PT/EN

A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VIII Encontro Anual da AIM irá decorrer de 16 a 19 de maio de 2018, na Universidade de Aveiro. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
[Saber mais] [Inscrever-se na AIM]


NOTÍCIAS

CF Chapters: This Country: UK comedy cultures

Dr. Jill Marshall, organiser of the 2017 Value of Comedy symposium at
Queen Margaret University, Edinburgh and Dr. Mary Irwin, author (with
Gabrielle Smith) of “Ah hink it's time for suttin blue n a BAILEYS!" -
Subverting Scottish Male Identities in Gary: Tank Commander”,
/International Journal of Scottish Theatre and Screen/ (Special Issue)
TV in /Scotland: Past, Present and Future/ (2018) , “The Rag Trade - A
History of British TV Comedy - Cultural Concepts and Contexts” Jurgen
Kamm and Birgit Neuman (eds) Palgrave (2016 ) and “That’s the Last
Time I Play the Tart for You, Jerry!” /Critical Studies in Television/,
Special Issue: “Acting Up: Gender and Television Comedy” 10:2 (2015) …

… invite proposals for chapter contributions to a new collection which
will bring together work on UK comedy with emphasis on its regions and
cultures.

The UK has a rich, varied history of comedy which consistently
chronicles the details of British lives and experiences. Despite its
often high international profile in the form of television and cinema,
and the extent to which comedy is valued in Britain, UK comedy remains
significantly under-explored and under theorised within the academy.

This call for papers invites scholars working broadly
in the area of UK comedy to contribute to an edited collection which
will explore UK media comedy in more depth.

We are interested in all forms of comedy in the widest
range of electronic media: television, radio, podcasts, cinema and other
films, game or other interactive formats, streamed or available on
internet media platforms, this includes live performance which has been
recorded for broadcast or made available to view online.

/This Country/ is intended to be a multi-layered imagining of Britain
which acknowledges its past, the complexity of its changing social
structures and subcultures and the diversity of its regions and nations
– and the current renegotiation of the relationships between them.

We’re particularly interested in work which explores
what Raymond Williams conceptualises as “structure of feeling” (1954)
encapsulating “the lived experience of the quality of life at a
particular time and place” (1977).

Here are a few indicative examples of texts the collection could include
work on:

·/Billy Liar/ (1963) John Schlesinger and Keith Waterhouse’s comic
addition to Britain’s social realist cinema.

* /Father Ted/ (Channel 4 1995-1998) from an island parish somewhere
off the coast of Ireland and watched everywhere on mainland UK
(we’re not putting a hard border between Northern Ireland and the
Republic).
* /Four Weddings and a Funeral /(1994), landmark British cinema set
in the same England as the /Vicar of Dibley/ (BBC 1994 – 2007).
* Genre-reinventing verité sitcoms /The Office/ (BBC 2001 2003) set in
Slough and Caroline Aherne’s /Royle Family/ (1998 – 2000) from
Manchester.
* /On the Hour/ (BBC Radio 4 1991-2) Chris Morris and Steve Coogan’s
innovative satirical news show.
* /Creature Comforts/ / the /Wallace and Gromit/ series from Nick
Park's Aardman Animations
* Michaela Coel’s BAFTA-winning /Chewing Gum/ (E4 2015)
* Instagrammer 'Chabuddy G' (Asim Chaudhry) from BBC3's BAFTA winning
mockumentary /People Just do Nothing/ about a pirate radio station
in Hounslow.
* Glasgow-based Janey Godley’s YouTube and podcast satires.
And everything from /Goodness Gracious Me/ to /Hebburn/ to /Absolutely
/to /Desmond’s /to /Hitchhiker’s Guide/ to all the other things that
wouldn't fit on our nice, neat list.

Please send abstracts of 300 – 500 words, by 31st July 2018 to:
jmarshall@qmu.ac.uk <mailto:jmarshall@qmu.ac.uk> and / or

mary.m.irwin@googlemail.com <mailto:mary.m.irwin@googlemail.com>

and feel free to run ideas past us.
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CFP: INTERMEDIALITY NOW: REMAPPING IN-BETWEENNESS


INTERMEDIALITY NOW: REMAPPING IN-BETWEENNESS
International film and media studies conference organized by the Sapientia University in Cluj-Napoca (Romania), within the framework of the research project supported by the UEFISCDI,19-20 October, 2018.

Deadline for proposals: June 30, 2018.

Connected to our new exploratory research project "Rethinking Intermediality in Contemporary Cinema: Changing Forms of In-Betweenness" funded by the UEFISCDI, and following up on the topics of our previous conferences, we would like to bring into focus the idea of "in-betweenness" set in a wider context of contemporary visual culture, and to re-evaluate its relevance regarding the state of the art in researches on intermediality.
Digital media have not only prompted a reassessment of the relationship of the "old" and the "new" through their extraordinary capacity for absorption and remediation, but have literally flooded our life with their ubiquity and sheer excess. The technological convergences of devices producing and displaying media, the fusions, expansions, relocations taking place have effectively challenged our perception of media differences. If the idea of intermediality is based on the assumption of a productive interaction of media, then there should be no more pressing issue regarding intermediality studies today than fine-tuning its core concept of in-betweenness to the phenomena of the so called post-media age, in the spirit of Raymond Bellour's concept of l'entre-images (i.e. images-in-between/inter-images), in which novel forms are continuously "hollowed out from within surrounded by the new forces that irrigate it" (2012: 21). On the other hand, however, as recent theoretical approaches imply by viewing media products embedded in their palpable, real-life environment (i.e. in the dispositifs we experience them, in their phenomenology that links them to our bodies, or in their concrete, historical and socio-political context), the relevance of intermediality is not limited to what happens to media, but it extends, even more importantly, to what happens through the in-betweenness of media, and to the agency of in-betweenness in our contemporary multimedia environment. Besides the analysis of new configurations, we should also examine what is inscribed and communicated through various intermedia relations and what new types of passages are established in-between art and life, in-between the emotional, spiritual and the material, as well as the imaginary and the real, and so on.
We invite proposals to unravel the complex new relationships that define our contemporary visual culture, and to map new, relevant areas of in-betweenness that may enrich our knowledge of intermediality today.

We suggest the following tracks along which individual topics (theoretical presentations or case studies) may be proposed:
Classical cinema vs. expanded cinema in the digital age, cinema and other forms of moving images
The cinematic, the photographic, the theatrical, the painterly as transversal concepts (applicable "outside" their media boundaries) in the aesthetic of contemporary art and media
L-entre images (inter-images) today: new passages between the visual arts in the digital age
In-between the real and the intermedial, the immediate and the hypermediated, bodies and media, the sensual and the abstract
Intermedial strategies in the aesthetic or the curating practices of contemporary art and media, the politics of intermediality, the "messages" of in-betweenness
New technologies and experiences of in-betweenness: e.g. 3D, VR cinema, computer games
"In-betweenness" in between theories: concepts of liminality articulated Confirand applied through theories of intermediality, media convergence, transmediality, philosophy, media archaeology and ecology, intersections of media and cultural studies etc.

Confirmed keynote speakers



MARTINE BEUGNET, Professor in Visual Studies at the Paris Diderot University. Her current research interests include: cinema and video art (phenomenology, aesthetics, reception), forms and practices of the moving image in the era of the digital, and the relationship between the arts. She is the author of Claire Denis (2004); Proust at the Movies (with Marion Schmid, 2005); Cinema and Sensation: French Film and the Art of Transgression (2007).
Her latest works are on the aesthetic of the blur in cinema: Indefinite Visions: Cinema and the Attractions of Uncertainty (with A.Cameron and A.Fetveit, 2017) and L'attrait du flou (The Attraction of the Blur, 2017) - see a presentation of this book here.





THOMAS ELSAESSER, Professor Emeritus of the University of Amsterdam and Visiting Professor at Columbia University. Besides publishing over 200 essays in journals and collections, he has authored, edited and co-edited some 20 volumes on film history, film theory, media archaeology and new media. Among his recent books as author are: (with Malte Hagener) Film Theory - An Introduction through the Senses(2010) and Film History as Media Archaeology (2016). He is currently completing a book on European Cinema and Continental Thought: Film as Thought Experiment (2018).
He is also writer-director of the documentary film, The Sun Island (2017) which premiered at the Kassel Documentary Festival in November 2017. The conference will also include a screening of this film. (See a review of this film as a kind of "auto-media-archaeology" here.)
Plenary speakers
LARS ELLESTRÖM, Professor at the Department of Film and Literature, Linnaeus University, Sweden. He is the head of the Linnaeus University Centre for Intermedial and Multimodal Studies (IMS) and chairs the board of the International Society for Intermedial Studies (ISIS).
LÚCIA NAGIB, Professor of Film, Director of the Centre for Film Aesthetics and Cultures, University of Reading, UK. She is the leader of the AHRC-FAPESP funded project, 'Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method' which focuses on cinema's nature as a mixture of arts and media in order to produce the first, groundbreaking intermedial history of Brazilian cinema.
JOACHIM PAECH, Professor Emeritus University of Konstanz (Germany) whose books and articles, the edited collections of essays are among the most influential writings on intermediality of film.
And we are proud to present an exclusive video lecture by:
RAYMOND BELLOUR, the renowned French philosopher, theorist of film and interart relations, whose concept of "in-betweenness" inspired this conference.


Submission of proposals


We invite proposals both for individual papers and pre-constituted panels. Panels may consist of 3 or 4 speakers.

Deadline for the submission of proposals: June 30, 2018.

Please fill in one of the SUBMISSION FORMS below:


INDIVIDUAL PROPOSAL

PANEL PROPOSAL


For additional information you can contact the organizers directly at this e-mail address:

2018.inbetweenness@gmail.com

The official language of the conference is English.

The time for presentations is limited to maximum 20 minutes, followed by a 10 minute debate.

Conference fee (which includes participation, conference buffet and banquet): 120 EUR, special fee for participants from post-communist/communist countries: 70 EUR. The fee is to be paid on arrival at the conference registration desk.

A selection of papers based on the conference presentations will be published in our department's international, peer reviewed journal (Acta Universitatis Sapientiae. Film & Media Studies) indexed in several international databases (e.g. Web of Science Core Collection - Emerging Sources Citation Index ESCI, ERIH Plus: European Reference Index for Humanities and Social Sciences, etc.).

The conference proposes to facilitate academic communication between existing centers of research specializing in film and media studies within different universities, and at the same time, it encourages students on different academic levels to be initiated into scientific research.
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CFP: Colóquio Narrativa, Média e Cognição


Apresentação e Chamada de Trabalhos

O Colóquio Narrativa, Média e Cognição vai na sua quinta edição – depois de se ter iniciado na Universidade do Minho em 2014, passado pela Universidade Católica Portuguesa em 2015, pela Universidade do Porto em 2016 e em 2017 pela Universidade da Beira Interior.

A edição de 2018, que decorrerá entre 9 e 10 de novembro de 2018, será acolhida pelo CIAC –Centro de Investigação, na Universidade do Algarve– em coorganização com o Grupo de Trabalho “Narrativas Audiovisuais” da AIM –Associação de Investigadores da Imagem em Movimento– e a SPVJ –Sociedade Portuguesa de Ciências dos Videojogos. Constitui, assim, mais uma oportunidade para promover as já habituais reflexão e discussão conjuntas em torno de uma temática tão frutífera e inesgotável, situada no cruzamento entre várias áreas científicas. No dia 10 de novembro terá lugar um Workshop em Narrativas Digitais.

Se o ponto de partida é a narrativa no sentido mais lato do termo, não deixará de ser analisado o papel central dos media nesse processo, quer na aceção de meios de circulação das narrativas, quer como impulsionadores de novas estruturas narrativas a partir das linguagens próprias que os compõem.

Este V encontro concederá especial atenção às narrativas marginalizadas (embora não restringindo o foco a esta temática), que se situam num campo de trabalho que o CIAC tem vindo a explorar e cujo debate crítico importa fomentar: as culturas marginalizadas.

Pretende-se, portanto, que os trabalhos incidam de modo particular sobre o estudo, a compreensão e a divulgação de práticas narrativas. Estas serão entendidas enquanto produtos semióticos que convergem no facto de viverem em permanente oscilação quanto ao reconhecimento e aceitação que a cultura erudita lhes dedica ou retira. Correspondem estes fluxos de aceitação/rejeição a períodos cíclicos da História, que, em virtude dos movimentos estético-culturais vigentes, predispõem estes produtos à absorção da cultura de massas e da cultura popular.

São as interseções provocadas pelos movimentos de reconhecimento de práticas narrativas populares pela cultura erudita (muitas vezes em franca concatenação com ideários políticos ou agendas que regem determinados códigos criativos e estéticos) que conferem a grande especificidade a estas manifestações e as distinguem de outras práticas. A título de exemplo, narrativas associadas a um âmbito popular, como a literatura de tradição oral (nos seus diversos géneros literários), granjearam, das elites, em determinadas épocas, um espaço de acolhimento amplo e incontestável, ao qual se seguiram, em fluxos comprovadamente trans-históricos, a sua perda de influência e de interesse por esses centros decisórios de intervenção cultural e política. Por outro lado, estas narrativas suscitaram (e continuam a suscitar) pertinentes questionamentos de âmbito cognitivo, devido aos mecanismos próprios do suporte memorial e da transmissão oral que as dotam de características únicas. Efémeros e volúveis, por vezes fragmentários, os seus padrões narratológicos recordam, segundo o paralelo que é possível traçar, a efemeridade, a performatividade e a instabilidade dos formatos narrativos característicos dos novos média.

Deste modo, a abordagem crítica e teórica das múltiplas modalidades narrativas, na sua vinculação a práticas culturais ou comunicativas de cariz marginal ou de massas, seja numa perspetiva diacrónica como sincrónica, centrada em práticas do passado como do presente, confere a esta edição do Colóquio um interesse abrangente e transdisciplinar. Procurar-se-á, enfim, provocar uma discussão ativa e permanente sobre a criação e a fruição das narrativas em associação com os diversos suportes e linguagens gerados pelos canais mediáticos, sejam eles quais forem.

Assim, a Comissão Organizadora do V Colóquio Narrativa, Média e Cognição convida todos os interessados a submeterem propostas de comunicação (de 20 min.) relacionadas com as áreas temáticas definidas.


Áreas temáticas:

Narrativa e comunicação;
Narrativa no cinema, videojogos, arte interativa, intermedia e transmedia;
Novas poéticas e estruturas narrativas (modelos não-lineares e multilineares, hibridismo);
Papel da narrativa na cognição e na organização do conhecimento;
Narrativas históricas, sociais e políticas (análise dos mitos, métodos historiográficos, discursos da identidade coletiva e da alteridade, utopias e distopias sociais, etc.);
Narrativas e culturas marginalizadas;
Ética, fake news e pós-verdade;
Outros temas relacionados.

Publicação
No final do Colóquio,o CITAR Journal irá organizar um número especial dedicado ao tema Narrativas, Média e Cognição onde serão publicadas as comunicações selecionadas.

Datas Importantes
Submissão das propostas de comunicação: até 31 de julho de 2018.
Comunicação de aceitação das propostas: até 8 de setembro de 2018.
As inscrições são gratuitas e decorrem até 22 de setembro de 2018.

Submissão de Propostas
As propostas de comunicação deverão ser submetidas através do sítio do congresso até ao dia 31 de julho de 2018. Delas constarão o resumo da comunicação (máximo 10 linhas) e 5 palavras-chave, o nome do autor/autores, contactos, afiliação e uma breve nota biográfica (máximo 5 linhas). Os autores deverão seguir as instruções fornecidas no sítio do congresso. As propostas serão avaliadas pela Comissão Científica e a decisão final será comunicada de forma individual aos autores. Aceitam-se trabalhos nas línguas portuguesa, espanhola, inglesa e francesa. Prevê-se a edição de um volume temático com as contribuições do colóquio, cujos pormenores serão fornecidos oportunamente.

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

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

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

Within this context, we are accepting submissions on any aspect of these directors’ oeuvre – from comprehensive approaches (influences, themes, style) to more diverse essays –, but we are especially looking for chapters on the following:
- João Pedro Rodrigues & João Rui Guerra da Mata as auteurs;
- Melodrama;
- Identity;
- Displacements;
- The local and the global;
- Marginal cinema;
- Transnational cinema;
- Oriental cycle (Multiculturalism, Identity);
- Queer Cinema;
- Gender/Genre;
- Contemporary art cinema;
- Mise-en-scène and/or dispositifs;
- Soundscapes;
- Digital filmmaking;
- Artworks and Installations;
- Autobiography/Memory;
- Docufiction;
- Expanded cinema;
- Slow cinema;

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

Please send your 250-750 word proposal and CV to thefilmsofportuguesecinema@gmail.com by July 2, 2018. We welcome initial email enquiries to discuss possible proposals. Decisions will be sent to authors at the end of July.

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

Any questions can be sent to
José Duarte & Filipa Rosário
(School of Arts & Humanities, University of Lisbon)
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Two fully funded PhD researchers
Research centre is looking for two fully funded PhD researchers in the framework of a new project on the history of the magic lantern.
I would be most grateful if you would be willing to send around this announcement to potential candidates among your MA students or in any other research network.
Please do not hesitate to forward this announcement to other colleagues who might know interesting candidates.


PhD researcher theatre studies: https://euraxess.ec.europa.eu/jobs/304244
PhD researcher film studies: https://euraxess.ec.europa.eu/jobs/304250

Working language of the project is English (so excellent oral and written skills), having proficiency in French is a plus but not a formal condition.

Deadline for application is July 2.

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CFP: InVisible Culture, "Poetics of Play", Issue 30


Issue 30: “Poetics of Play”

For its thirtieth issue, InVisible Culture: An Electronic Journal for
Visual Culture invites scholarly articles and creative works that
address the poetics and politics of video games. 20 years ago Janet H.
Murray’s Hamlet on the Holodeck and Espen Aarseth’s Cybertext:
Perspectives on Ergodic Literature began a conversation to theorize the
aesthetics of video games. Since these foundational texts, game studies
has sustained an interrogation of political questions concerning games,
such as issues of representation and the configuration of online game
spaces. Video games intersect with industrial practices, embodied
experiences, as well as visual and ludic designs, all of which have
specific political implications. For this issue we encourage
contributors to consider two or more of these factors together,
exploring “how games make complex meanings across history, bodies,
hardware, and code” (Anable 2018, xi).

This issue of InVisible Culture takes a cultural studies approach toward
video games in that the formal aesthetics always register aspects of the
culture that they emerge from. We think of games as an open category
that includes a broad range of media, from mainstream AAA games to art
installations; complex “hardcore” games as well as casual mobile apps;
visually rich to text-based interactions—cutting across a range of
experiences, from the banality of playing an app to the singularity of
wearing a VR headset. We take gaming aesthetics to mean not only the
system of visual, aural, ludic, and narrative configurations of (a)
given game(s) but also the manipulation of these systems: modding,
updating, streaming, etc. We are also interested in what surrounds
games, such as to what degree games afford community building and
collaboration between players. 

Possible topics of exploration include, but are not limited to:
- Games and Representation
- Games and Subjectivity
- Games and Affect, Multisensory Encounters with Games
- Ordinariness/Everydayness of Games, Gamification of Everyday Life
- Materiality/Tactility of Gaming Devices, Embodied Engagements with
Games
- Queer/Feminist Approaches to Video Games
- Games and the Politics of Race, Gender, and (Dis)Ability - DIY
Approaches to Games and Game Making
- Games and Activism
- Genre studies
- Platform Studies
- Games and Sound
- Remediation of Video Game Aesthetics
- Games and/as Contemporary Art, Games in Museums/Galleries
- Games in the Archive, Games as Archive
- Game Communities and Fandom
- Fan-made “How To” and “Let’s Play” Videos, Live Streams
- Character Creation Systems and their Politics (Liberatory vs.
Constraining)
- The Economy of Games, Microtransactions, Loot crates
Creative/Artistic Works Reviews Dialogues 

Please send completed papers (with references following the guidelines
from the Chicago Manual of Style) of between 4,000 and 10,000 words to
invisible.culture@ur.rochester.edu by June 30th, 2018. Inquiries should
be sent to the same address.

In addition to written materials, InVisible Culture is accepting works
in other media (video, photography, drawing, code) that reflect upon the
theme as it is outlined above. Please submit creative or artistic works
along with an artist statement of no more than two pages to
invisible.culture@ur.rochester.edu. For questions or more details
concerning acceptable formats, go to
http://ivc.lib.rochester.edu/contribute or contact the same address.

InVisible Culture is also currently seeking submissions for book,
exhibition, and film reviews (600-1,000 words). For this issue we
particularly encourage authors to submit reviews of games or other forms
of interactive media. To submit a review proposal, go to
http://ivc.lib.rochester.edu/contribute or contact
invisible.culture@ur.rochester.edu. The journal also invites
submissions to its Dialogues page, which will accommodate more immediate
responses to the topic of the current issue. For further details, please
contact us at invisible.culture@ur.rochester.edu with the subject
heading “Dialogues submission.”

* InVisible Culture: An Electronic Journal for Visual Culture (IVC) is a
student-run interdisciplinary journal published online twice a year in
an open access format. Through peer-reviewed articles, creative works,
and reviews of books, films, and exhibitions, our issues explore
changing themes in visual culture. Fostering a global and current dialog
across fields, IVC investigates the power and limits of vision.

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CFP: "Media Industry Studies in Italy: New Perspectives on the Past and the Present of Italian Film and Television"

Call for papers (Volume III, N. 5, June 2019)

MEDIA INDUSTRY STUDIES IN ITALY:
NEW PERSPECTIVES ON THE PAST AND THE PRESENT OF ITALIAN FILM AND TELEVISION

edited by Marco Cucco and Francesco Di Chiara

Deadline for abstract proposal: July 01, 2018
Through the past decade, Media Industries Studies (MIS) has experienced
significant growth. This research field emerged in the late 1970s and
the 1980s thanks to the pioneering work of scholars in film history,
political economy of media, and film studies like Tino Balio (1976),
Janet Wasko (1982) and David Bordwell, Kristin Thompson and Janet
Staiger (1985). Though these scholars adopted different approaches to
film (and media), there were at least two common features in their
works: the focus on production to the detriment of other stages of the
film value chain, and the desire to investigate film in a way that went
“beyond-the-text”.
Today MIS is a consolidated research field of its own, comprised of
several areas of investigation and methodological approaches. In 2008,
for instance, John Caldwell provided a relevant impetus to MIS and
enlarged the scope of the field by suggesting that we investigate
“production cultures”. His aim was twofold: to access the less visible
dynamics of film and television production (such as the role of
below-the-line crew), and to investigate the self-representation
mechanisms of those involved in content production. To do so, he adopted
a “synthetic” approach that combined: a) textual analysis of trade and
workers’ artifacts; b) interviews with film/television workers; c)
ethnographic field observations of production spaces and professional
gatherings, and d) economic/industrial analysis.
Beyond Caldwell’s seminal work, in the past decade other research areas
and approaches have emerged under the broad umbrella of MIS: studies on
film and television policy (i.e. Bondebjerg-Redvall-Higson 2015;
Mingant-Tirtaine 2017), the labour conditions of media workers
(Curtin-Sanson 2016), the formal and informal distribution/circulation
of audiovisual content (Iordanova-Cunningham 2012, Lobato 2012,
Crisp-Menotti Gonring 2015), etc.
This new approach in studying media is taking root in Italy, too
(Scaglioni-Barra 2013, Barra-Bonini-Splendore, 2016; Cucco-Manzoli
2017); however, there is still room for further, in-depth analyses of
the Italian film and television industrial cultures. For that reason,
this issue of “Schermi” invites contributions that take into account the
evolution of the film and television industry in response to the current
scenario (national, supranational and local policies; technological
advancements; old and new players co-operating in the field, etc.).
Moreover, we believe that the insights that have emerged in MIS call for
a re-examination of the history of the Italian audiovisual industry too,
which can now take advantage of new archival material, of the
ethnographic approach, and of the study of previously neglected sources.
We therefore also encourage the submission of articles dealing with MIS
from a historical perspective.

Possible topics may include (but are not limited to):

* The employment of new archival sources or the discovery of new private
archives
* Network analyses of Italian film and television industries
* Film and television policy studies
* Hidden dynamics in film production, distribution, exhibition and
circulation
* Hidden dynamics in the financing, producing and programming of content
by broadcasters
* The working conditions of above and below-the line crew
* Gender balance in the Italian audiovisual industry
* Less visible sectors of the industry (e.g. the porn industry)
* Italian film and television production cultures
* Less visible or ‘hidden’ professionals (e.g. executive producers)

Abstracts of no more than 300 words should be sent, together with a
short bio (max 100 words), to
schermi@unimi.it <mailto:schermi@unimi.it>, marco.cucco@usi.ch
<mailto:marco.cucco@usi.ch> and francesco.dichiara@uniecampus.it
<mailto:francesco.dichiara@uniecampus.it> no later than 01 July 2018.
Acceptance notices will be sent out by 15 July 2018.
Authors will be required to submit articles of 6,000 to 7,000 words in
length (footnotes included) by
30 November 2018. All manuscripts will subsequently go through a
peer-review process.
Articles may be written in Italian or English.

For more information:
_https://riviste.unimi.it/public/journals/69/SchermiCFP5.pdf_





Schermi. Storie e culture del cinema e dei media in Italia

Call for papers (Anno III, N. 5, Giugno 2019)

I MEDIA INDUSTRY STUDIES IN ITALIA:
NUOVE PROSPETTIVE SUL PASSATO E SUL PRESENTE DELL’INDUSTRIA
CINE-TELEVISIVA ITALIANA

a cura di Marco Cucco e Francesco Di Chiara


Nel corso degli ultimi decenni gli studi sull’industria dei media (Media
Industry Studies, MIS) hanno vissuto una crescita significativa. Si
tratta di un ambito di ricerca emerso tra la fine degli anni Settanta e
l’inizio degli Ottanta grazie al contributo di studiosi come Tino Balio
(1976), Janet Wasko (1982), David Bordwell, Kristin Thompson e Janet
Staiger (1985) provenienti da diverse tradizioni di ricerca (film
history, political economy of the media, film studies). Nonostante una
chiara diversità di approccio, ci sono almeno due punti di contatto tra
questi primi, pionieristici, lavori: il focus sulla produzione a
discapito di altri stadi della filiera cinematografica e il desiderio di
studiare il cinema andando al di là del testo filmico.
Oggi i MIS costituiscono un consolidato campo di ricerca che raccoglie
diversi oggetti di studio e approcci metodologici. Nel 2008, per
esempio, John Caldwell ha conferito un significativo slancio ai MIS e ha
ulteriormente allargato la loro portata, invitando allo studio delle
cosiddette “culture produttive”. Il suo obiettivo era duplice: da una
parte, accedere alle dinamiche meno visibili della produzione
cinematografica e televisiva (ad esempio quelle che riguardano le
professioni tecniche), e dall’altra, indagare i meccanismi di
autorappresentazione delle figure coinvolte nella produzione di
contenuti. A tale scopo, Caldwell ha elaborato un approccio “sintetico”
che combina analisi testuale, interviste, osservazione sul campo e
analisi economico-industriale.
Al di là dell’influente lavoro di Caldwell, nel corso dell’ultimo
decennio anche altre aree e altri approcci di ricerca sono emersi sotto
l’ampio e inclusivo ombrello dei MIS: studi sulle politiche audiovisive
(Bondebjerg-Redvall-Higson 2015; Mingant-Tirtaine 2017), sulle
condizioni di lavoro dei professionisti dell’industria dei media
(Curtin-Sanson 2016), ma anche sulle forme di distribuzione/circolazione
formali e informali dei contenuti audiovisivi (Iordanova-Cunningham
2012, Lobato 2012, Crisp-Menotti Gonring 2015), ecc.
Questo nuovo campo di studi sui media sta emergendo anche in Italia
(Scaglioni-Barra 2013, Barra-Bonini-Splendore, 2016; Cucco-Manzoli
2017), dove sono però ancora ampi i margini per ulteriori lavori e
approfondimenti sulle culture industriali in ambito cine-televisivo.
Proprio per tale ragione, questo numero di Schermi desidera raccogliere
contributi sull’evoluzione dell’industria cine-televisiva in relazione
al contesto attuale (politiche nazionali, sovranazionali e locali,
sviluppo tecnologico, vecchi e nuovi operatori del settore, ecc.). Le
conoscenze e gli approcci maturati in questi anni nell’ambito dei MIS
invitano tuttavia anche a ri-esaminare la storia dell’industria
audiovisiva italiana e a condurre ricerche che oggigiorno possono
giovarsi di un inedito approccio etnografico, di nuovi materiali
d’archivio e dell’utilizzo di fonti che nel tempo sono state trascurate.
Sono dunque incoraggiate proposte riconducibili ai MIS anche in una
prospettiva storica.

I contributi possono riguardare i seguenti temi (senza necessariamente
limitarsi ad essi):
* Utilizzo di nuovi materiali d’archivio o di nuovi archivi privati
* Network analysis relative all’industria cine-televisiva
* Politiche audiovisive
* Dinamiche nascoste di produzione, distribuzione, esercizio e
circolazione cinematografica
* Dinamiche nascoste di finanziamento, produzione e programmazione di
contenuti da parte di broadcaster televisivi
* Condizioni lavorative dei professionisti dell’industria audiovisiva
* Dinamiche dei settori meno visibili dell’industria audiovisiva (ed
esempio, l’industria del porno)
* Professionalità meno visibili dell’industria audiovisiva (ad esempio,
il produttore esecutivo)
* Le culture produttive dell’industria audiovisiva

Le proposte (max. 300 parole), accompagnate da un breve profilo
biografico (max. 100 parole), devono essere inviate a schermi@unimi.it
<mailto:schermi@unimi.it>, marco.cucco@usi.ch
<mailto:marco.cucco@usi.ch> e francesco.dichiara@uniecampus.it
<mailto:francesco.dichiara@uniecampus.it> entro e non oltre l’1 luglio
2018. L’accettazione delle proposte sarà̀ comunicata entro il 15 luglio 2018.
I saggi, la cui lunghezza dovrà̀ essere compresa tra le 30,000 e le
35,000 battute (note incluse), dovranno essere consegnati entro e non
oltre il 30 novembre 2018. Tutti i contributi saranno poi sottoposti a
procedura di peer-review. I contributi possono essere sia in italiano
sia in inglese.

Per maggiori informazioni:
_https://riviste.unimi.it/public/journals/69/SchermiCFP5.pdf_
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CFP: Replacement and replaceability (UCP, Lisbon)



REPLACEMENT AND REPLACEABILITY
VIII Graduate Conference in Culture Studies
6–7 December 2018 | Universidade Católica Portuguesa – Lisbon

_
Deadline Extension_

We are happy to announce that the deadline for handing in abstracts
concerning the call below has been extended. The earlier deadline was
June 15th 2018. This has now been changed to June 30th 2018. We are
looking forward to your proposals, and would still like to encourage you
to hand in your abstracts as soon as possible because that would help us
with some of the logistics. For more information concerning the event,
go to replacementconference.wordpress.com
<http://replacementconference.wordpress.com>. Should any questions
arise, you can reach us at replacementconference2018@gmail.com
<mailto:replacementconference2018@gmail.com>.


Call for Papers

We call for papers for the 8th Graduate Conference in Culture Studies.
This edition will be on the theme of Replacement and Replaceability and
takes place in Lisbon on the 6th and 7th of December 2018. The
conference is organized by The Lisbon Consortium in conjunction with the
Research Centre for Communication and Culture at the Universidade
Católica Portuguesa.

We aim to discuss the ways in which the concept of ‘replacement’ can be
understood and productively used for the study of contemporary culture.
Replacement has been one of the central concepts in the study of culture
for quite some time, and, at the risk of overstating this claim, one
could say that replacement is a concern in all fields of knowledge
dealing with the study of culture today. It is, however, rarely the
central focus in academic discussion and this event aims to contribute
to a more detailed analysis of the uses, misuses, and usefulness of this
particular concept for the study of cultural objects.

Hearing the words replacement and replaceability, one naturally wonders:
Who or what is being replaced? Who is doing the replacing? What counts
as replaceable? Is there a logic of replacement? What happens when
bodies are deemed replaceable for other bodies? Or for machines? How
does replacement communicate with other, related, concepts, such as
translation, repetition, reiteration, quotation, citation, metaphor,
metonymy, synechdoche, and displacement? And how does it acquire meaning
in connection to other concepts like false-consciousness, workforce,
precariousness, simulacrum, spectacle, and ideology? How can replacement
or replaceability be made useful for the study of cultural objects?
Which objects warrant their use? It is on these and related questions
that we invite abstracts to be presented at our conference.


Background

Theoretical understandings of power tend to highlight the importance of
controlled reproduction of human beings, or subjects, in order for power
to function. One may think of a wide-ranging number of theorists here,
from Karl Marx, through Louis Althusser, and on to Michel Foucault. In
the study of bureaucratic modes of power exertion, documents can
function as the irreplaceable expression of an identity or a right, as
in the cases of identity cards, passports, and diplomas.

In translation studies, the notion of translation as a specific act of
replacement is of central concern. In media theory and the study of
visual culture, the notion of representation can be understood as a
moment in which the image replaces the ‘original.’ In literary studies,
concepts such as metaphor and metonymy are examples of replacing one
word for another, a procedure considered essential to the production of
meaning through language.

In Lacanian psychoanalysis, the mirror-stage functions as a scene in
which the physical body is temporarily replaced by an imaginary double.
Feminist- and queer theorists have often critiqued heterosexist and
heteronormative approaches to otherness as failed, or attempted copies
of heterosexual male life. In posthumanist discourses, the very notion
of the human undergoes a moment of replacement by some kind of being
that is no longer fully human and all too often celebrated as beyond the
human in a teleological way. And post- and de-colonial theorists have
read colonial activities of ‘Western powers’ as forced replacements of
one culture for another.


Practicalities

For more information, updates and details,
seereplacementconference.wordpress.com
<http://replacementconference.wordpress.com/>


We invite proposals for contributions by academics (from different
fields including but in no way limited to cultural studies, cultural
analysis, comparative literature, media- and communication studies,
translation studies, etc. etc.) in the form of 20-minute presentations
in which replacement or replaceability are used either as concepts of
analysis, put into dialogue with a cultural object, or in which the
concepts themselves come under theoretical scrutiny.

Proposals should be no longer than 250 words and have to be sent
toreplacementconference2018@gmail.com
<mailto:replacementconference2018@gmail.com> no later than June 30th
2018.
Your abstract will be peer reviewed and you will receive
notification of acceptance as soon as possible thereafter, but no later
than the end of July 2018. Upon acceptance you will be requested to
register and provide some personal details to finalize your registration.

The conference will be a two-day event, taking place at the Universidade
Católica Portuguesa. It is scheduled to take place on the 6th and 7th of
December 2018.



Registration fee: €50,00 (this includes lunch, coffee breaks and
conference materials).

For The Lisbon Consortium students and members of CECC, there is no
registration fee.
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CFP: Visual Media in the Gulf Hosted by NYU Abu Dhabi



Film and Visual Media in the Gulf: Images, Infrastructures, and Institutions
connecting Africa, the Middle East, South Asia, and the world

28–30 October 2018 | New York University Abu Dhabi
Saadiyat Island, Abu Dhabi, United Arab Emirates

Over the past two decades, the Gulf has begun to harness media’s power
to reframe and even reset debates about its position within the world,
perhaps most visibly and audibly in Arabic- and English-language news
media. The historically asymmetrical balance in favor of foreign
perspectives, notably Egyptian, Hollywood, and Indian stereotypes of
Gulf Arab, remains with narrative film and visual media.

Film and visual media in the Gulf, however, extend beyond feature-length
films screened at malls, streamed online, or served as in-flight
entertainment. Gulf film and visual media makers have garnered
international attention on platforms like YouTube and Instagram.
Moreover, Gulf audiences screen and stream a diverse array of media,
including Bollywood and Hallyuwood films, Khaleeji /musalsals/ and
K-dramas (Gulf and South Korean television dramas), Saudi web series,
and Turkish soap operas.

This conference addresses the marginalization of the Gulf within film
studies and the marginalization of film and visual media, including
television and on-demand programming, within area studies to (a)
redefine conceptual frameworks to render images and stories from the
Gulf more legible, (b) theorize political economy within Gulf media
ecologies and (c) strategize ways to support a sustainable film and
visual media culture in the Gulf that acknowledges its connections with
Africa, the Middle East, South Asia, and the world.

The conference brings together media scholars, professionals, and
educators to promote conversations between academic scholarship and
professional best practices to facilitate research in both media studies
and area studies, as well as to encourage the development of culturally
aware and nuanced practices in media education, production, and programming.

The conference will be structured around three critical focuses of analysis:

*Images and stories*:

This section analyzes images and stories that resonate with audiences
living in the Gulf, as well as perceptions of Gulf productions from
outside the region. Images and stories from the Gulf must contend with
multiple assumptions, including stereotypes, as well as the limitations
various socio-economic, national, transnational, and family factors that
can impose on Gulf stories.

*Institutions and cultures*:

This section investigates how thinking about images and stories within
the context of developments by the state and by transnational
corporations in free zones, as well as grassroots efforts, to understand
the limitations and opportunities for developing sustainable cultures
for locally conceived and produced media. One of the greatest challenges
remains the problem of building capacity for sustainable media cultures.
As multiplexes open in Saudi Arabia and the government embraces a visual
media industry, neighborhood cinemas close elsewhere else in the Gulf,
thereby reducing the diversity of media on offer. Moreover, the lavish
film festivals, which imported practices and personnel from places like
Cannes or New York, have failed to capture interest among Gulf audiences.

*Infrastructure and platforms*:

This section explores the opportunities and limitations of new media
paradigms, which includes both informal media distribution on “pirated”
DVD, but also media that is conceived, produced, distributed, and
exhibited for multiple digital platforms. The latter appeals to “digital
natives” whose expectations and experiences of film and visual media are
often structured in fragments or algorithmically, rather than linearly
or causally, as in the media practices of analogue generations and
“digital migrants.”

The conference aims to produce an anthology and/or special journal issue
of scholarly research developed from papers presented at the conference.

The conference will also include workshops with media professionals and
educators with the aim of producing a small media handbook that offers
strategies to adjust dominant practices and pedagogies to reflect the
specificities of the Gulf.

Please send 300-word abstracts and a short bio by 15 July 2018 to:
Alia Yunis, Zayed University (Alia.Yunis@zu.ac.ae
<mailto:Alia.Yunis@zu.ac.ae>)
Dale Hudson, NYU Abu Dhabi (dale.hudson@nyu.edu
<mailto:dale.hudson@nyu.edu>)

Notifications will follow by 01 August 2018.

For pre-circulation to conference participants, complete drafts of 10–15 pages are due by 14 October 2018. Conference presentations will be limited to 10 minutes.

The NYUAD Institute will pay for roundtrip economy airfare, as well as
accommodations and meals during the conference.

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Screen Cultures Conference - Birmingham City University




Birmingham City University’s Screen Cultures Research Cluster is
delighted to welcome you to our inaugural Screen Cultures Conference, to
be held at BCU on Tuesday 10 July 2018.

Prof Lucia Nagib (University of Reading) will present a keynote paper
on ‘Beyond Representation: Feminist Mode of Production in Recent
Brazilian Cinema’. This will be followed by a series of stimulating
specialist papers on contemporary research in Screen Cultures. Subjects
addressed are wide-ranging, and include novel data-driven investigations
of Bollywood cinema and an exploration of the transnational dimensions
of early Hungarian film. Alongside examinations of national and
international screen cultures papers will also explore questions of
identity position (including race, gender and sexuality), memory, the
archive, affect and fan communities, among other topics. We are thrilled
to be able to facilitate these presentations and the day promises to
offer a fascinating insight into cutting edge, contemporary research
within the field.


They are likely to be of interest both to senior colleagues and scholars
in the early stages of their career.

Please register your attendance via our Eventbrite page here
<https://www.eventbrite.co.uk/e/birmingham-city-university-screen-cultures-conference-2018-tickets-45816419143?aff=ebdssbdestsearch>.
We have organised a conference dinner at Gusto
<http://gustorestaurants.uk.com/wp-content/uploads/2018/02/Evening_MenuA4_Web.pdf> and
would appreciate an early indication of interest to establish numbers.


Please do also state any dietary and access requirements when you make
your booking.


All enquiries should be directed to our dedicated email address:
*screenculturesbcu@gmail.com*

We look forward to seeing you at BCU!


About the keynote speaker:


*Prof Lucia Nagib* is Professor in Film at the University of Reading,
where she directs the Centre for Film Aesthetics and Cultures. Prof
Nagib is the PI of the AHRC-FAPESP funded project, 'Towards an
Intermedial History of Brazilian Cinema: Exploring Intermediality as a
Historiographic Method' (short title: IntermIdia), which brings together
scholars from the University of Reading (UoR) and the Federal University
of São Carlos (UFSCar), as well as 3 PDRAs, combining expertise in
cinematic intermediality, Brazilian cinema, film history, film theory,
film and music, film and theatre, film and visual arts, and film and
popular culture. More details here
<http://www.reading.ac.uk/intermidia/>. As well as cinematic
intermediality, Prof Nagib specialises in**world cinema theory, history
and geography, and has published widely on these topics. Her most recent
single authored book is /World Cinema and the Ethics of Realism/ (2011),
in which she adopts a positive, democratic and inclusive approach to
film studies, rejecting the usual binary division that posits world
cinema against Hollywood, and instead defines a polycentric phenomenon
with peaks of creation in different places and periods.


/The Screen Cultures Research Cluster forms part of the Birmingham
Centre for Media and Culture Research, based with the School of Media in
Faculty of Arts, Design and Media, at Birmingham City University. For
more information on BCMCR go here <https://www.bcu.ac.uk/media/research>./
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CFP: The political economy of local cinema



The Political Economy of Local Cinema in the Digital Age: a critical
approach

Deadline for abstracts: JUNE 17
The digitalization and globalization of cultural markets present
formidable challenges for local cinema. In this project the focus is on
political economy or, more precisely, on the organization of the
resources for the production, distribution and consumption of local
cinema. For this collection, we seek contributions that engage with the
way digitalization and globalization combine in challenging the
commercial viability and in some cases the mere existence of local
cinema as a distinctive form of storytelling.

While we encourage prospective authors to adopt a broad variety of
perspectives, we especially welcome submissions that:

Look at local cinema from the analytical approach of critical political
economy;

Engage with problems concerning the funding and sustainability of local
cinema;

Problematize the effects of digitalization and globalization on local
cinema and local audiences;

Adopts the normative standpoint of minorities;

Discuss the role of education in the actual and possible responses to
the challenges of digitalization and globalization to local cinema;

The provisional schedule of this project is the following:

Deadline for abstracts: June 17

Communication of abstract acceptance and invitation to submit the full
paper: by June 24

Deadline for the submission of full papers: September 30

Decisions concerning the acceptance of the full paper and the return of
first drafts to authors with comment from reviewers: by November 4

December 2 – Deadline for the second draft.

Publication is scheduled early in 2019

In your submission please include the following:

An abstract of about 500 words and Authors’ current affiliation, contact
information and short biographical note for a total of about 300 words.

Please submit abstract and bionote in one PDF or DOC file labeled:
lastname.title.PEC

Chief editor: Matteo Stocchetti (PhD) Arcada University of Applied
Sciences, Helsinki University & Åbo Akademi

Assistant editors: Anne Rajala (Helsinki University) & Daniel Lindblom
(Arcada University of Applied Sciences)

Please send your submissions to: meda.cinema@arcada.fi
<mailto:meda.cinema@arcada.fi>
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Film Practice lectureship (FT, permanent), Lancaster University



Please consider coming to work with us at Lancaster University.


Lecturer in Film Practice

Institute for the Contemporary Arts
Salary:  £34,520 to £38,832
Closing Date: Thursday 12 July 2018
Reference: A2311

Lancaster Institute for the Contemporary Arts (LICA) at Lancaster
University is seeking to develop its highly-ranked Film Studies
programme with the appointment of a new Lecturer in Film Practice.

This post is open to candidates with research and teaching interests in
Film. You will contribute to the delivery of the existing undergraduate
programme in Film Studies with a specific focus upon the teaching of
practice. You will also be expected to play a role in developing new
undergraduate and MA modules in Film Practice within LICA and in
collaboration with other departments across the University. You will
pursue research leading to outputs at a level appropriate for submission
to the Research Excellence Framework REF2021 and beyond. You will be
encouraged to develop new research collaborations both with colleagues
in LICA and the Faculty of Arts and Social Sciences and also with
colleagues outside the University, which will lead to externally funded
research grants.

We are interested in applications from candidates working in any aspect
of film practice, as well as from candidates whose work involves a
combination of theory and practice. In particular we would welcome
applicants whose teaching and practice addresses issues of gender,
sexuality, race and decolonization.

Job description:
https://hr-jobs.lancs.ac.uk/Upload/vacancies/files/4616/A2311%20JD.pdf

Person spec:
https://hr-jobs.lancs.ac.uk/Upload/vacancies/files/4616/A2311%20PS.pdf

Informal enquiries are welcome and should be made to Dr Bruce Bennett,
Director of Studies, Film b.bennett@lancaster.ac.uk, or Prof Judith
Mottram, Director, LICA judith.mottram@lancaster.ac.uk
<mailto:judith.mottram@lancaster.ac.uk>.

We particularly welcome applications from women and black and minority
ethnic people for this role in order to increase our staff diversity in
this part of the University.
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CFP: Landscape and Cinema (Dec 2018, Lisbon)


International Conference on Landscape and Cinema
December 3 and 4, 2018

School of Arts and Humanities, University of Lisbon



Cinema portrays, creates and decodes landscape, while proceeding as its allegory. Echoing its spatial display of physical elements and confronting it with a soundscape, filmic landscape addresses subjectivity, culture, ideology and theory through the contemplation of what is frequently located at the background of the shot. The background’s autonomy, stated by the mise-en-scène, dispositif and the audience, allows for landscape to emerge, revealing it also as a rhetoric process that implies a self-reflexive gaze.

Moving-image practices also take in the minutiae of what would usually stand as the background in a narrative film as the subject matter for a reflection on history, materiality and situatedness. A film becomes the place where the actualization of the filmed material landscape happens and its connection to its outside and its multiple temporalities becomes evident. Landscape as already cinematic.

A centrifuge and fragmented image, filmic landscape renders atmosphere – Stimmung – and functions as a dramatization element, ‘a sort of polyptych, disseminated, repeated or altered according to a space-organising narrative necessity (Natali, 1996, p. 15). Ever vibrant in itself, ‘landscape is the freest element of film, the least burdened with servile, narrative tasks, and the most flexible in converging moods, emotional states, and spiritual experiences’ (Eisenstein, 1987, 217).

We invite proposals for individual visual works, individual papers and pre-constituted panels (3 speakers) on topics related to landscape and cinema, which may include but not be limited to:

Landscape’s times and duration


Backdrop, perspective, lines and points of fugue, light, shadow, colour: landscape as visual matter

Filmic Soundscapes

Landscape in amateur cinema

Landscape in avant-garde and experimentalism

Culturally charged landscapes

Political landscapes

Psychological landscapes

Characters in nature

Ecocinema

Colonialism and landscape

Animism, ecology and relations in the landscape

Industrialization of time and space


The conference will present film works by Portuguese visual artist Sérgio Taborda and American iconic experimental filmmaker Larry Gottheim in Cinemateca Portuguesa – Museu do Cinema.

The time for presentations is limited to 20 minutes.

Proposals may be submitted in Portuguese or English.

To apply, please send a PDF document containing your name, institutional affiliation, email address, the proposed title of your visual work/paper/panel and an abstract (max 500 words) to comunicacao.cec@letras.ulisboa.pt by July 1.

We will inform applicants by August 5.

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CFP: International Meeting / Cinema and other Arts


Deadline for submission of proposals: June 15, 2018

Throughout the history of motion pictures we have witnessed a complex debate around the reciprocal relationship it establishes with other arts, that is mostly defined by creative efforts and experimental gestures in both domains, permeated by the dialogic quality of how those other arts express themselves in cinema and the latter transmutes into the former. From advocating the aesthetic value of a moving image to more hybrid forms built on new benchmarks, cinema dwells on a constantly reciprocating relationship with other arts which takes up many forms, whether because there is tension among them and one is present in the other, or ultimately because borders are blurred. This is a research field that can count on methodological processes capable of structuring scientific discourse due to the operational possibilities of intertextuality and artistic creation’s dialogic quality.

The international meeting /Cinema and other Arts/ will take place for the first time at Universidade da Beira Interior on 24, 25 and 26 October 2018. Its main focus is to promote the debate/reflection around current issues related to the dialogue between different art forms whose point of contact is the cinema. Seeking to provide interdisciplinary and intercultural reading possibilities, researchers from several scientific areas currently engaged with these issues, albeit in different disciplinary domains or research stages, are invited to participate, especially from the areas of Film Studies, Art Studies and Cultural studies.


The organization /Cinema and other Arts/ invites the whole scientific community to the submission of original proposals that are fitted in the dynamic of the event.

The deadline for submission of proposals is June 15, 2018. Each applicant may submit only one proposal.

Please send your proposal - either in Portuguese, Spanish, French or English - as a Word document or PDF via email (c_@labcom.ubi.pt <mailto:c_@labcom.ubi.pt>) including the following information:

Author(s)

Institutional Affiliation

Title of proposal

Proposal for paper/presentation (not more than 500 words) plus five key­words

Biography of each author (not more than 150 words)


For further details and information, please visit:

http://www.labcom-ifp.ubi.pt/files/ocinemaeasoutrasartes/index_en.php#about <http://www.labcom-ifp.ubi.pt/files/ocinemaeasoutrasartes/index_en.php#about>

Facebook:

https://www.facebook.com/O-Cinema-e-as-outras-Artes-Cinema-and-other-Arts-205386489842570/ <https://www.facebook.com/O-Cinema-e-as-outras-Artes-Cinema-and-other-Arts-205386489842570/>

Organizing Committee | C_2018

https://www.facebook.com/O-Cinema-e-as-outras-Artes-Cinema-and-others-Arts <https://mail.utad.pt/owa/redir.aspx?C=bKyjfxjv70qbs9vChtg1WWYgRDH1bNNIsFJLu0JFd2CwibNb7laMcVvec4niYK2eYaNnWGBTP3M.&URL=https%3a%2f%2fwww.facebook.com%2fO-Cinema-e-as-outras-Artes-Cinema-and-others-Arts>
http://labcom-ifp.ubi.pt/files/ocinemaeasoutrasartes <https://mail.utad.pt/owa/redir.aspx?C=bKyjfxjv70qbs9vChtg1WWYgRDH1bNNIsFJLu0JFd2CwibNb7laMcVvec4niYK2eYaNnWGBTP3M.&URL=http%3a%2f%2flabcom-ifp.ubi.pt%2ffiles%2focinemaeasoutrasartes>

***************************************************************


Chamada de Trabalhos - Encontro Internacional /O Cinema e as outras Artes

Data limite para a submissão de propostas: 15 de junho de 2018

Ao longo da história do cinema temos assistido a um complexo debate sobre a relação recíproca entre o cinema e as outras artes que se caracteriza, sobretudo, por um conjunto de esforços criativos e gestos experimentais de ambos os domínios, permeado por dialogismos que transitam entre a expressão das outras artes no cinema e a transmutação do cinema nas outras artes. Desde a defesa do valor estético da imagem em movimento até às formas mais híbridas construídas sob novos referenciais, o cinema está em constante relação de reciprocidade com as outras artes, quer seja por uma relação de tensão, de presença de uma na outra, ou em última instância, de diluição das fronteiras. Este campo investigativo encontra nas possibilidades operativas da intertextualidade e no regime dialógico da construção artística, processos metodológicos capazes de estruturar o discurso científico.

O encontro internacional /O Cinema e as outras Artes/ terá a sua primeira edição nos dias 24, 25 e 26 de outubro de 2018, na Universidade da Beira Interior. O seu principal objetivo passa por promover a discussão/reflexão sobre problemáticas atuais relativamente ao diálogo entre as diferentes formas de arte, tendo como ponto de contacto o cinema. Procurando reunir esforços para ensaiar hipóteses de leitura interdisciplinares e interculturais, são convidados a participar neste encontro, investigadores das diversas áreas científicas, com especial preponderância para os Estudos Fílmicos, os Estudos Artísticos e os Estudos Culturais, que, em diferentes domínios disciplinares e fases de investigação, se ocupam destas questões.


A organização /O Cinema e as Outras Artes/ convida toda a comunidade científica, a submeter propostas originais que se enquadrem na dinâmica do evento, até ao dia 15 de junho de 2018. Cada proponente poderá apresentar apenas uma proposta de comunicação.

Os resumos (podem ser escritos em Português, Inglês, Espanhol e Francês) devem ser enviados em formato Word document ou PDF para o email c_@labcom.ubi.pt <mailto:c_@labcom.ubi.pt>, incluindo a seguinte informação:

Autor(es)

Filiação institucional

Título da proposta

Resumo (máx. 500 palavras) mais cinco palavras-chave

Biografia de cada autor (máx. 150 palavras)


Para mais informações, por favor visite:

http://www.labcom-ifp.ubi.pt/files/ocinemaeasoutrasartes/index.php <http://www.labcom-ifp.ubi.pt/files/ocinemaeasoutrasartes/index.php>

Facebook:

https://www.facebook.com/O-Cinema-e-as-outras-Artes-Cinema-and-other-Arts-205386489842570/ <https://www.facebook.com/O-Cinema-e-as-outras-Artes-Cinema-and-other-Arts-205386489842570/>



A Comissão Organizadora |C_2018

https://www.facebook.com/O-Cinema-e-as-outras-Artes-Cinema-and-others-Arts <https://mail.utad.pt/owa/redir.aspx?C=bKyjfxjv70qbs9vChtg1WWYgRDH1bNNIsFJLu0JFd2CwibNb7laMcVvec4niYK2eYaNnWGBTP3M.&URL=https%3a%2f%2fwww.facebook.com%2fO-Cinema-e-as-outras-Artes-Cinema-and-others-Arts>
http://labcom-ifp.ubi.pt/files/ocinemaeasoutrasartes <https://mail.utad.pt/owa/redir.aspx?C=bKyjfxjv70qbs9vChtg1WWYgRDH1bNNIsFJLu0JFd2CwibNb7laMcVvec4niYK2eYaNnWGBTP3M.&URL=http%3a%2f%2flabcom-ifp.ubi.pt%2ffiles%2focinemaeasoutrasartes>
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CFP The political economy of local cinema





The Political Economy of Local Cinema in the Digital Age: a critical approach

Deadline for abstracts: JUNE 17
The digitalization and globalization of cultural markets present formidable challenges for local cinema. In this project the focus is on political economy or, more precisely, on the organization of the resources for the production, distribution and consumption of local cinema. For this collection, we seek contributions that engage with the way digitalization and globalization combine in challenging the commercial viability and in some cases the mere existence of local cinema as a distinctive form of storytelling.

While we encourage prospective authors to adopt a broad variety of perspectives, we especially welcome submissions that:

Look at local cinema from the analytical approach of critical political economy;

Engage with problems concerning the funding and sustainability of local cinema;

Problematize the effects of digitalization and globalization on local cinema and local audiences;

Adopts the normative standpoint of minorities;

Discuss the role of education in the actual and possible responses to the challenges of digitalization and globalization to local cinema;

The provisional schedule of this project is the following:

Deadline for abstracts: June 17

Communication of abstract acceptance and invitation to submit the full paper: by June 24

Deadline for the submission of full papers: September 30

Decisions concerning the acceptance of the full paper and the return of first drafts to authors with comment from reviewers: by November 4

December 2 – Deadline for the second draft.

Publication is scheduled early in 2019

In your submission please include the following:

An abstract of about 500 words and Authors’ current affiliation, contact information and short biographical note for a total of about 300 words.

Please submit abstract and bionote in one PDF or DOC file labeled: lastname.title.PEC

Chief editor: Matteo Stocchetti (PhD) Arcada University of Applied Sciences, Helsinki University & Åbo Akademi

Assistant editors: Anne Rajala (Helsinki University) & Daniel Lindblom (Arcada University of Applied Sciences)

Please send your submissions to: meda.cinema@arcada.fi
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CFP: Literature / Film Association Annual Conference



SPACE, PLACE & ADAPTATION

November 29-December 1, 2018

New Orleans, Louisiana, USA



Keynote: Christopher Schaberg, Dorothy Harrell Brown Distinguished Professor of English, Loyola University New Orleans


Holding our annual conference in New Orleans raises questions of space, place, and adaptation in the study of literature, film, and media. The city has long served as a point of contact and conflict between various cultures and their traditions, and its unique identity demonstrates the enduring influence of those populations today. While we welcome papers on any aspect of film and media studies, we are especially interested in presentations that address one or more of the following concerns (or similar topics):


• the poetics of space and place

• the politics of space and place

• adapting literary spaces and places in media

• teaching space, place, and media

• exhibition spaces

• the rural, regional, national, or transnational in media

• cosmopolitanism

• space, place, and identity

• media institutions, such as archives, film libraries, and film festivals

• location shooting and recreating place in media

• mobility, migration, and exile

• space, place, and genre

• sets as sites of inquiry

• production design

• media infrastructures

• architecture and media

• geographical approaches to media

• space, place, and performance

• Louisiana as a media capital


We also have significant interest in general studies of American and international cinema, film and technology, television, and new media, and other cultural or political issues connected to the moving image. In addition to academic papers, presentation proposals about pedagogy or from creative writers, artists, and filmmakers are also welcome.

Christopher Schaberg, our keynote speaker this year, is Dorothy Harrell Brown Distinguished Professor of English at Loyola University New Orleans, where he teaches courses in contemporary literature, cultural studies, and environmental theory. He has written four monographs: /The Textual Life of Airports: Reading the Culture of Flight/ (2012), /The End of Airports/ (2015), /Airportness: The Nature of Flight/ (2017), and /The Work of Literature in an Age of Post-Truth./ He has also co-edited two collections: /Deconstructing Brad Pitt/ (2014, with Robert Bennett) and /Airplane Reading/ (2016, with Mark Yakich). With Ian Bogost, he co-edits the Object Lessons series, exploring the hidden lives of ordinary things.


Please submit your proposal via this Google Doc <https://docs.google.com/forms/d/e/1FAIpQLSewJi9Q6SDIrym8gaI8g6rYBzvsR7sa22ZI0AqqFqFqfO5orA/viewform> by July 15, 2018. If you have any questions or concerns, contact Pete Kunze at litfilm2018@gmail.com <mailto:litfilm2018@gmail.com>. Accepted presenters will be notified by August 15.


The conference hotel rate of $179/night is available at the Four Points Sheraton French Quarter until November 1, 2018. Limited travel grant support is planned to be available for select graduate students, non-tenure-track faculty, and/or independent scholars and artists. Details for an added application process for such support will be shared following proposal acceptances in August.


The conference registration fee is $200 ($150 for students and retirees) before October 1, 2018 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, visit the Literature/Film Association website at http://litfilm.org/conference and use our PayPal feature.


Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit www.salisbury.edu/lfq<http://visitwww.salisbury.edu/lfq>.
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Vacancy at Learning on Screen


Academic Research Project Officer, Learning on Screen

Part Time: 2.5 days a week

Salary: £29,000 pro rata

The post holder will work in collaboration with the Chief Executive of Learning on Screen and be responsible for developing and implementing an academic research project strategy for Learning on Screen. Learning on Screen wants to raise its profile as a key academic project partner and deepen and develop its relationships with the academic community. The candidate must have a PhD or equivalent qualification in a relevant subject area.

The post is based in our London offices but the candidate may be able to work flexibly from home. They will also need to be willing to travel to events, meetings etc. as required.

To apply for this role, please send a CV and covering letter *by 5pm on 13th July 2018* to jobs@bufvc.ac.uk <mailto:jobs@bufvc.ac.uk>.

Interviews will be held *week commencing 23rd July 2018*.

Job Description – Academic Research Project Officer, Learning on Screen <http://bufvc.ac.uk/wp-content/media/2017/08/Job-Description-Academic-Research-Project-Officer.pdf>

Person Specification – Academic Research Project Officer, Learning on Screen <http://bufvc.ac.uk/wp-content/media/2017/08/Person-Specification-Academic-Research-Project-Officer.pdf>


http://bufvc.ac.uk/aboutus/vacancies

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Final CFP: Siblings on Stage and Screen (University of Worcester, 5 September 2018)



This one day symposium aims to explore the relatively under-developed study of siblings in visual culture and performance.

In drama, family relationships are both ubiquitous and complex and whether a Renaissance revenge tragedy or a play by Harold Pinter, the plot often pivots on the loyalty or jealousy between siblings, confusion caused by twins or conflict prompted by illegitimacy. Whilst there have been many explorations of the role of siblings in Shakespeare, the examination of sibling relationships in its many forms, remains a fruitful area of discussion for plays from the sixteenth to twenty-first century.

On screen, sibling relationships are frequently depicted and yet rarely interrogated.//Whether as a stabilising force, a source of antagonism, a parental substitute, or an unsettling doubled presence, images of brothers and sisters in film and television provide a counterpoint to the oft-investigated familial relationships between parents and children. Siblings filmmakers and actors, meanwhile, have been a constant force in cinema.//

We invite papers of 20 minutes from the fields of theatre and performance studies, film and TV studies, English literature, media and cultural studies, and related disciplines. We also welcome proposals for complete panels of 3/4 papers.

Papers may explore the representation of siblings across a range of media and genres. Topics may include, but are not restricted to, the following:

·Family relationships and dynamics; birth order

·Sisterhood/brotherhood; twins or multiple births; doubling or Doppelgänger

·Missing parents; orphans; siblings in adulthood or old age

·Incest; illegitimacy; inheritance

·Ambition and revenge; family feuds; loyalty

·Gender roles and performance

·Siblings as directors or performers

If you would like any further information please contact the organisers, Dr Katie Barnett and Dr Sharon Young, at siblingsonstageandscreen@gmail.com <mailto:siblingsonstageandscreen@gmail.com>

Please send proposals of 250-300 words, along with a short author bio, to the organisers by 8 June 2018.
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CFP: International Conference, Cinema, TV and Popular Culture in the 1990s: Spain-Latin America

The group Tecmerin (Universidad Carlos III de Madrid), within the Research Project "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global"(CSO2016-78354-P), organizes de International Conference “Cinema, TV and Popular Culture in the 1990s: Spain-Latin America” on October 17th, 18th and 19th, 2018 (5th Tecmerin Academic Encounter).

The 1990s are the beginning of a new historical cycle in which the hegemonic growth of a series of neoliberal ideas takes place. Simultaneously, the symbolic disappearance of the Berlin frontier-wall occurs. In addition, it is a key period in the reconfiguration of culture in different areas. The audiovisual sector—both cinema and television—was no exception. One could even argue that contemporary Spanish and Latin American production stems, to a great extent, from the several industrial, cultural and aesthetic processes that crystallized during this period. Likewise, it is a crucial moment in the establishment of a series of connections between Spain and Latin America in terms of audiovisual production. There is an attempt to re-evaluate the role of a series of cultural agents, tracing, potentially, new platforms of exchange.

From a cultural and social viewpoint, the 500th anniversary of the encounter between Europe and America channels Spain’s greatest effort to work collectively in a variety of identity policies. After the consolidation of democracy, several international institutions legitimize the achievements of the Spanish Transition model and foster the celebration of top-notch cultural and sports macro-events, grouped around the commemorative 1992 date (the Barcelona Olympics, Seville’s Universal Expo, Madrid as European Cultural Capital). During those days, a series of important meetings and political agreements take place in Spain as well, such as the 1991 Peace Conference, or the creation of new tools to strengthen the Ibero-American community with a variety of cultural exchange and cooperation initiatives (the second Ibero-American Summit of “Chiefs of State and Government”, in 1992, takes place in Madrid). Nonetheless, these inclusion policies suffer from notable limitations, in the sense that they avoid establishing productive exchanges with discrepant sectors and opinions within the cultural, social and political fields.

During this period, Spain’s incorporation to the European Union (the ECC) turns into an immediate economic boost and the implementation of a series of liberalization policies. These international processes had unprecedented effects in a country, Spain, which was attempting to establish itself as the bridge between Europe and Latin America. Part of this accrued capital gets to local, regional and national governments, which, driven by their access to the riches of economic globalization, use this money (following a European pattern) in the creation of a series of cultural infrastructures and the financing of projects for new cultural consumers, a phenomenon that French author Marc Fumaroli has called the emergence of a “cultural State”. This well-known process—widely recognized today—started in Spain around the symbolic 1992 date. In Latin America, newborn democracies start also de-regulating and privatizing policies that will have a great impact in the development of the audiovisual sector.

From the on, cultural production would combine the modern logic of a personal style with production models that belong to an increasingly complex and multimedia industrial sector, bound by transnational synergies. There are, therefore, major changes in terms of production and consumption practices. In Spain, in the years prior to 1992, there are a series of mutations that point to the fact that the country is leaving behind certain artistic canons and modes of cultural production, entering thus a new phase. In cinema, there are several legislative modifications that attempt to supersede the limitations of the so-called Miró law, which championed projects according to a series of “quality” criteria, disregarding box-office results; in literature, as it happens with the cinema, a new generation of authors, where women figure prominently, come to the fore, and become central referents within the public sphere; in television, the arrival of private channels in 1990 drastically alters the audiovisual panorama; in music, the emerging bands of the 1980s have become mainstream and a new wave of creators, mobilizing other artistic practices such as comic books and B cinema, challenge the statu quo with conceptual works close to a DIY (‘do it yourself’) ethos, molding a new scene typically labeled as ‘indie’; in the visual arts, new contemporary museums and international fairs such as ARCO are born; in addition, there are dozens of exhibitions that encourage the Spanish population to catch up with international artistic trends, creating a transnational logic of circulation and exhibition linked to other European cultural events and the wider international panorama. Similarly, transformations can also be detected within Latin America during this decade, which will, for example, catapult in the last stages of the 1990s the emergence of renowned filmmakers such as Walter Salles, Alfonso Cuarón, Guillermo del Toro, Lucrecia Martel, Pablo Trapero, Carla Camurati or Juan José Campanella, among others.

We consider, therefore, necessary to approach this period from an analytical viewpoint, putting special emphasis in the Spanish cultural production, and the multiple cultural connections between Spain and Latin America.

We are especially interested in the following areas of analysis, although we invite scholars to propose other fields of study:

- Transformations in the 1990s film panorama.
-The rebirth of national television fiction.
-Film and television co-productions between Spain and Latin America.
-Legislative changes within the 1990s Spanish and Latin American audiovisual sector.
-La Ruta del Bakalao: History and Evolution
-New music approaches during the 1990s: the “indie” generation.
-The festivalization of Spanish culture: from the FIB to the Sónar or Primavera Sound.
-The EU and 1990s cultural production.
-Globalization, identity and the celebration of macro-events.
-The arrival of private and pay television in Spain and its effects on the audiovisual panorama.
-Regional television models.
-“Star System” and representations of the “Hispanic”.
- Critical approaches from the margins in relation to the 1990s in Spain and/or Latin America.
-Contemporary approaches to the 1990s in film and television.

Key Note Speakers:
Robert Stam, New York University
Sabine Schlickers, Universität Bremen
Duncan Wheeler, University of Leeds

Proposals:

The official languages of the conference are both English and Spanish. Scholars and researchers may submit two kinds of proposals:

Individual: Send a paper title, 300-word abstract and a 100-word bio.
Pre-constituted panels (3 or 4 speakers): Send a panel title, 300-word abstracts and 100-word bios for each paper and author.

Send all proposals through the conference’s website:


http://congreso92.uc3m.es/

Please direct any questions to the following email:

congreso92@uc3m.es <mailto:congreso92@uc3m.es>

Proposals Deadline: June 30th 2018.
Price:

The cost of the conference is 75 euros for researchers and university professors and 30 euros for postgraduate students.

Payment may be done once a proposal has been accepted until the first day of the conference through an online registration platform that will be available after the proposals evaluation period.

Proyecto I+D+i "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global" (CSO2016-78354-P), Ministerio de Economía, Industria y Competitividad. Gobierno de España)



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CFP Congreso Internacional, Cine, TV, y Cultura Popular en los 90: España-Latinoamérica

El Grupo Tecmerin de la Universidad Carlos III de Madrid, en el marco del Proyecto "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global"(CSO2016-78354-P), organiza el Congreso Internacional “Cine, TV, y cultura popular en los 90: España-Latinoamérica” los días 17, 18 y 19 de Octubre, 2018 (V Encuentro Académico Tecmerin).

Los años noventa del siglo XX, que inauguran un nuevo ciclo histórico tras la paulatina hegemonía de las concepciones neoliberales y la simbólica desaparición de la frontera-muro de Berlín, constituyen un momento clave en la reconfiguración de la cultura en diversos ámbitos, y el audiovisual—tanto el cine como la televisión—no fue una excepción. Se puede incluso argumentar como hipótesis que la actual producción cultural española y latinoamericana es en gran medida heredera directa de varios de los procesos industriales, culturales y estéticos que cristalizaron en este periodo. De igual modo, es un momento en el que se establecen una serie de conexiones con la producción audiovisual entre España y Latinoamérica con el fin de re-evaluar los vínculos con los diferentes agentes culturales en este continente y trazar, potencialmente, nuevas plataformas de intercambio.

Desde un punto de vista social y cultural, el aniversario de los 500 años del encuentro entre Europa y América canaliza el mayor esfuerzo realizado en España para trabajar colectivamente con políticas de identidad. Consolidada la democracia, las instituciones internacionales legitiman los logros del modelo transicional español y apuestan por la celebración de macro-eventos culturales y deportivos de gran relieve, que se agrupan en torno a la fecha conmemorativa de 1992 (Juegos Olímpicos en Barcelona, Expo Universal en Sevilla, Madrid Capital europea de la cultura). Por aquellos días, también tienen lugar en España importantes encuentros y acuerdos políticos, como la Conferencia de Paz de 1991, o la creación de nuevos cauces para consolidar una comunidad iberoamericana, a partir de iniciativas de intercambio cultural y de cooperación (la segunda Cumbre Iberoamericana de “Jefes de Estado y de Gobierno”, correspondiente a 1992, tiene lugar en Madrid). Sin embargo, estas políticas de inclusión adolecen de notables limitaciones, en la medida en que soslayan el diálogo con sectores y corrientes discrepantes con el proyecto en material cultural, social y política.

Durante este periodo, la incorporación de España a la Unión Europea (entonces CEE) se traduce en la inyección de un significativo volumen de ayudas económicas y la puesta en marcha de políticas de liberalización. Estos procesos internacionales tuvieron efectos sin precedentes en una España que busca su lugar en el mundo como puente entre los países latinoamericanos y Europa. Una parte del capital acumulado que llega a los gobiernos locales, regionales y nacionales — catapultados por su acceso a las riquezas de la globalización económica—, se canaliza, siguiendo el patrón europeo, en la construcción de infraestructuras y en la financiación de proyectos para nuevos consumidores culturales, fenómeno que el ensayista francés Marc Fumaroli explica como el de la emergencia de un “Estado cultural”. Este bien conocido proceso arranca precisamente en España en torno a la fecha simbólica de 1992. En Latinoamérica, las recién nacidas democracias emprenden también políticas desreguladoras y privatizadoras que repercutirán sin duda en los modelos de desarrollo del sector audiovisual.


La producción cultural combinaría a partir de aquí la lógica moderna del estilo personal con modelos de producción que responden a una industria cada vez más compleja, multimedia y sujeta a sinergias trasnacionales, al tiempo que se evidencian cambios de calado en la relación entre prácticas culturales y formas de producción y consumo. En España es fácil observar que en los años previos a 1992 se están abonando cambios que hacen pensar que en el país se dejaban atrás determinados cánones artísticos y relaciones de la economía cultural para entrar en una nueva fase. En cine se producen modificaciones legislativas que intentan superar las limitaciones de la conocida como ‘Ley Miró’, que abogaba por una producción más interesada por la calidad y menos por otras variables relacionadas con la taquilla; en literatura, al igual que en cine, aparece una generación de jóvenes autores, y sobre todo de nuevas autoras, que van a convertirse en la referencia central en el espacio público; en televisión la llegada de la competencia entre emisoras públicas y privadas a partir de 1990, van a modificar drásticamente el panorama audiovisual español; en música, por una parte, las bandas emergentes de los años 80 son ya mainstream y una nueva ola de creadores vinculados a otras prácticas artísticas, como el cómic y el cine de serie B, desafían al statu quo con trabajos conceptuales cercanos al DIY (‘do it yourself’), moldeando una nueva escena típicamente denominada ‘indie’; en las artes visuales se crean museos de artes contemporáneos y ferias internaciones como ARCO, y proliferan exposiciones que ponen al día a los españoles, creando una lógica de circulación y exhibición vinculadas cada vez más a otros países europeos y el panorama internacional más amplio. Similares transformaciones pueden observarse de manera paralela en el horizonte latinoamericano a lo largo de la década, que influirán, por ejemplo, en el ámbito cinematográfico, en la trayectoria de realizadores como Walter Salles, Alfonso Cuarón, Guillermo del Toro, Lucrecia Martel, Pablo Trapero, Carla Camurati o Juan José Campanella, entre otros.

Consideramos, por tanto, oportuno abordar este periodo desde un punto de vista analítico, poniendo especial énfasis tanto en la producción dentro de España como las múltiples conexiones culturales entre España y Latinoamérica.

Se proponen las siguientes áreas de análisis, aunque se invita a los ponentes a abordar otras temáticas:

- Transformaciones en el panorama cinematográfico de los años 90
-El renacimiento de las ficciones televisivas nacionales.
-Co-producciones cinematográficas y/o televisivas entre España y países latinoamericanos.
-Cambios legislativos en el audiovisual español y latinoamericano durante los años 90.
-La Ruta del Bakalao: Historia y Evolución
-Nuevas propuestas musicales a comienzos de los 90: la generación “indie”.
- La festivalización musical de la cultura española: del FIB al Sónar o Primavera Sound.
-La EU y la producción cultural de los 90.
-Globalización, identidad y celebración de macroeventos
-El surgimiento de los canales de televisión privada y de pago en España y sus efectos en el panorama audiovisual.
-Modelos de televisión regional.
-“Star System” y representaciones de lo “hispano”.
-Propuestas críticas desde los márgenes del audiovisual en relación a este periodo histórico en España y/o Latinoamérica.
-Re-lecturas de los 90 desde el cine y/o la televisión contemporánea.


Ponentes invitados:

Robert Stam, New York University
Sabine Schlickers, Universität Bremen
Duncan Wheeler, University of Leeds

Presentación de propuestas:

Invitamos a realizar ponencias tanto en inglés como en español. Se podrán presentar dos tipos de propuestas:

Individual: Se solicita a los autores que envíen en sus propuestas un resumen con una extensión máxima de 300 palabras y una breve bio de 100 palabras.

Mesas pre-constituidas (3 ó 4 ponentes): Se deberá incluir el resumen con una extensión máxima de 300 palabras y una bio de 100 palabras para cada uno de los autores así como el título de la mesa propuesta.

El envío de propuestas se realizará en la página web del congreso:

http://congreso92.uc3m.es/

Dirijan cualquier pregunta al siguiente email:

congreso92@uc3m.es <mailto:congreso92@uc3m.es>

El plazo para el envío de propuestas finalizará el 30 de Junio de 2018.
Precio:
El pago por la inscripción en el congreso será de 75 euros para profesores e investigadores y de 30 euros para estudiantes de posgrado. Dicho pago podrá hacerse efectivo una vez se haya confirmado la aceptación de la propuesta, hasta la inauguración del congreso, a través de la plataforma de inscripción que estará disponible tras la evaluación de resúmenes en junio de 2018.

Proyecto I+D+i "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global" (CSO2016-78354-P, Ministerio de Economía, Industria y Competitividad. Gobierno de España)

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Phd Seminar: Genre and the Media


The Department of Media and Communication (University of Oslo) is organising a PhD-seminar on 'Genre and the Media' led by Prof. Anne Jerslev (University of Copenhagen) and Prof. Annette Hill (Lund University), 20-21 November 2018.

The aim of this PhD seminar is to discuss the concept of genre and the broader transformations of genres in a digital era in which the blurring of boundaries challenge our conceptual understandings of media culture on many levels. In a time of cross media production, audience participation and the appearance of new ways of communicating on social media, the question arises: How should we understand genre today?

Presentation of a short paper is mandatory. We welcome papers covering all aspects of genre and all media related to PhD students’ dissertations. Papers may be about questions of cross media and genre; questions of audience participation and genre; discussions of genre innovation and blurring of boundaries between genre and other concepts trying to differentiate levels and forms of communication. It is required that all participants read all short papers and there will be a reading list as well. Finally, the PhD course includes a session about the writing of a PhD dissertation.

Deadline for registration: 1 September 2018

You can register here: https://nettskjema.uio.no/answer/98568.html

You can read more about the event here: http://www.hf.uio.no/imk/forskning/aktuelt/arrangementer/phd/2018/phd-seminar%3A-genre-and-the-media-.html
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CFP: Special issue of Journal of Scandinavian Cinema

Spies in Scandinavia: Intelligence and counterintelligence in the Nordic countries

Scandinavia has always been a hotbed for espionage, owing to its natural resources and geostrategic location surrounded by the European powers Britain, Germany and Russia. A sharp increase in intelligence activities during World War I was picked up by various media. It was now – long after spy fiction evolved as a literary genre in the nineteenth century – that spies and intelligence agents became the subject of a wide array of audio-visual media. World War II once again augmented the level of intelligence and counterintelligence in the Scandinavian states. Neutral Sweden in particular developed into a hub for international spies; with some justification, Stockholm was labelled the ‘Casablanca of the North’. The Cold War further intensified intelligence activities in the Nordic countries located at the borderlines of the Iron Curtain. Very often, the Nordic countries have been a transitional zone, where domestic and foreign agents gathered and transmitted information about the enemy.

There are many academic publications dealing with media representations of espionage in Germany, France, Britain or the United States, yet, little attention has been paid to spies in Scandinavia, despite the region’s significance. This themed special issue of Journal of Scandinavian Cinema looks at how accounts of espionage have been informing audio-visual culture. To this end, it seeks to bring together scholars from a spectrum of cultural backgrounds to examine the phenomenon of spies in visual media from varying perspectives. Articles may cover different periods from the beginning of cinema to more recent developments to investigate representations of Scandinavia as the site of activities by domestic or foreign intelligence services.

We especially, but not exclusively, encourage contributions on the following topics and approaches:

- Scandinavia as an espionage hotspot during the twentieth century, including times of war and conflict (World War I, World War II, the Cold War, the war on terror, etc.)
- Prominent spies or locations and their representation in the various media
- Comparative analyses of spy-related themes in Scandinavian film and television
- The spy film as a transnational film genre
- Spy scandals and activities as a plot device for audio-visual media
- The reception of spy genre films
- Spy cinema and stardom
- The cultural politics of spy spoofs
- Documentary films and television productions on individual spies and/or espionage in general

Please submit an abstract of 250-300 words for Short subjects (2000 words) or Feature articles (5-6000 words) before 10 June 2018 to the Special Issue editors, Tobias Hochscherf (tobias.hochscherf@fh-kiel.de) and Rolf Werenskjold (rof@hivolda.no), together with a brief bio and select references. Final submissions are due on 1 December 2018. Only submissions that follow Journal of Scandinavian Cinema’s Notes for contributors will be considered.

For general information or questions regarding Journal of Scandinavian Cinema, please contact primary editor Anders Marklund (anders.marklund@litt.lu.se), editors Mette Hjort (mette.hjort@hum.ku.dk), Gunnar Iversen (GunnarIversen@cunet.carleton.ca) and Pietari Kääpä (P.Kaapa@warwick.ac.uk), or managing editor Rochelle Wright (wrightr@illinois.edu).
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Cine, Bergman, Conference 2018
“Everything represents: nothing is”.
Bergman revisited - a Centennial Conference (1918-2018)

“Tudo representa: nada é”.
Bergman revisitado - uma conferência no seu centenário (1918-2018)

2018 commemorates the centenary of Ingmar Bergman’s birth. To honour and to adress the artistic legacy of this great master, the University of Évora / ‘Cinema-fora- dos Leões’, together with ‘Colecção B’, is organizing next 24 th -27 th October, in partnership with Leopardo Filmes, the Bergman Foundation and the Embassy of Sweden in Portugal, plus the support of the Alentejo Cultural Directory, the Eugénio de Almeida Foundation, and the CHAIA (Universidade de Évora), Práxis (Universidade da Beira Interior/ Universidade de Évora) and CFUL (Faculdade de Letras de Lisboa) research Centers, an International Conference and a select screening of Bergman’s cinematic oeuvre in the world heritage town of Évora, Portugal.
From the heights of his towering presence amidst the landscape of European art film, the core of the perhaps too well-known Bergman’s work remains an enigma to date, and stirs a thought-provoking network of questions: is there an innermost, ultimate meaning inhabiting Ingmar Bergman’s artistic thought and creative output – and, if so, how are we to define it? Or, asking more broadly: what are the formal-stylistic, aesthetic, thematic, philosophical, film-specific, performative features circumscribing this undeniable unity of meaning which, on the other hand, always eludes definition?
In a further line of consideration, beside the filmmaker, there stands also Bergman the writer and screenwriter, the stage director, the producer, the theatre manager, the man of culture impregnated with a wealth of interartistic references, who is able to mobilize ingeneously devised intermedial resources going from literature to music, from architecture to painting, but also keen on bridging the gap between high culture and the popular world of circus and travelling players. The name or brand ‘Bergman’ points, in fact, to a vast realm whose internal complexity begs for further exploration.
The public access to his archives through the edition of parts of his writings, together with the published original scripts, add yet another revealing side to the polyhedron Bergman, a multilayered treasure offered to the study of the scholar and the loving care of the film geek, that invites the launching of a larger meeting that can bring together the community of Bergman enthusiasts in a scientific symposium. Bearing testimony to the same process of a ‘return to Bergman’ (or will it be ‘of Bergman’?), the growing international interest on the multidimensionality of his monumental body of work translates itself into a profusion of new books and essays, conferences and academic dissertations. This voluminous bibliography, embracing both primary and secondary sources, constitutes the current basis for any serious undertaking within the field of Bergman Studies.
In this context, the initial pretext of a commemoration of the anniversary surmounts itself towards the more formal purpose of setting an international conference guided by the epistemological aim of reopening and retargeting the central thematics of the Bergman field.
Furthermore, it is not just the classic Bergman agenda that has recently entered on an era of new extensions, multiplied viewpoints and general updating, so to say by means of an immanent logic: concurring with this movement from the opposite side, we can assist to a massive renewal of the theoretical approaches and frameworks within the several disciplines of ancilar import to the interpretation of a major cinematic oeuvre such as Bergman’s, namely in film studies and film-philosophy.

This critical resettlement of classic theoretical topics (ex. g., gender representation, auteur theory) or the introduction of new avenues (socio-cultural contexts, as complementing the traditional psychological and psychoanalytic pathways; or even a change of accent in the psychoanalytic matrix, from Freud to Lacan, for instance), lend an extra hermeneutical dynamic which combines a double movement: that of the interpreted thing and the one of its interpretation.

We are looking forward to bringing together in the beautiful medieval town of Évora the (already confirmed) following set of keynote speakers:

Guest Keynote Speakers
António Júlio Rebelo (Práxis-UBI/UÉ, Portugal)
Jorge Silva Melo (filmmaker, stage director, writer, Lisbon, Portugal) [to be confirmed]
José Alberto Ferreira (UÉ/FEA/CHAIA, Portugal)
José Manuel Martins (UÉ, Práxis/CFUL/CHAIA, Portugal)
Laura Hubner (University of Winchester, UK)
Luís Ferro (CHAIA, Évora, Portugal)
Maaret Koskinen (Stockholms Universitet, Sweden)
Pedro Mantas (Universidad de Córdoba, Spain)
Susana Viegas (Universidade Nova de Lisboa/Deakin University, Portugal)
Thomas Elsaesser (Universiteit van Amsterdam)


Registration fees:
Early bird: 50€
Late bird (after the 31 st of July): 70€

The list of topics and themes below will hopefully suggest as many other ones of similar importance, and provides the guidelines for a Call for Abstracts welcoming proposals for a 20+10minutes talk, both as individual or co-authored presentations, and in panels of more than one contributor (20+10min. x 2 or x 3).

The deadline for submitting an abstract not exceding 3000 characters (including spaces) in PDF and Word formats is May 30 th 2018. A short bio should be adde too.

The working languages of the Conference are English and Portuguese. The authors will be notified of the acceptance of their proposals by June 30 th 2018.

We have ensured the interest of a UK major publisher on a book of essays summing up the outcome of this meeting.

Topics:
The filmic constellation
Intermediality and intersensoriality
The ‘philosophy’ of Ingmar Bergman
Methodologies and epistemologies regarding Bergman
The Bergmanian themes and universes
Art and life
The contemporariness of Bergman
The image-maker

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CFP: 5th Internacional Symposium Fusions in Cinema (São João da Madeira)


caminhos.info/symposium 
http://caminhos.info/symposium

The 5th Internacional Symposium Fusions in Cinema will take place between 23rd and 24th November 2018, in São João da Madeira, with the support of the Town Council of São João da Madeira.

This 5th edition of the Symposium will be co-organized by the Caminhos Film Festival and the Unity of Development of the Centers of Local Learning of the Universidade Aberta. All the proposals of works will be reviewed by the peers through blind-review, guaranteeing the exemption and impartiality of the evaluation. The works submitted will be published in a book of minutes and the most relevant will be published in a future number of the ICONO14 editorial. The deadline for reception of proposals of communications is until September 15.

Teachers, investigators, invited speakers, specialists and artists of different areas analyze, in this 5th Internacional Symposium, the current artistic and educational practices, the new roles of the different agents involved in the creative and operative dynamics of art, education and culture nowadays.

The Caminhos Film Festival and the Universidade Aberta invite you to submit your proposals of communication, in Portuguese, English or Spanish, that don’t exceed the 1500 characters (including spaces), in the following themes (that could be extended to other) of the Symposium:

LINE 1 - THE FUSION OF ARTS IN CINEMA
The relationship between the different arts and cinema: -Architecture; -Literature/Argument; - Interpretation/-Performance; -Music; -Photography; -Fine Arts

LINE 2 - CINEMA AND TECHNOLOGY
The technological evolution and the way Cinema arrives to the audience: -Subtitling, dubbing and audio-description; -The new technologies, Internet and cinema; -The supports, formats and the new media;

LINE 3 - CINEMA, INVESTIGATION AND EDUCATION
Cinema in different pedagogic environments (online and in person); Cinema and Investigation in the educational context; Practices of Cinema in School; Cinema and the new technologies in education; Cinema and Social Networks in formal and informal contexts of learning; Production of Audiovisual objects of learning with educational purposes using the cinematographic language.

LINE 4 - CINEMA AND TELEVISION
Theoretical approaches, about the audiovisual production in general, including all the genres and platforms of diffusion, framing it in a contemporary context nacional and internationally;
The analysis of the relations between implementation and production of cinematographic and television contents; Cinema and Television parallel ou interconnected worlds.

All the teachers are invited to participate (without communication), with no costs associated, in the Symposium. The registered can have access to a Certificate of Formation, given by the CCPFC with 1 credit for teachers of Basic and Secondary Education with the title “Fusões no Cinema”. The Symposium will have a duration of 25 hours: 10 hours will be presencial, on the 23rd and 24th November, and 15 hours will be online in the following week, with conferences from international specialists in a virtual environment.


- SCIENTIFIC PARTNERSHIPS –
Cen­tro de Estu­dos de Comu­ni­ca­ção e Cul­tura da Uni­ver­si­dade Cató­lica Por­tu­guesa;
Asociación Científica de Investigación de las Nuevas Tecnologías de la Comunicación - Icono14;
Uni­dade Móvel de Inves­ti­ga­ção em Estu­dos do Local (ELO) da Uni­ver­si­dade Aberta;
Plano Nacional de Cinema - Direcção Geral da Educação
Instituto de Psicologia Cognitiva, Desenvolvimento Humano e Social da Universidade de Coimbra

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CFP: The development of cinephilia and the promotion of french and local cinemas



International Conference​
​(French and Turkish versions below)​

The development of cinephilia and the promotion of French and local cinemas.
The contribution of the French Institutes and the Alliances Françaises


Institut Français, Istanbul - 29-30 November 2018

The role of movie theatres in the development of cinephilia is a field which has been the subject of a number of researches (A. de Baecque, E. Ethis, C. Gauthier L. Jullier and J.-M. Leveratto, L. Souilles-Debats, C. Tallibert, etc. ). Among these venues, a specific section consisting of those of the network of French cultural institutions abroad, IF and AF (150 venues) has not been analysed. Yet they have encouraged and still make a significant contribution to the dissemination and the promotion of cinema, for example: Cinemas Elvire Popesco (the French Institute of Bucharest in Romania), Jean Renoir (the French Cultural Centre of Seoul) or venues of the Alliances françaises of Buenos Aires and Havana.

The eclectic programming of these venues, initiatives towards the young public (since 1997 the French Institutes award the prizes of young French-speaking movie-goers), the festivals (International Filmmor Women’s Film Festival on Wheels is supported by the French Institute of Istanbul since its first edition in 2002 and IF remains one of the main partners of the festival by providing its venue, inviting French filmmakers, etc.), the meetings and Master Classes, offered often in a challenging environment – traditional values, political control and Americanization of societies (explosion of multiplexes and a mainstream cinema) – have marked generations of women and men, protagonists of the transformation of their countries.

The French cultural action outside France in general has been widely studied, cinema-related action, however, has been neglected. The aim of this colloquium is to remedy this lack and to highlight this contribution to the development of the cinephilia and to the promotion of French and local cinemas, including the encouragement of young creation and the emergence of new talents. Such is the case of the venue of the French Institute of Algiers, first place of diffusion of several young Algerian film-makers’ movies (including /The Blessed/ of Sofia Djama, 2017).

This conference is part of the research program “Exporting and Supporting French Cinema in the context of the French Institutes and the Alliances françaises”. Through the case of cinema, this project questions the methods and forms of French cultural diplomacy action in the field of the promotion, circulation and exportation of French cinema. We analyse the effectiveness of actions (market share of French cinema in global consumption, influence of French cinema on local creation, adaptation of the French model’s organization) while questioning their limits and difficulties. This project, proposed by IRCAV, is supported by the Labex ICCA (structuring program “French Model”). It has for main partners: IF, CNC, MEAE, ERCAE, MEDIAR (Istanbul).

Individual papers or panels can address but are not limited to the following themes:


Axis 1 – the venues: micro-history, evolution of attendance, operators

​...​


Axis 2 - programming and promotion of French and local cinemas: strategies, historical evolution, collaborations(schools, universities, training venues, festivals, associative and cultural structures...)


Axis 3 - forms of cinephilia: practices, testimonies, stories of spectators...


Axis 4 - Presence of these venues in the literary(novels, news, poetry...) and media (print, TV, radio, web...)

Please send proposals of up to 300 words, accompanied by a short bibliobiography (maximum 100 words) to Ece Vitrinel (ecevitrinel@gmail.com <mailto:ecevitrinel@gmail.com>) until 3 June 2018.


Organized by: Kira Kitsopanidou (Professeure, Université Sorbonne Nouvelle Paris 3/IRCAV), Christophe Pecot (attaché audiovisuel régional, Consulat général de France et Institut français à Istanbul), Giusy Pisano (Professeure, ENS-Louis-Lumière/IRCAV), Ayse Toy Par (Maître de conférences, Université Galatasaray/MEDIAR), Azime Hülya Ugur (Professeure, Université Giresun)


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Appel à communication

Le développement de la cinéphilie et la promotion des cinémas français et locaux.

La contribution des Instituts français et des Alliances françaises

Institut Français, Istanbul - 29-30 Novembre​ 2018


Le rôle des salles de cinéma dans le développement de la cinéphilie est un domaine qui a fait l’objet d’un certain nombre de recherches (A. de Baecque, E. Ethis, C. Gauthier L. Jullier et J.-M. Leveratto, L. Souilles-Debats, C. Tallibert, etc. ). Parmi ces salles, un pan spécifique constitué par celles du réseau des établissements culturels français à l’étranger, IF et AF (150 salles), n’a pas été analysé. Pourtant, elles ont apporté et apportent toujoursune contribution importante en matière de diffusion et de promotion, pour exemple : les salles Elvire Popesco (Institut français de Bucarest en Roumanie) ou Jean Renoir (Institut français de Séoul), ou encore les salles des Alliances françaises de Buenos Aires et de La Havane.

Organisés dans un contexte souvent contraignant - d’enracinement des valeurs traditionnelles, de contrôle politique et d’américanisation des sociétés (explosion des multiplexes et d’un cinéma mainstream) - les programmations éclectiques de ces salles, les initiatives envers le jeune public (depuis 1997 les Instituts français décernent les prix des jeunes cinéphiles francophones), les festivals (« Le Festival International Itinérant de Films de femmes FİLMMOR» (soutenu par l’Institut Français d’Istanbul dès sa première édition en 2002 et reste l’un des partenaires principaux en mettant à disposition sa salle, invitant des réalisatrices françaises, etc.), ainsi que les rencontres et Master Class, ont marqué des générations de femmes et d’hommes, acteurs des mutations de leurs pays.

Si l’action culturelle extérieure française en général a été largement étudiée, l’action en matière de cinéma, quant à elle, a été négligée. L’ambition de ce colloque est de remédier à ce manque et de mettre en lumière cette contribution, dans le développement de la cinéphilie et dans la promotion des cinémas français et local, notamment dans l’encouragement de la jeune création et l’émergence de nouveaux talents. Tel est le cas de la salle de l’Institut français d’Alger, premier lieu de diffusion de plusieurs films de jeunes cinéastes algériens (dont /Les Bienheureux/ de Sofia Djama, 2017).


Cette manifestation s’inscrit dans le cadre du programme de recherche « Exporter et soutenir le cinéma français dans le contexte des Instituts français et des Alliances françaises ». À travers le cas du cinéma, ce projet questionne les modalités et formes d’action de la diplomatie culturelle française dans le domaine de la promotion, la circulation et l’exportation du cinéma français. Nous analysons l’efficacité des actions (part de marché du cinéma français dans la consommation globale, influence du cinéma français sur la création locale, adaptation de l’organisation du modèle français) tout en questionnant leurs limites et difficultés.Ce projet, proposé par l'IRCAV, est soutenu par le Labex ICCA (programme structurant « Modèle français »). Il compte pour principaux partenaires : IF, CNC, MEAE, ERCAE, MEDIAR (Istanbul).

Les propositions de communication individuelle ou de panels vont privilégier, sans pour autant s’y réduire, les axes suivants :

Axe 1 - formes de la cinéphilie : pratiques, témoignages, récits des spectateurs…

Axe 2 - la programmation et la promotion des cinémas français et local : stratégies, évolution historique, collaborations(écoles, universités, lieux de formation, festivals, structures associatives et culturelles…)


Axe 3 - les salles : micro-histoire, évolution de la fréquentation, exploitants…

Axe 4 - présences de ces salles dans les champs littéraire(romans, nouvelles, poésie…) et médiatique (presse écrite, TV, radio, web…)

Les propositions de maximum 300 mots, et accompagnées d’une courte bibliobiographie (de maximum 100 mots) sont à envoyer jusqu’au 3 juin 2018 à Ece Vitrinel (ecevitrinel@gmail.com<mailto:ecevitrinel@gmail.com>).

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Konferans çağrısı

*/Sinefilinin geli/ş/imi, Fransız sineması ve yerli sinemaların tanıtımında Fransız Kültür Merkezleri ve Alliance Française’lerin yeri/*

Fransız Kültür Merkezi, İstanbul - 29-30 Kasım 2018

Sinema salonlarının sinefilinin gelişimine katkısı bir dizi araştırmaya konu olmuştur (A. de Baecque, E. Ethis, C. Gauthier L. Jullier ve J.-M. Leveratto, L. Souilles-Debats, C. Tallibert, vd.). Bu araştırmalarda, yurtdışındaki Fransız kültür kurumları ağının bir bölümü olan ve toplamda 150 salonu bulunan FKM (Fransız Kültür Merkezleri ve AF (Alliances françaises)yer almamıştır. Bununla birlikte, bu salonlar filmlerin dağıtımı ve tanıtımına destek olup her zaman önemli bir katkıda bulunmuşlardır, örneğin: Elvire Popesco (Romanya’daki Bükreş Fransız Kültür Merkezi) veya Jean Renoir salonları (Güney Kore’deki Seul Fransız Kültür Merkezi ) ve Buenos Aires ve Havana Alliances françaises salonları.

Bu salonlar; genellikle köklü geleneksel değerlerin hüküm sürdüğü, siyasi denetim ve Amerikanlaşmanın (mültiplekslerde ve anaakım sinemada patlama) yaşandığı bir ortamda, seçkin programları, genç seyirciye yönelik girişimleri (1997’den itibaren Fransız Kültür merkezleri Fransızca konuşan genç sinefiller ödüllerini dağıtmaktadır), katkıda bulundukları festivaller (örneğin: Uluslararası Kadın Filmleri Festivali FİLMMOR, 2002 yılındaki ilk senesinden bu yana Fransız Kültür Merkezi tarafından desteklenmekte ve gerek Fransız sinemacıları davet ederek gerekse salon vererek FKM festivalin ana ortaklardan biri olmaya devam etmektedir), düzenledikleri toplantılar ve ustalık sınıfları ülkelerindeki dönüşümlerin aktörleri olan nesilleri etkilemişlerdir.

Genel olarak Fransız kültürünün Fransa dışındaki etkisi fazlaca incelenmiş olmakla birlikte sinema alanındaki etkinliği ihmal edilmiştir. Bu kolokyumun amacı söz konusu eksikliği gidermek ve bu katkıyı sinefilinin gelişiminde ve Fransız sineması ve yerli sinemaların tanıtımında, bilhassa genç yaratıcıların ve yeni yeteneklerin ortaya çıkmasının desteklenmesinde öne çıkarmaktır. Pek çok Cezayirli genç sinemacının filmlerinin (Sofia Djama/, Les Bienheureux/, 2017 gibi) ilk gösterildiği yer olan Cezayir Fransız Kültür Merkezi salonu bu duruma örnektir.

Bu konferans, “Fransız sinemasını Fransız Kültür Merkezleri ve Alliances Françaises’ler bağlamında ihraç etmek ve desteklemek” başlıklı araştırma programı kapsamında yer almaktadır. Bu proje, sinema örneğinden yola çıkarak, Fransız kültürel diplomasisinin Fransız sinemasının tanıtımı, dolaşımı ve ihracı alanındaki eylem yöntemlerini ve şekillerini sorgulamaktadır. Bu eylemlerin etkinliğini (küresel ölçekte Fransız sinemasının pazar payı, Fransız sinemasının yerli sinemalar üzerindeki etkisi, Fransız modelinin uyarlanması) incelerken bir yandan da bunların sınırlarını ve güçlüklerini tartışmak da amaçlanmaktadır.

​ ​
IRCAV’ın bu projesi Labex ICCA (“Fransız Modeli” temel programı) tarafından desteklenmekte ve IF, CNC, MEAE, ERCAE, MEDIAR (İstanbul) işbirliğiyle gerçekleştirilmektedir.

Bireysel sunumlar veya panel önerilerinin kabul edileceği konferansta, bunlarla kısıtlı olmamakla birlikte aşağıdaki eksenlere öncelik verilecektir:

1. Eksen: mikro-hikâyeler, sinemaya gitme pratiklerinin gelişimi, işletmeciler…

​ ​
2. Eksen: Fransız sinemasının ve yerli sinemaların programlanması ve tanıtımı: stratejiler, festivaller, tarihsel gelişim, ortak çalışmalar (okullar, üniversiteler, eğitim kurumları, festivaller, kültürel ve derneksel yapılar…)

3. Eksen: Sinefili biçimleri: alışkanlıklar, tanıklıklar, izleyici anlatıları…

4. Eksen: bu salonların edebiyat (roman, öykü, şiir…) ve medya (yazılı basın, TV, radyo, web…) alanlarındaki varlığı

300 kelimeyi aşmayan öneriler, öneriyi verenlerin kısa özgeçmişleri (en fazla 100 kelime) ile birlikte 3 Haziran 2018 tarihine kadar Ece Vitrinel’e (ecevitrinel@gmail.com<mailto:ecevitrinel@gmail.com>) adresine gönderilmelidir.

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Senior Lecturer post in Filmmaking at The University of Sussex

School/department: School of Media, Film and Music
Hours: full time
Contract: permanent
Reference: 2844
Salary: starting at £49,149 and rising to £56,950 per annum
Placed on: 20 April 2018
Closing date: 23 May 2018. Applications must be received by midnight of the closing date.
Expected interview date: 14 June 2018
Expected start date: September 2018
Job description

The School of Media Film and Music at the University of Sussex wishes to appoint a Senior Lecturer with expertise in the field of Filmmaking to a full-time post.

You will possess a higher degree in a relevant area or will have equivalent scholarly or relevant professional activity. You will have teaching experience to undergraduate level and postgraduate level, together with evidence of an international research profile.

You will be interested in contributing to leadership in both the Department of Media and Film and the School of Media, Film and Music. All areas of filmmaking are of interest and it is desirable, although not essential, to have scholarly and/or practice research expertise in at least one of the following areas: Narrative or Documentary Filmmaking.

The University of Sussex is committed to equality of opportunity

Download the full job description and person specification (reference number 2844): http://www.sussex.ac.uk/about/documents/2844-fps.pdf


How to apply

Download our academic post application form [DOC 301.50KB] and personal details and equal opportunities form [DOC 162.50KB] and fill in all sections.

Email your completed application, and personal details and equal opportunities form, to mfmrecruitment@sussex.ac.uk

You should attach your application form and all documents to the email (don't use a web-based upload/weblink service) and use the format job reference number / job title / your name in the subject line.

You can also send your application by post to Human Resources Division, Sussex House, University of Sussex, Falmer, Brighton, BN1 9RH.
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