Description

Advertised: 02 Nov 2018 12:00 AM AUS Eastern Daylight Time

Applications close: 29 Jan 2019 11:55 PM AUS Eastern Daylight Time
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CFP: Film-Philosophy Conference 2019

CFP for the 2019 Film-Philosophy conference to be held at the University of Brighton July 9-11.

We invites proposals for presentations on any subject related to film
and philosophy. There is no single overall theme.

Keynote Speakers:

·Dr Victor Fan
King’s College London

·Professor Janet Harbord
Queen Mary University London

·Dr Andrew Klevan
<>, University of Oxford

·Associate Professor Jane Stadler
University of Queensland Australia

We invite individual 300-word abstract proposals to be submitted by 31
January 2019.

We use a track system that provides a number of broad headings to which
a presenter may wish to attach their submission. There is, of course, an
Open track if you feel that your paper does not fit within any of the
other tracks.

The tracks for 2019 are:




·Emotion and Affect

·Environment and the Screen




·Film cultures online (blogging, social media, podcasting)

·Film-Philosophy and Education


·New Technologies in/of Cinema


·Philosophy of Fiction

·Politics and Film-Philosophy


·The Film-Philosophy Canon

·Video Essays


We only accept individual proposals for presentations of 20 minutes.

We do not accept group panel proposals except for Workshops.

The track system allows for papers to group organically around common
themes and approaches.

We are open to workshops that have alternative and innovative formats
that provoke discussion and debate. If you have any ideas for a workshop
- in format or content - please contact the conference director
( <>) before
submitting an official abstract via the website.

We are also planning this year to audio record the keynote speakers and
various panel speakers for an audio journal to be produced after the
conference. If you do not want your paper to be recorded in this way,
please indicate on you abstract submission by putting “DO NOT RECORD” at
the end.

All abstracts will be considered by at least two members of the
conference committee and decisions will be announced in March 2019.

Accommodation information is available on the conference website.

Please contact the conference director Dr Dario Llinares, University of
Brighton: <>
with any questions.

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CFP: ReFocus: The Films of Zoya Akhtar

Edinburgh University Press

Contact Email:

Deadline: February 10, 2019

Zoya Akhtar is one of the very few female writer-directors working in
the Hindi film industry. Along with her contemporary Farah Khan, she is
the only woman who works within the big budget Bollywood film format.
While the reception of her two latest films has made her a commercially
successful director, her films stand out for their complex
representation of relationships, a non-judgemental, progressive
worldview, and her reinterpretation of many of the tropes of the typical
Bollywood film.

While some critics contend that Akhtar’s big budget films reflect the
many limitations of the Bollywood film format, her work refuses to be
defined by one particular style. From her award winning directorial
debut Luck by Chance(2009) about two young actors navigating the
Bollywood industry, to the boys’ road trip blockbuster Zindagi Na Milegi
Dobara(2011) and the family drama Dil Dhadakne Do(2015), Akhtar’s varied
work across the industry indicates a much more important range.
Further, the success of the latter two films has challenged the popular
view that films made by female directors don’t make money at the Indian
box office. Her mark on the Hindi film industry extends beyond the
feature; her short films appear amongst those of other celebrated
directors in the omnibus productions Bombay Talkies (2013) and Lust
Stories(2018) and she has worked as a script writer and lyricist on
films like Talaash(2012) and Bride and Prejudice (2004) respectively.

Akhtar’s career represents a fascinating case study of the gender
dynamics in the Hindi film industry, the possibilities and limitations
of the changing form of popular Hindi cinema, as well as the pressures
of the box office on film-makers. Her film family background adds
another layer, making her career reflective of many of the
contradictions and peculiarities of the Hindi film industry. Keeping
this context in mind, we are seeking chapters for an anthology on the
films of Zoya Akhtar. Exploring her contributions across multiple facets
of Hindi cinema, we invite submissions on any aspect of Akhtar’s films,
her industrial context and position in the field. We are especially
interested in chapters on the following:

*Formal analysis of short films vis-à-vis Bollywood films;

*Akhtar’s work as an assistant director, script writer, lyricist;

*Possible influence of the box office on her film themes and styles;

*Formal analysis of any of her films;

*A woman directing a boys’ road movie in Zindagi Na Milegi Dobara;

*Analysis of popular film criticism of her films;

*Song sequences;

*Film family context;

*Collaborations with Farhan Akhtar, Javed Akhtar, and/or Reema Kagti;

*Comparison with her mother Honey Irani’s work as script writer and director;

*Representation of women in her films;

*Representation of men in her films;

*Your suggested topic

We are proposing The Films of Zoya Akhtarto be one of the first
scholarly editions on an Indian woman in the Hindi film industry, to be
published by the University of Edinburgh Press in the ReFocus series on
international directors. Series editors are Robert Singer, Gary D.
Rhodes and Stefanie Van de Peer.We have already had a positive response
on the project from the editors.

Please send your 500-750 word proposal and CV to the editors of the
volume, Aakshi Magazine and Amber Shields, latest by February 10, 2019.
We welcome initial email enquiries to discuss possible proposals,
especially those not listed above.

Final submissions will be between 6,000 and 8,000 words, in English, and
referenced in Chicago endnote style. We are anticipating an Autumn 2019
submission date.

Any questions and proposals can be sent to:

Aakshi Magazine and Amber Shields

Email address:
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Collaborative doctorate on independent cinema in the age of on-demand culture

The Role of Independent Cinema in the Age of On-Demand Culture

Fully-Funded Collaborative Doctorate with Watershed Cultural Cinema
Bristol, UWE Bristol and Exeter Universities

An exciting opportunity has arisen to undertake a collaborative
doctorate analysing the role of independent cinema in the age of
on-demand culture, beginning in October 2019. The project explores
independent cinema’s approach to curation, audience development and
community-building; its relationships with funders and policymakers at
local, regional, national and international levels; and the strategies
it has developed to survive in the face of far-reaching changes to the
ways in which films are distributed, exhibited and consumed notably the
emergence of Subscription Video on Demand (SVoD) services. The project
will focus on the role of Watershed Cultural Cinema in Bristol
_ but also engage with the UK independent
film exhibition centre as a whole.

You will be jointly supervised by Mark Cosgrove, the Film Curator at
Watershed, Professor Andrew Spicer at UWE Bristol and Dr James Lyons at
Exeter University. The studentship is fully funded for three years
within the South, West and Wales (SWW2) Doctoral Training Partnership
and you will enjoy all the advantages of working within that
collaborative framework that includes a number of training events.

For further details please go to the SWW2 website:

If you have any questions or queries about this doctorate, please
contact Andrew Spicer in the first instance:

In order to be considered for this opportunity, you need to send an
Expression of Interest to Andrew Spicer by email. This should contain
the following:

* Name
* Contact Details
* Educational Background and Qualifications
* A statement (up to 1,000 words) that explains:
1.Why you wish to apply for this collaborative doctorate

2.How you would approach investigating this subject

3.What you see as the advantages in working with Watershed, UWE Bristol
and Exeter

4.In what way your interests, education and existing knowledge makes you
well suited to undertake this project

We need to receive your Expression of Interest by 17.00 on Thursday 3
January 2019 at the latest
. Please note that you must be available to
be interviewed in Bristol on Friday 11 January 2019.
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CFP: Metafiction and Reflexivity in Cinema

Metafiction and Reflexivity in Cinema
November 14-15, 2019
Université Clermont Auvergne / Université Toulouse Jean Jaurès

Reflexivity in art is not a practice that is specific to the postmodern
period, as a number of critics have noted. Robert Stam reminds us that
Homer often designates his own enunciation as one of the topics of his
text. We find similar examples of self-reference concerning the writer
or the creative process in the writings of Lawrence Sterne, long before
the reflexive strain that characterized authors from the second half of
the 20th C (William Gass, Vladimir Nabokov or John Fowles among others).
Likewise, cinematographic reflexivity does not appear circumscribed by a
period beginning after 1950. As soon as the silent era,
self-consciousness in the medium is manifest: the cameraman in The Big
Swallow (James Williamson, 1901) engulfed by the camera eye testifies to
this phenomenon, just like, in a different context, Sherlock Junior
(Buster Keaton, 1924), which uses various innovative devices to stage
the adventures of a projectionist who falls asleep during a show and
dreams that he is acting as a great detective. The same reflexive slant
is visible in documentaries or in experimental films like The Man with a
Movie Camera (Dziga Vertov, 1929) or Chronicle of a Summer (Jean Rouch,
Edgar Morin, 1961) where the filmmakers appear several times on screen
while they are shooting the film itself—see Bill Nichols’s (2001)
category of “reflexive documentary.” Because reflexivity is such a
widespread phenomenon, its motivations and forms beg to be considered
more precisely.

A first step in this process is to distinguish metafiction from
reflexivity. In the wake of Robert Stam’s analysis (p. 159), reflexivity
can be considered as the use of devices meant to draw the reader’s or
spectator’s attention to the fictional and/or artificial quality of
representation. Reflexivity may also be found in works that reveal what
goes on behind the scenes of cinematographic creation. By contrast,
metafiction—as it was defined by Patricia Waugh—implies the production
of a critical discourse on a text or a film as a work of fiction, and a
critical discourse on the medium itself, whether it is film or
literature. Metafiction thus refers to a more elaborate practice than
reflexivity, which can be limited to self-referential games around
fiction or to artificial devices, without opening onto larger questions
bearing on the medium itself and on the question of fictionality in the
work itself (or, sometimes, in just any work of fiction). Secondly, we
must note that the metafictional or reflexive quality of a work appears
differently in literature and in cinema. In literature, it can take the
form of a discourse on the text—or on writing in general—and be
inscribed within the text itself. This calls to mind texts which include
writers commenting on their own works, but also texts dealing with
literary influences on the fictional diegesis (such as Madame Bovary and
Don Quixote). The transposition of a metafictional discourse is often
more difficult in the cinematographic medium because the representation
of the cinematic technical apparatus is less realistically integrated in
a fiction film than in writing, which may use cases of interpretation
within the diegesis to justify reflexive episodes. Films staging
directors—such as Day for Night (François Truffaut, 1973), 8 ½ (Federico
Fellini, 1963) and Living in Oblivion (Tom DiCillo, 1995)—resort to
stories focused on the shooting of a film and not only on the influence
of fiction within fiction, as this may be the case in literary
metafictional works. This statement can be qualified by the fact that
many films evince their reflexivity through isolated citations of other
films or audiovisual materials, for instance through the insertion of an
autonomous sequence, distinct from the first narrative level, and that
acts as a reference. Yet, in this case, such citations are in themselves
no guarantee of a metafictional perspective developed in the films,
since this perspective requires theoretical and topical distance towards
the medium. More largely, the overlapping of narrative boundaries—which
Gérard Genette calls metalepses—may function differently from one medium
to another; it can consist in the passage from one narrative to another
(as with the play within the play in Hamlet) meant to signify an
interaction between the initial diegesis and the metafictional text, but
in cinema this passage needs to be motivated in the story; this occurs
in The Purple Rose of Cairo (Woody Allen, 1985) when two narrative
levels encroach upon one another. Yet again these metalepses may appear
artificial in cinema due to the uneasy diegetic justification, in a
realistic frame, of this interaction between narrative levels, whereas
literary texts may integrate references to other literary discourses
more unobtrusively and with less constraint as regards the devices used.

Attention should be paid, of course, not only to the forms of
reflexivity and metafiction in film, but also to its aims. Although the
term “metafiction” seems to have become a common idiom in contemporary
fan culture (through the use of the prefix “meta”), what is at stake in
this issue is diversely regarded, especially if we consider recent
filmic productions. It may be conceived of as a distancing device
serving to detach the viewer from imaginary identification (as in Stam’s
argument, which adopts a Brechtian perspective), or a way to exploit
avant-garde innovations in commercial form, notably in Hollywood
productions. The striking changes visible in these practices, starting
from the first full-length studies focused on the topic in literature
(notably by Linda Hutcheon and Patricia Waugh), namely the fact that
reflexivity seems to have spread beyond the limited circle of auteur
cinema, also suggests that the reception of these devices in mainstream
cinema was influenced by a more general evolution of forms and practices
in the medium itself. Filmic self-reference may be more relevant today,
due to the diversity of modes of consumption and perception of
films—visible through the popularity of series, the use of VOD and
streaming, or the production of films direct to internet. This may also
point to a change in the ontology of film, through the increase in CGI
and online viewing. This situation makes it all the more necessary to
question the very nature of cinema and the potential end of cinema
(Gaudreault and Marion), through this reflexive and metafictional
discourse. This discourse thus contextually points to an interest in the
redefinition of the medium itself, but also to a redefinition of the
spectator’s role in the cinematic apparatus.

These avenues eventually suggest a possible link with a poetics of
cinema, as explored by Christian Metz. The specific way reflexivity
manifests itself in cinema can thus be related to some features in film
aesthetics determined by a form of reflexivity at work in the medium
itself and thus beyond the narrative discourse, as Christian Metz
suggested in Impersonal enunciation or the site of film.

This conference thus invites talks on the following topics:

* The evolution of reflexive and/or metafictional devices in the history
of cinema, notably in relation to technological (r)evolutions (sound,
Internet, digital, etc.)
* The labeling and conceptual differences between reflexivity,
metafiction, metafilm, metacinema, frame narratives
* The role of reflexivity and/or metafiction in defining an artist’s
aesthetic identity, and thus in her/his poetics
* The reception of reflexive devices or metafictional discourses
* The narrative and structural outcome of reflexive or metafictional
strategies in a given work
* The specificity of reflexive devices according to cinematic forms
(feature films or short films), modes (documentaries, fictions,
experimental cinema) or genres (slapstick, film noir, melodrama, social
drama, epics, romances, etc.)
* The practices, techniques and implementation of metafiction in cinema
* The emergence of metafiction determined by a cultural context

We shall have the pleasure to welcome Dr. Daniel Yacavone, from the
University of Edinburgh, who will be our keynote speaker

The conference will take place at the Maison des Sciences de l’Homme in
Clermont Ferrand, central France. Registration fees are 40 euros for
lecturers, professors or independent scholars and 20 euros for students.
Accommodation will be provided freely for the participants by the
research centres. The conference organizers will welcome proposals from
confirmed scholars as well as from doctoral students. A publication of
peer-reviewed texts will be proposed by the organizers. Proposals should
include a 300-word abstract with a bibliography and a short biography.
Thank you for sending your proposals to all three following addresses by
1st April 2019: <>, <>, <>
_Scientific commitee_
Julien Achemchame (Université Paul Valéry, Montpellier)
Zachary Baqué (Université Jean Jaurès, Toulouse)
Alain Boillat (Université de Lausanne)
Fatima Chinita (Lisbon Polytechnic Institute)
Robert von Dassanowsky (University of Colorado, Colorado Springs)
Sarah Hatchuel (Université Paul Valéry, Montpellier)
Sébastien Lefait (Université Paris 8)
Shannon Wells-Lassagne (Université de Bourgogne, Dijon)

ALTER, Robert, Partial Magic: The Novel as a Self-conscious Genre,
Berkeley : University of California Press, 1975.
BOILLAT, Alain, “Stranger than Fiction : Métalepse de Genette et
quelques univers filmiques contemporaines,” Cinéma & Cie, vol XII, no.
18 (Spring 2012): 21-31.
BOYD, Michael, The Reflexive Novel: Fiction as Critique, London:
Associated Presses, 1983.
CERISUELO Marc, Hollywood à l’Ecran, Essai de poétique historique des
films : l’exemple des métafilms américains, Paris, éd. des Presses de la
Sorbonne Nouvelle, coll. « L’œil vivant », Paris, Presses de la
Sorbonne Nouvelle, 2001
DÄLLENBACH, Lucien, « Mise en abyme », Dictionnaire des genres et des
notions littéraires, Paris, Encyclopedia. Universalis et Albin Michel, 1997.
DÄLLENBACH, Lucien, Le récit spéculaire. Essai sur la mise en abyme,
Paris, éd. du Seuil, coll. « Poétique », 1977.
DIKA, Vera (2003). Recycled Culture in Con- temporary Art and Film.
Cambridge, MA: Cambridge University Press.
FÉVRY, Sébastien, La mise en abyme filmique. Essai de typologie, Liège,
éd. de fournitures et d'aides pour la lecture, coll. « Grand écran,
petit écran. Essais », 2000.
FREDERICKSEN, Don (1979). Modes of Reflexive Film. Quarterly review of
film studies, 4(3), 299-320.
GAUDREAULT André et Philippe MARION, La Fin du Cinéma ? Un média en
crise à l’ère du numérique, Paris, Armand Colin, 2013.
GENETTE, Gérard, Métalepse, Paris, Le Seuil, coll. « Poétique », 2004.
GENETTE, Gérard, Palimpsestes : la littérature au second degré, Paris :
Seuil, Essais, 1982.
GERSTENKORN, Jacques, « À travers le miroir, (notes introductives) »,
Vertigo, n° 1, Le cinéma au miroir, Paris, 1987.
HUTCHEON, Linda, Narcissistic Narrative: The Metafictional Paradox, New
York & London : Methuen, 1984.
JOURNOT, Marie-Thérèse, Le Vocabulaire du cinéma, (sous la dir. de
Michel Marie), Paris, éd. Nathan Université, coll. « 128 », 2003.
LIMOGES, Jean-Marc (2008). Mise en abyme et réflexivité dans le cinéma
contemporain: Pour une distinction de termes trop sou- vent confondus.
Les Actes de la Sesdef (La Société des études supérieures du Département
d ́Études françaises de l ́Université de Toronto).
METZ, Christian, L’énonciation impersonnelle ou le site du film, Paris,
éd. Méridiens Klincksieck, 1991.
MOUREN, Yannick, Filmer la création cinématographique : Le film-art
poétique, Paris: L’Harmattan, 2009.
NICHOLS, Bill, Introduction to Documentary 3rd edition. Bloomington:
Indiana UP, 2017 [2001].
ROCHE, David, Quentin Tarantino: Poetics and Politics of Cinematic
Metafiction. Jackson: UP of Mississippi, 2018. 352 p.
ROSE, Margaret A., Parody/Metafiction : An Analysis of Parody as a
Critical Mirror to the Writing and Reception of Fiction, London : Croom
Helm, 1979.
SIEGLE, Robert, The Politics of Reflexivity, Baltimore & London : Johns
Hopkins University Press, 1986.
STAM, Robert, Reflexivity in Film and Literature : from Don Quixote to
Jean-Luc Godard, Michigan, UMI Research Press, coll. « Studies in cinema
», 1985.
TAKEDA, Kiyoshi, « Le cinéma auto-réflexif : quelques problèmes
méthodologiques », Iconics, The Japan Society of Image Art ans Sciences,
WAUGH, Patricia, Metafiction : The Theory and Practice of Self-Conscious
Fiction, London & New York : Routledge, New Accents, 1985.

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CFP: Working the Film Script

Working the Film Script: Hidden Production Histories

A Symposium at the Bill Douglas Cinema Museum, University of Exeter

Saturday 23^rd March 2019
Keynote Speaker: Dr Melanie Williams (UEA)

A symposium to illuminate the otherwise hidden labour of individuals who
work on/with film scripts, including screenwriters, continuity/script
supervisors, script editors, text advisors/researchers, (sub)titlers,
translators, authors of source texts (and their representatives),
legislators, censors and other production roles. The symposium
also invites prospective delegates to explore research on the production
of screenplays, treatments, shooting scripts, subtitles, fan fiction,
promotional synopses and other written ‘versions’ which may serve
diverse cultural ends.

Film studies has increasingly relied upon collaborative models of
authorship, but not necessarily at the expense of downplaying individual
contributions. Recent production studies and feminist film
historiographies strategically distinguish the work of academically
marginalised agents from within their respective networks. Speakers are
invited to debate case studies which demonstrate how the script (broadly
understood) has been worked by underappreciated individuals, and their
efforts to share or silo time, energy and expertise within hierarchical
or communal production scenarios.

Overall, the symposium aims to evidence the act of scripting film
narrative and style in historical production contexts, using
wide-ranging examples of specialist labour: plotting shots, managing
continuity, adapting films from/to literature, the iterative process of
screenwriting, and so on. A second aim will be to provide pragmatic
production histories that showcase novel methodological and/or archival
resources, in keeping with the choice of venue:*The Bill Douglas Cinema
Museum*. Among the Museum’s 75,000+ itemsare published and unpublished
screenplays, novelisations of popular films (including the ‘Reader’s
Library’ series), source texts, various filmmaking manuals, programmes
and press books containing plot summaries, and relevant individual
collections including those of Gavrik Losey (film producer), Pamela
Davies (continuity supervisor), and the filmmaker Bill
Douglas.*A**sample of items which thematically complement the symposium
will be available for delegates to browse on the day.*

If you would like to present a paper, please email a 250 word abstract
and 100 word bio
<>by 23rd January 2019. Preference will be
given to papers which respond to one or more of the following provocations:

1) What academically marginalised production roles are illuminated by
researching script work in film, broadly understood?

2) How does scripting intersect with gender, class, racial and political
3) How is script work influenced by transnational workflows, from
subtitling dialogue for international audiences to exporting literary
4) What methodological, archival and technological resources are
available to researchers of script work in film?

Enquiries addressed
<> will be checked by Steven Roberts (PhD
Student and Museum Intern). The symposium is being coordinated by Steven
during a six-month placement at the Bill Douglas Cinema Museum (where he
is cataloguing the Pamela Davies collection), with organizational
assistance from University of Exeter colleagues.
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CFP: Queer Celebrity Conference

The Celebrity, Citizenship, and Status Project are delighted to share
the CFP for our 'Queer Celebrity' Conference on 6-7th June 2019, at the
University of Portsmouth, UK. Abstracts are due 1st February 2019.

Queer Celebrity Conference

University of Portsmouth

6th -7th June 2019

Keynote Speakers:

*Professor Richard Dyer (King’s College, London)

*Professor Jack Halberstam (Columbia University)

*Dr Michèle Mendelssohn (University of Oxford)

The focus of celebrity studies on the cultural mediation and function of
a diverse range of public personalities has foregrounded an ever-growing
archive of queer celebrities. This conference aims to explore how the
entry of queer figures into the public imagination, in different
historical periods and geographical locations, has had a transnational,
even global, impact, changing perceptions, attitudes and the way
individuals live their lives. LGBTQ figures, for example, have risen to
public prominence and become positive role models, while negotiating
their fame alongside cultural associations of homosexuality with crime,
scandal and blackmail. The refusal of closeted celebrities to come out
underlines the detrimental effects of homophobia on popularity, but also
celebrity culture’s preoccupation with the open secret. ‘Straight’
celebrities have become queer icons by tapping into LGBTQ subcultures,
codes and identities, bringing that which is hidden into the open to
become part of everyday life. These cultural and historical trajectories
point to the queer nature of celebrity itself and how celebrities have
unsettled cultural norms, binaries and oppositions.

This conference will consider how the cultural visibility of queer
celebrities has reshaped and expanded norms and expectations relating to
gender, sexuality and identity. How have, for instance, queer identities
influenced celebrity culture throughout history and across all media
forms, society, and politics? How does queer theory complicate our
understanding of celebrity studies and vice versa? Through what
mechanisms and to what ends have LGBTQ public figures, including queer
theorists, become celebrity figures?

Topics for papers may include, but are not limited to:

●Queer Celebrities; Queer Icons

●Celebrity, Sex, Gender

●Histories of LGBTIA+ Celebrity

●Queer Celebrity, Race & Ethnicity

●Queer Fame; Queer Infamy & Notoriety; Queer Celebrity Scandal

●Celebrity, Norms & (anti)normativity

●Transnational Queer Communities

●Celebrity Sexologists, ‘Sexperts’, Practitioners

●Celebrity and the ‘closet’; Visibility & Invisibility

●Queer Celebrity, Time & Space

●The Politics of Queer Celebrity

●Queer Celebrity and the Public Domain

●Queer Style, Queer Form

●Queer Celebrity ‘Texts’

●Queer Celebrity Objects

●Queer Celebrity & Masculinity/Femininity

●Celebrity Failure; Failed Celebrity

●Queer Celebrity Children

●Queer Celebrity, Citizenship & Status

Please send paper abstracts (of no more than 300 words) or panel
proposals (of no more than 600) words, with a brief biographical note
(50-100 words) to <>_ by 1st
February 2019.

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CFP: Transnational Radical Film Cultures: An International Conference on Film, Aesthetics and Politics
Transnational Radical Film Cultures:

An International Conference on Film, Aesthetics and Politics

(Radical Film Network Conference 2019)

Call for Presentations

Date: 3-5 June 2019

Venue: The University of Nottingham (University Park Campus), UK

This conference aims to bring together the political and aesthetic
avant-gardes, with a particular focus on the transnational nature of
contemporary radical film cultures. By looking at how radical films are
produced, circulated and engaged with in different parts of the world,
the conference hopes to shed light on the transnational nature of film
cultures and the intersecting relationship between political struggle
and aesthetic innovation. Bringing together filmmakers and researchers,
the conference hopes to create new and consolidate existing connections
and networks, facilitate transnational and cross-cultural dialogues, and
forge global solidarity among radical filmmakers around the world.

Contributions may include, but are not limited to, the following:

* Radical aesthetics and politics;
* Political filmmaking and ethical issues;
* Class and radical films;
* Forms of radical film activism and political agitation;
* Programming, distribution and exhibition;
* Radical film festivals and audiences;
* Radical film history across national borders;
* (Self)-Representation, identity and privacy in radical film cultures;
* Collaborative and participatory practices in radical film cultures;
* Partnerships between radical filmmakers and institutions;
* Issues of inclusion/exclusion in radical film cultures;
* Radical film cultures, memory, the archive and preservation;
* Creativity and innovation in radical film cultures;
* Radical films and the proliferation of digital technologies;
* Radical film cultures in the Global South;
* Radical film cultures and future direction(s)

Interested participants are invited to submit proposals for one of the
following formats:

1. a 20-minute presentation
2. a 1.5-hour panel (with 3-4 panellists)
3. a 1-1.5-hour workshop on any aspect of radical film cultures


Proposals to a maximum of 300 words (presentation) or two-pages (panel
or workshop) should be sent to: <>_

(Deadline for submission of abstracts: Thursday 31 January 2019)
For more information, please visit:

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Call for papers of ZER Journal on TV

ZER is a semi-annual journal on communication edited by the Basque
Public University and it is beginning a transformation stage. Among its
new objectives, the journal will focus on highlight specific topics. It
is not related to monographs, so ZER will continue to publish articles
focused on communication. ZER is inviting a call for papers for issue
46, May 2019, from scholars whose research interest connects with
television. In recent decades, some voices have warned about the future
of television and audiovisual media and have questioned its media

ZER aims to address the process of reconfiguration and adaptation of the
contemporary television panorama. These are the suggested topics:

-Changes in content production and new professional challenges
-Multiple forms of distribution and different business models
-TV and new forms of consumption: speed watching, multiple devices
-The challenge of public, local, community and regional television
channels. New financing strategies
-New television platforms, new formats and new narratives
-Changes in the relationship of information and entertainment
-Big Data and television.
-Social networks and participation
-Communication Politics on regional, state and community fields
-The big global changes: blockchain

The deadline for ZER applications is March 31th, 2019. The originals may
be sent in English, Basque and Spanish. The information for the
registration and sending of originals can be found at

Guest editor: PhD Andoni Iturbe Tolosa (Euskal Herriko Unibertsitatea /
University of the Basque Country)
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Sexuality and Gender Research PhD Studentships in the Arts & Humanities and Social Sciences

AHRC and ESRC Studentships available at the University of Brighton
through the TECHNE 2 and SOUTH COAST Doctoral Training Partnerships

The Transforming Sexuality and Gender Research Centre at the University
of Brighton homes internationally recognised scholars who work in a wide
range of fields intersecting with the study of genders, sexualities and
social change across the Arts & Humanities and the Social Sciences.
We are inviting prospective doctoral students who are interested in
applying for studentships either through the AHRC TECHNE 2 Scheme or
ESRC South Coast programme, with a focus on innovative and
interdisciplinary Gender and Sexualities research.

The centre incorporates three key research themes:
•LGBTQ Lives Research
•Sex, Sexuality and Health
•Digital Sexualities
We are committed to cutting edge research and community engagement that
impacts on policy and practice. Many of our researchers have a shared
commitment to feminist, post-structuralist and queer theoretical
approaches and use a variety of methodologies that are participatory,
visual and creative.

The Centre has a thriving early career researcher community and students
benefit from a rich programme of invited speakers, workshops, reading
groups and networking events. We host several national and international
conferences every year.

The Centre for Transforming Sexuality and Gender offers an opportunity
to work with researchers specialising in gender and sexualities research
across a broad range of subject areas, including:

•Human Geography
•Media Studies
•Social Media
•Cultural Studies and Popular Culture
•Drama and Sexualities
•Early Modern Sexuality and Gender
•Literature and Film
•Sexualities, Health & Mental Health
•Sexual Practices, Identities and Cultures
•Health Inequalities
•Youth Cultures, Gender and Sexuality

We welcome expressions of interest from potential applicants interested
in pursuing PhD research in the areas listed above. You can find out
more about the Centre members' research expertise on our website.

PhD students will have access to the Research Centre's own
methodological space, The Creative Methods Lab, where researchers meet
to develop and conduct research, using state-of the-art visual and audio
recording equipment.

How to apply:
Enquiries can be made to Director of CTSG, Dr Olu Jenzen
(, who can also help you identify a potential
You can also make contact with a potential supervisor directly or
contact the Research Centre via email:

The deadline is 7 January 2019 for TECHNE 2 and 13 January 2019 for the
South Coast DTP
, but it is important to make contact with a potential
supervisor as soon as possible.

Types of funding:
Applicants need to meet AHRC / ESRC eligibility criteria for funding.
The ESRC studentship also offers the option of a Masters+PhD route (1+3

For more information:
•About the Centre:

•About current CTSG PhD projects:

•About PhD funding at the University of Brighton:

•About upcoming events: follow us on twitter @CTSG_Brighton
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Call for chapters on disability, bodies, media and representation in Asia

We have space for some additional chapters in the edited collection
Disability and the Media: Other Bodies on the themes of disability,
bodies, media and representation in Asia. in the following edited

Book edited by Diana Garrisi (JC School of Film and Television Arts,
Xi’an Jiaotong Liverpool University) and Jacob Johanssen (Communication
and Media Research Institute, University of Westminster)

Under contract with Routledge and to be published 2019 in the Routledge
Research in Disability and Media Studies series

Using a variety of theoretical and methodological approaches this
volume encompasses an array of media forms including cinema,
newspapers, television, advertising and social media. This book has
several purposes. It critically discusses the relationship between
self-representation and representations in either reinforcing or
debunking myths around disability and othering. It explores the
cultural, political and commercial basis for why media can negatively
portray some people as intrinsically different. Finally, it suggests
that the dynamic relationship between traditional and new media and the
blurred lines between forms of representation and self-representation in
new media can make it more difficult to continue framing ability and
disability as mutually exclusive categories, and therefore cast the
latter as unwanted. The book presents instances of a possible, slow
cultural shift in favour of non-dichotomic views on ability and
disability increasingly represented as fluid and necessary conditions
characterizing the essence of each human being.

We are specifically interested in chapters that focus on Asia and its
different countries in relation to the themes of the book.**

Possible themes include but are not limited to:
· Affective labour of bodies
· Auto-ethnographic accounts of the body in / through digital media
· Celebrity bodies and the spectacles of transformation
· Cinema and disability
· Contemporary coverage of disability in
· De-colonizing and de-westernising the mediated body
· Disability and advertising
· Disability and race
· Disability and the media: historical perspectives
· (Dis)Empowerments of the disabled body
· Journalism and practices of othering the body
· Neoliberalism, policy and austerity politics
· Reality television and the body
· Representing wounds and scars
· Researching bodies and the media: frameworks and methodologies
· Stigma and the body
- Posthumanist and non-representational frameworks
· The abject body
· The body and trauma
· The mediated body as spectacle
· The medicalised body in the media
· The objectification of the disabled body in the media

We invite submissions of 200-250 words chapter proposals. 
Deadline: Friday, 21 December 2018
Submissions should also include:
a) Title of chapter
b) Author name/s, institutional details
c) Corresponding author’s email address
d) Keywords (no more than 5)
e) A short bio

Please send chapters to
<> and

Commissioned chapters are around 5,000 words. The fact that an abstract
is accepted does not guarantee publication of the final manuscript. All
chapters submitted will be judged on the basis of a double-blind
reviewing process.

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Exploring Past Images in the Digital Age

22 - 24 NOVEMBER 2018, İstanbul

Archives are not only places to collect, assemble and categorize
documentary information but also sites of historical struggle over the
writing, filming, collection, destruction, translation, and
interpretation. The question of management of cultural heritage cannot
be simply limited to processes of preservation and conservation, but
also it requires an investigation of the ways in which archiving creates
new forms of academic and artistic studies. In other words, these
studies on archives, instead of merely focusing on data collection,
scrutinize how the past -in the form of a film, a text, an image, is
being recreated and reimagined in the present. Thus, forgetting the
archive envisages a process that is integral to remembering and recreating.

The Film Department of the Turkish Ministry of Culture and Tourism is
going to launch a website of film archive, a great majority of which
consists of silent films from the first half of the past century-1900s.
Regarding this crucial moment in cultural history, the Cinema and
Television Department of İstanbul Şehir University is organizing an
international symposium, ‘Forgetting the Archive’. The symposium aims to
provide an academic and artistic platform for the discussion of
philosophical and theoretical issues pertaining to the archives. To this
end, the symposium brings together scholars, archive directors, and
artists from the United Kingdom, Austria, Germany, India, Netherlands,
and Turkey.

The goals of the symposium are not limited to exploring and discussing
the meaning of archives, as it further aims at developing a cultural
dialogue and connection between different academic and artistic
networks, as well as initiating international collaborations and

İstanbul Şehir University envisages this international event as the
first in a series of annual symposiums that will draw on the
participation of international scholars and artists in collaboration
with worldwide universities, archives, and cultural institutions.


Elif Akçalı, Kadir Has University, Istanbul

Canan Balan, İstanbul Şehir University

Ian Christie, Birkbeck University of London

Peyami Çelikcan, İstanbul Şehir University

Özde Çeliktemel-Thomen, Middle East Technical University, Ankara

Gustav Deutsch, Artist, Film Director, Vienna

Nezih Erdoğan, İstanbul Şehir University

Thomas Elsaesser, University of Amsterdam

Nurçin İleri, Boğaziçi University, Université Grenoble Alpes University,

Claudy Op Den Kamp, Bournemouth University

Nico de Klerk, Utrecht University

Peter Kramer, De Monfort University, Leicester

Aslı Odman, Mimar Sinan Fine Arts University, Istanbul

Saadet Özen, EHESS, Paris

Esin Paça Cengiz, Kadir Has University, Istanbul

Barış Saydam, Türk Sinema Araştırmaları, Istanbul

Rashmi Sawhney, Christ University, Bangalore

Asuman Suner, Istanbul Technical University, Sabancı University

Serkan Şavk, İzmir Ekonomi University

Nikolaus Wostry, Austrian Film Archive, Vienna

Mustafa Selçuk Yavuzkanat, Ministry of Tourism and Culture, Directorate
of Cinema, Ankara

Erkin Yılmaz, Ministry of Tourism and Culture, Directorate of Cinema, Ankara


Çiğdem Borucu

Güniz Alkaç

Nurcan Arısoy

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CFP: Pleasures of Violence

Pleasures of Violence
Conference to be held at Oxford Brookes University (Oxford, UK)

March 7-8,2019

It has become a truism to claim that social media bring out the worst in
us. But who gets to be the subjects and the agents of violence in an
economy built to repackage violence? In Updating to Remain the Same
Habitual New Media, Wendy Chun exposes the hypocritical dissonance
between our fantasies about the Internet and our online practices. For
instance, we are continually surprised at the leaking of a network that
is precisely built to leak; or we project the promiscuousness of
networks onto bodies that aren’t supposed to matter. Digitality has
become, then, indissociable from questions of injury, aggression and
pre-determined targets. Such impulses of violent digitality have further
become central spectacles on cinema, television and video game screens.
Why does the digital seem so well suited for the most insidious and
blatant of death drives?

From misogyny to racism, from trolling to warfare, from disaster porn
to revenge porn, to be immersed in popular visual culture is to have to
negotiate the circulation, broadcasting and spectacle of violence. Is
digital violence the re-enactment of analog modes of violence or a brand
new kind of economy? Have digital networks simply brought to the surface
the cesspool of destructive desires that whirled beneath surfaces all
along, or do they facilitate unprecedented modes of acting out, and
suffering from, violence? How might we, scholars and creative
practitioners, imagine ways of combating or repairing violence?

This conference aims to consider questions of abuse, misuse of power and
aggression in the (post-)digital age from a variety of perspectives and
fields, exploring the relationship between violence (physical,
psychological, symbolic, et al) and digitality writ large. It also takes
seriously the pleasures on offer through such digital violence, whether
that is the action cinema’s fight sequence or the trainwreck celebrity.
Is “digital violence” a redundant category? How does violence play out
in different national contexts and creative industries: cinema, gaming,
photography, music, fashion?

We welcome abstracts that centre on, but are not limited to the following:

* Doxing, firehosing, gaslighting: The New Language of Violence

* Representations of violence in contemporary TV, cinema, series and

* Bot-enacted gender and racial violence

* The relationships between genre and violence

* Digital terrorisms

* The digital circulation of xenophobia

* Disaster porn, revenge porn and other types of sexual violence

* Online communities of violence and self-harm

* Outing as a form of violence

* Youtubeas platform for confessing violence

* Social media, feminism and the exposure of rape culture

* The weaponization of gossip, hearsay, fake news and misinformation

* BDSM online communities: The New Erotic Possibilities of Violence

* Biometric technologies of racial violence

* Necro/Bio-political violence

* Neo-colonial violence

* Glamourization and fetishization of violence

Please send abstracts of 250 – 300 words, with a supporting bio of no
more than 100 words, to

Abstract deadline: Monday 31st of December 2018.

*Dr Diego Semerene*
Senior Lecturer in Film Studies and Digital Media
/Oxford Brookes University/
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CFP: Asian Cinema Studies Society Conference, June 2019

Deadline for submission of proposals is 10 December 2018.
Notifications of acceptance
will be sent out by early February 2019.

Papers and panel proposals are invited for the 13th Asian Cinema Studies
Conference: The Environments of Asian Cinemas. With the support of the
Faculty of Fine
Arts, Media &amp; Creative Industries at LASALLE College of the Arts,
in conjunction with the
Asian Cinema Studies Society, the conference is planned for 24–26 June
2019, at LASALLE
College of the Arts, Singapore.

Participants are invited to present papers on any aspect of Asian cinema, though proposals
engaging with the conference theme are encouraged. One key aim here is to seek ways in
which Asian cinema studies might engage with the current moment of global environmental
crisis. At the same time, however, the conference theme of ‘environments’ is being
conceptualized in a broader sense, encompassing not only the material environments of
ecocriticism, but also Asian cinema’s represented environments and its various material,
cultural and regulatory environments of production, distribution, exhibition and reception.

Possible topics may include, but are by no means limited to, the following areas:

Ecocriticism and Asian cinemas
Animal studies and/or plant studies approaches to Asian cinemas
Environment and representation in Asian film and media
Asian cinema and the city
Asian cinema and the rural
Environmental issues in Asian documentary
Apocalyptic themes in Asian film
Ecological implications of Asian film production and/or exhibition
New technological contexts of Asian film and media
Changing regulatory frameworks of Asian film and media
Transnational influences on Asian film production/Asian film business
Globalization and Asian cinemas
Regional dynamics of Asian cinemas
Cultural issues in Asian film
Censorship issues in Asian film

Language: English

Please send proposals or enquiries to

For individual paper proposals, send a 200–300 word abstract and be certain to include the
title, author name(s), institutional affiliation, mailing address and e-mail contacts, as well as a
brief (50–100 word) biography of the contributor. For pre-constituted panel proposals (of
three to four papers), be certain to provide a brief description (100 words) of the overall panel
along with the individual abstracts and contributor information. Sessions will be 90 minutes
in duration, and time limits will be strictly enforced.

There will be no conference registration fee per se, but all participants must be members of
the Asian Cinema Studies Society, which requires an annual fee of £38.
The fee covers one year membership and one volume of two issues of Asian Cinema, and gives access to the society’s executive meeting at the conference.

Selected papers will be published in the peer-reviewed biannual Asian Cinema. Published by
Intellect Books (UK), this seminal journal has long been the flagship publication of the Asian
Cinema Studies Society.
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Lights, Camera, Learning: Teaching with the Moving Image

A conference organised by Learning on Screen and School of Arts,
Birkbeck, University of London

A few places are still available for this exciting event next week to
mark the seventieth anniversary in 2018 of Learning on Screen (BUFVC -
British Universities Film and Video Council).

It will explore the history of teaching and learning with the moving image.

Dates: Friday 23rd – Saturday 24th November 2018


And to register, please click here:
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CFP: Children's Online Worlds, Digital Media and Digital Literacy

Ecrea's TWG -'Children, Youth and Media' gap-year Conference, Athens
24-25 May 2019.

Digital media is not just part of children’s cultures but is inherently
part of their everyday practices through which they explore and construct
the world. Within this context, children develop a large range of literacy
skills and practices related to education, consumption of media and
cultural texts, lifestyle, sexuality. Young people use digital media for
school work, communication, flirting, news consumption, political
engagement, activism or for interaction with their favourite celebrities
(on Instagram, Facebook, Twitter and other platforms). As such, digital
media serve as a multipurpose platform of self-performance, identity
construction and self-projection, enriching children’s lived experiences
and everyday culture. Considering such skills and practices as agentic
claims to citizenship and claims to broader participation in different
aspects of the public discourse, we invite contributions from researchers
working within media studies, cultural studies, education, psychology and
sociology, looking at how children develop or engage with literacy
practices through the use of digital media and cultural consumption.

We welcome research from (though not exclusively) the following topics:

· Children’s digital media uses for self-performance and identity

· Children’s approaches to risk, safety and literacy

· Social media practices, self-regulation and mediation in the context of
media literacy

· Celebrity culture as media literacy

· Literacy skills as part of children’s citizenship rights

· The role of popular culture in developing children’s literacy skills

· Innovative methodologies in researching children’s media literacy

· Children’s online worlds and cultural consumption

Deadline for abstract submission: 20 December 2019. Please send abstracts
(500 words max) to for blind review.

Notification of Acceptance: 20 January 2019

Host: Department of Communication and Media Studies, School of Economics
and Political Science, National and Kapodistrian University of Athens

Local organizers: Liza Tsaliki ( & Despina
Chronaki (

We estimate for 35- 40 presenters.
Participation fees: 70 euros (covering registration, coffee/snack/lunch
breaks throughout the conference)
Participants are responsible for their own travel and subsidence

Keynote speaker– David Buckingham. Friday 24 May 2019 (morning session)
@ National and Kapodistrian University of Athens, 30 Panepistimiou Street,
Amphitheatre Argiriadis.

for more details, please visit

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CFP: Screenwriting Research Network Conference (Católica, Porto)

Screen Narratives: Order and Chaos
12th Screenwriting Research Network (SRN) International Conference
Porto, Portugal, September 12th-14th, 2019

Hosted by School of Arts, Universidade Católica Portuguesa
and the Research Centre for the Science and Technology of the Arts

Call for Papers and Submission

“It turns out that an eerie type of chaos can lurk just behind a facade of order -
and yet, deep inside the chaos lurks an even eerier type of order.”
- Douglas R. Hofstadter


Classical Hollywood cinema was built around the concept of clearness, often modeling itself either on the Aristotelian structure advocated for in the Poetics or on the mythical and fairy tale structures identified, respectively, by Joseph Campbell and Vladimir Propp. An impression of order was thus achieved through the maintenance of unity in point of view (a single perspective conveying an impression of objectivity), causality (temporal linear progression), the interrelation of the main character’s goals and the narrative conflict (both of which had to be crystal clear) and unproblematic identities (equating an actor with one single character), among other aspects. According to David Bordwell, these action-oriented stories usually take place in numerous sites and are populated by multiple supporting characters; their ends typically entail the protagonist's transformation and a change in the environmental status quo.

However, European movements such as the French New Wave (Nouvelle Vague), which triggered the rise of modern cinema, and the American New Hollywood directors increasingly looked for different ways of telling stories, expressing a more complex and hazy outlook on life. This trend increased from the 90s onwards in several media: film, television, videogames, multimedia and the internet, with its hypertextual and interactive possibilities. From 2000 onwards, DVDs and video streaming allowed for more compelling ways of storytelling on TV series and web sites such as Youtube. New fruition possibilities arise as repeated viewings grant access to more details and narrative layers, creating a new communication paradigm that calls for a more active and participative stance from the viewers.

Nowadays, although the classical paradigm of the three-act structure still holds an important place in screenwriting, more and more writers, directors, producers, and prosumers, look for different possibilities of storytelling. Terms such as postclassical cinema, puzzle films, modular narratives, interactive fiction and complex narratives became common currency. The question therefore is: how does meaning emerge out of the obscure, the random and the unpredictable? Consequently, researchers are challenged to reflect upon the narrative devices through which order is balanced with chaos, symmetry with asymmetry, integration with differentiation, unity with multiplicity, intelligibility with mystery, continuity with disruption, stability with change. In what way do these dialectics produce simpler or more complex narrative patterns?

For this SRN conference we welcome papers that discuss the ideas of chaos and order in contemporary screen narrative, through such topics as:
Chaos and order throughout the history of screenwriting.
Chaos and the emergence of new types of order.
Differentiation and integration in complex narratives.
Tension, contention and disruption in screenwriting.
Types of causality: linear, circular, structural...
Clearness, obscurity and mystery both in production and reception.
Randomness vs. strict patterns either during production or reception.
The relationship between complex narratives and film genres.
Multiplicity of meanings vs. single meaning.
Narratives about minorities in screenwriting
Interdisciplinary approaches to narration (pertaining to Philosophy, Psychology, Cultural Studies, etc.)
Traditional vs. contemporary modes of narration.
Contemporary world cinema, contemporary Hollywood cinema, and underground cinema.
Poetic and narrative structures.
Narrative modes of communication (interactive, unidirectional, etc.)
Impact of new devices on disruptive screen narrative’s reception (VR, 4D, 5D, VOD, etc.)
Intermediality (cinema, television, comics, new media, art installations, interactive cinema, web-related content).
Narratives for screen interactive media (installations, videogames, webseries, etc.)
The influence of television and other media on contemporary cinema.
Narrative contamination between visual arts and cinema, as well as between cinematic arts and expanded cinema.
Hybrid fiction and non-fiction.


Submissions must be sent to in a Word document containing the following information:
authors’ names, affiliation and contact information
abstract (250-300 words)
3-5 keywords
authors’ short bio (100 words max.)

Please, type “SRN2019 Proposal” as email subject heading.

We accept individual submissions (for a 20-minute presentation) as well as pre-constituted panel submissions (3-4 presentations for a time-frame of 20 minutes each). The panel must have a coordinator, who is responsible for the submission. This person chooses the panel's title and its theme, compiles the abstracts and sends everything, organized into one single file, to the email address provided. The panel must also have a designated chair-person, whose contact information and short bio (100 words max.) must be provided by the coordinator in the submission.

Pre-constituted panels may also be proposed by an SNR Working Group leader in order to convey the research work being done in the group and/or its members, but in relation the working group theme.

Alternatively, a pre-constituted panel may be organized as a Discussion Forum panel, which is a workshop in which the 3-4 submitted articles are discussed. Each paper must be presented in 5 minutes, followed by a structured discussion based on a question line-up made up by the chair person. All participants must have read the papers in advance.

Types of Presentations:
Oral presentations
Practice-based presentation
The presentation is practice-based, combining different types of stimuli, of scientific and artistic nature. It is assumed that some information is not adequately conveyed by logical reasoning alone (using words, numbers, graphs…), thus implying incorporation of practical or artistic stimuli as well. During the presentation, each author will show his or her artistic/practical work in 10-15 minutes, accompanied by a theoretical reflection (5-10 minutes), making up a total of 20 minutes per work.
Audiovisual Essay
Authors are invited to present an audiovisual essay of 15 minutes maximum, in which they express a position on one of the above topics on narratives of chaos and order. It should not be a recording of a traditional paper presentation nor an art film, rather it must be an audiovisual discourse on a theoretical position. The screenings will be followed by a discussion with the authors. To submit an audiovisual essay, besides the before mentioned information explaining the theoretical content, authors should also describe the artistic form (700-1000 words).

All panel and paper proposals should be sent to the E-mail until January 15th, 2019.


For questions related with registration, please contact
For questions related with submission of abstracts and other issues, please contact


Submissions deadline: 15th January 2019

Acceptance information: 28th February 2019

Early bird registration: Until 15th May 2019

Regular registration: Until 15th July 2019

Late registration: Until 1st September 2019

Pre-conference: 11th September 2019

Conference: 12th, 13th and 14th September 2019

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