1 2 3 4 5 6 7 8 9 10 11 12 13 14

A AIM - Associação de Investigadores da Imagem em Movimento surgiu da vontade de reunir em Portugal, numa mesma entidade representativa, um conjunto de investigadores que têm em comum objectos e temas de pesquisa.

Torne-se Membro

Junte-se a uma comunidade internacional de investigadores das imagens em movimento e fique a par de todas as iniciativas e novidades da AIM!

Array ( [0] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: Filmic and Media Narratives of the Crisis - Contemporary Representations ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>


November 7 – 8, 2019, Athens

Call for papers:

The crisis narrated by the cinema and the media-stories (fictional and «
informative ») is an ideal topic reflecting thoughts, doubts, and fears
of our societies. Beginning with the cinema (its allegories and
transcriptions of the social and political actions) and continuing with
any imaginal narration of the contemporary social issues (the crisis
being a major one) this conference invites analysis research of the
contemporary narrations of the media in order to finally « capture » the
dominant myths sustaining our everyday life.

The “success stories” usually describe issues concerning the struggle
for power and control (including cases of the formed zones of security
and insecurity, of the role and mobilization of technological issues, of
the elites chosen to affront the crisis etc.). In filmic stories
individual heroes become the protagonists of “world salvation”
(reductionist pedagogy as far as it concerns the crisis, giving
nevertheless a dominant perception concerning the nowadays division of
the world into security and insecurity zones where regions like
Mediterranean Sea become “frontier lands”). We need to mention here the
different /war representations /(including the economic war) given that
the absolute crisis in history is « war » (including periods of Law
exceptions, of social radicalizations, where societies play for their
survival, the dissolution and the *re-arrangement *of a certain relation
to the world and of new definitions of the “social link”).

Some main axes of investigation proposed for this conference are (not
exclusively) the following:

Representations;

Heroes and Victims;

Propagandas (triumph of a dominant model of thought) using dreams, myths
and ideals;

Dialogue between dominant myths and peripheral reflections;

Cultural Industries and local productions;

Film, Media Receptions & Cultural Studies (the decoding of spectators
and the understanding of different narratives);

Abstracts (around 500 words) must be sent before *April 30th* to the
address: recitsfilmiquesdelacrise@gmail.com
<mailto:recitsfilmiquesdelacrise@gmail.com> ) ) [1] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: Comparative Cinema - N15 (Fall 2020): Feminine desires in film. Theories, methods, case studies. ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>

http://www.ocec.eu/cinemacomparativecinema

From the 1980s, with what is known as the “feminist conscience turn”,
the essentialist ways to define female subjectivity entered a crisis,
and so did the monolithic conception of feminine desire as an
unchangeable entity. An open conception of the desiring female subject
as a locus for a set of multiple, complex and potentially contradictory
experiences began to be upheld. In this new paradigm, the oeuvre of
Teresa de Lauretis, Judith Butler or, in another direction, Rosi
Braidotti, have offered new philosophical roads to talk about subjects
and their desires. Film theory has not been foreign to this
metamorphosis, and it has generated works of reference from authors such
as Tania Modleski, Jackie Stacey, Gaylyn Studlar or Linda Williams. This
Call For Papers invites authors to present texts that, following these
new directions, help to rethink the representation of feminine desires
in film, both from a historical perspective as well as attending to the
vitality of contemporary creation. The journal will take into account
the articles that propose an in-depth study of the different theoretical
and methodological basis related to this study field, and those that
analyze, from a comparative perspective, gestures, gazes and images that
are selected as analytical subjects for advancing research on the
audiovisual representation of feminine desires in films. It is
suggested, in the case studies, that authors begin their articles with a
comparison between two images or sequences from different films as a
starting point, before expanding upon their research.

Languages: 'Comparative Cinema' edits all its articles in English, but
also accepts originals to be evaluated and published in Catalan or
Spanish. If an article is accepted, its authors must assume the costs of
translating it to English.

Length of the articles: from 5.000 to 6.000 words, including footnotes.
The texts (in Word) and the accompanying images must be sent through the
OJS platform of RACO.

See here other submission details and format guidelines:
https://www.raco.cat/index.php/Comparativecinema/about/submissions#authorGuidelines


Submission dates: from September 15th to December 15th, 2019.

* From September 15th onwards, Comparative Cinema will start receiving
texts for a new miscellaneous section, in which the journal will include
articles that have no thematic bond to the proposed monographic issues.
From this date on, the reception of these submissions will be carried
out continuously throughout the year, but the articles will be published
in subsequent issues of the journal, prior coordination with the editors.


comparativecinema@upf.edu

ISSN: 2014-8933

Legal Deposit: B.29702-2012 ) ) [2] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: International Journal of Fim and Media Arts (IJFMA) ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>



IJFMA is preparing a special issue titled ‘Flow and Archive’ dedicated
to Television and to its current challenges

The digital turn has allowed television to be reimagined after the
networked computers. Following the telephone and radio, the new paradigm
inspiring the future of television are the networked computers, their
social networks and the participatory visual culture established on the
aftermath of the twentieth century cultural industries. After the
liveness and flow, definitional components of television, we are
currently offered with DVR-mediated television experiences and
collections of short videos which can be uploaded, viewed and shared by
the viewer. By becoming searchable and accessible online, television
provides a similar experience to the archives and to the video
aggregators that entertain the new generations of cellphone viewers. The
discussion about the future of television not only makes it worth
thinking about its past, the cultural value of its equipments and its
most resilient genres, but is certainly an opportunity to analyse how TV
journalism is challenged by social networks, and how its public service
can be revalued.

IJFMA welcomes papers addressing one or more of the following themes:

•Early and current screen practices;

•TV superseded equipments as material and cultural heritage;

•TV and media participatory turn;

•TV and transmedia industries;

•Old and resilient TV genres;

•Flow /versus/archive as a television challenge;

•Memory and the obsolete in online video collections;

•Social networks and other new challenges to public service broadcasting;

Contributions are encouraged from authors with different kinds of
expertise and interests in media studies, television and media history.

Full paper submissions are due by April 30th 2019.

Please find submission information at
http://revistas.ulusofona.pt/index.php/ijfma/about/submissions

Journal Website: http://revistas.ulusofona.pt/index.php/ijfma

For any query, please contact: victor.flores@ulusofona.pt
<mailto:victor.flores@ulusofona.pt> ) ) [3] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: V Encontro Internacional Cinema & Território (UMA) ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>

O Cinema e a Antropologia nascem e desenvolvem-se no final do século XIX. Desde o início, o filme tenta capturar o que é o objeto da etnologia: as práticas do ser humano na relação que estabelece com os seus semelhantes e com o espaço físico-cultural em que situa a ação. O trabalho de descrição dos primeiros filmes, que evoca o diário de campo do antropólogo, dá lugar a filmes “compósitos”, que integram vários géneros cinematográficos, orientados para a compreensão do outro. No âmbito do seu trabalho científico, o antropólogo torna-se assim autor de documentários ficcionais. Por outro lado, os filmes realizados por cineastas podem também adquirir uma dimensão antropológica. Assim, associar o Cinema ao Território tem por objeto afirmar, segundo o conceito de Henri Lefebvre, que o cinema é “produtor de espaço”. Não é só um espaço de mediação artística mas também de poder, um território político, económico e cultural. O Cinema como espelho reflete as realidades do mundo.

No âmbito do V Encontro Internacional Cinema & Território acolheremos comunicações que contribuam para o tema “Em torno do corpo”, apresentando trabalhos relevantes e promovendo uma discussão que se pretende alargada e construtiva, no âmbito lato dos estudos de cinema e antropologia.

A Comissão Organizadora
A Comissão Científica


-----------------------------




Temática: “Em torno do corpo”

O território mais próximo do ser humano é o seu próprio corpo. Diariamente olhamos o nosso corpo e diariamente o nosso corpo é olhado. É do confronto originado por esta ritualidade que se evidenciará a relevância de “um corpo do qual pouco importa que esteja aqui, que seja o aqui ou o aí de um lugar, mas do qual importa sobretudo que opere como o lugar-tenente e o vigário de um sentido.” (Nancy, 2000: 66-67). A partir desta reflexão de Jean-Luc Nancy, propomos as seguintes linhas de abordagem que situam diferentes problemáticas em torno do corpo e o cinema sem, contudo, excluir outras propostas.

Corpo-ritual: comunidade e identidade;
Corpo-espaço: performatividades cinemáticas;
Corpo-ecrã: mutações fílmicas em contexto tecno-sociológico.

Proposta de comunicação
As propostas de comunicação deverão ser enviadas para o seguinte endereço eletrónico: encontros.cinema.uma@gmail.com com o assunto “ENCONTRO – PROPOSTA”. No documento enviado deverão constar os seguintes elementos:
Nome(s), contacto(s) e afiliação académica do(s) orador(es) proponente(s);
Título da comunicação;
Resumo (500 palavras) – na língua do autor e em língua inglesa;
Palavras-chave – máximo 6;
Bibliografia;
Breve nota biobibliográfica, onde constem as suas principais áreas de interesse e investigação (100 palavras).

Artigos
O texto das comunicações, na forma de artigo, deve ser submetido para publicação em Cinema & Território – Revista internacional de arte e antropologia das imagens, em 2019 através do e-mail ct-review@mail.uma.pt

Toda a informação acerca das normas de publicação em http://www.ct-review.org

Calendário – submissão de propostas
Envio de proposta de comunicação (resumo) – até 31 de maio de 2019.
Notificação de aceitação das propostas – até 15 de junho de 2019.

Línguas de trabalho do Encontro
Português, espanhol, francês e inglês.

Inscrições

Participantes com comunicação – custo: 40€.
Esta inscrição inclui coffee-breaks, almoço e emissão de certificado de participação.


Forma de pagamento:
O pagamento das inscrições deve ser efetuado por transferência bancária, como indicado no respetivo formulário. Após o pagamento, o autor deve enviar respetivo comprovativo para o endereço eletrónico: encontros.cinema.uma@gmail.com.
Faça AQUI a sua inscrição.

Estadia:
Residência Universitária: preços acessíveis e competitivos. Faça quanto antes a sua reserva aqui.
) ) [4] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CPF: Women in East Asian Cinema ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>
A Chinese Film Forum UK Conference
HOME, Manchester

4 – 6 December, 2019

Keynote Speaker: Dr Jinhee Choi, King's College London


Recent interventions into global film and processes of canonisation have
worked to highlight the contributions of women in spaces and discourses
previously dominated by men. Yet, despite these social and academic
movements, women remain under-represented across vital areas of film
culture as recent discussions of the 2019 Oscars and the 2018 Cannes
Film Festival have shown. This event aims to highlight the increasing
English-language research of contributions by self-identifying women in
East Asian cinema and to interrogate questions of representation,
labour, and production contexts. For English speaking fans, academics
and researchers based outside of East Asia, this work is all the more
important as a counter to the limiting and selective problems of
international film festivals and regional distribution.

This three-day conference seeks to bring together researchers of women
in East Asian cinema for a mix of panels, workshops, and film events
with industry guests to continue and develop these ongoing
conversations. The event is hosted as a collaboration between the
Chinese Film Forum UK (CFFUK), a Manchester-based collective, and HOME,
Manchester's leading independent cross-art venue and cinema. 2019 marks
ten years since “Visible Secrets: Hong Kong's Women Filmmakers”: a film
season that was organised by a nascent CFFUK at HOME's old Cornerhouse
venue. This year also marks HOME's year-long programming initiative
“Celebrating Women in Global Cinema” which continues the celebratory,
research-led and consciousness raising work of that original Visible
Secrets project.

This conference invites papers on a variety of topics concerning women
in East Asian cinema. We take a loose definition of “East Asia” -
including considerations of diaspora, for example – to encourage
submissions from those who may feel limited by narrow geographical
boundaries.

Topics include though are not limited to:

* Case studies of directors, producers, and crew members
* Case studies of significant industry figures
* Case studies of stars
* Representation
* Historiographies and redressing the canon
* Generations – i.e. old age, girlhood
* Spaces for women's voices
* Questions of labour and industry practices
* Production histories
* Herstories
* Women in East Asian diasporas

150-200 word proposals for a 20-minute paper presentation and a short
biography, or queries, should be sent by Monday 29th April 2019 to
Felicia.Chan@manchester.ac.uk <mailto:Felicia.Chan@manchester.ac.uk>
with “WEACconf” in the email’s subject line. Panel submissions welcome.

Conference organisers for the CFFUK are Dr Felicia Chan, University of
Manchester; Dr Fraser Elliott and Rachel Hayward, HOME; and Professor
Andy Willis, University of Salford. ) ) [5] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: Images on the Move - ECREA TWG Visual Cultures (Ljubljana, Slovenia) ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>


ECREA TWG Visual Cultures Conference.
September 4–6, 2019, Ljubljana, Slovenia.
Submission deadline, May 15, 2019.
https://events.tuni.fi/visual-cultures-2019/
<https://events.tuni.fi/visual-cultures-2019/>

Title: Visual Cultures and Communication: Images and Practices on the Move

Keynotes: Paul Frosh (Hebrew University of Jerusalem) "Moving Images: On
the Mobility and Motility of Digital Photography", Jill Walker Rettberg
(University of Bergen) "Machine Images: from Vertov’s Kino-Eye to Deep
Fakes and Selfie Lenses".

Visual Cultures and Communication: Images and Practices on the Move

Abstract:
In visual studies, the question of how to apprehend images has been
contested at least since WJT Mitchell’s call for a pictorial turn,
defined ‘ex negativo’. While books on visual cultures, visual analysis
and visual research abound, the kind of consideration that we should
give single images is discussed from very different kinds of
perspectives. While some suggest paying careful attention to visual
detail, form, and motif, others call for a turn away from
representations, suggesting that main attention should be given to the
practices within which images become meaningful. While the latter
approaches may question the usefulness of ‘representation’ per se, the
former explicitly prioritize that which is made visible.

While the positions of how to approach images diverge, images as
phenomena to be studied are themselves increasingly ‘on the move’.
Operational images, part of complex logistical chains, are just one
example of images on the move, that a human being might never get to
see. But also photos used for phatic communication might be less
important for what they show, in contrast to the social connections that
they allow for. On the other hand, public and private environments are
increasingly filled with screens that display images to be seen. Images
travel between contexts, in time and space, asking us to constantly
question who is looking and at what, and in what ways acts of looking
play a role in this constellation. In short, both our understandings of
how to approach images, and images themselves, are ‘on the move’.

This conference, organized by the ECREA TWG Visual Cultures, discusses
the roles of images for visual analysis by focusing on images on the
move. This entails work on images capturing movement of unfolding
events, images themselves moving in time, space, and across media, as
well as the theoretical and analytical approaches that are on the move.
How should we work with images and practices on the move?

We welcome papers on topics including, but not limited to:

- methodological approaches that focus on representational features of
images and/or the flows, contexts and - practices around images
- researching the visual: new methodological approaches and challenges
- visual ethics / ethics in visual research
- studies or reflections on how to handle image flows and large (moving)
sets of visual data
- theoretical approaches on representational vs non-representational
approaches
- entanglements between the material aspect of images and visual practices
- images and infrastructures
- ‘fake news’ and the visual: verification of images
- generic images, stock photos and images banks: modes of production,
distribution and effects
- digitally mediated visual communication in everyday life
- images and popular culture
- images and developers
- phatic communication and the question of representation

Abstracts of up to 750 words, including a motivation for the study,
information on theory/concepts used, data/phenomena analyzed and methods
used, should be sent by 15 May 2019 with an electronic form
https://www.lyyti.fi/reg/visual-cultures-2019-cfp.

There will be a conference fee of ca. 120-140 Euros, and slightly
reduced rates to PhD students and ECREA members.

Please find more information on the conference website:
https://events.tuni.fi/visual-cultures-2019/ ) ) )

Notícias

  • CFP: Filmic and Media Narratives of the Crisis - Contemporary Representations




    November 7 – 8, 2019, Athens

    Call for papers:

    The crisis narrated by the cinema and the media-stories (fictional and «
    informative ») is an ideal topic reflecting thoughts, doubts, and fears
    of our societies. Beginning with the cinema (its allegories and
    transcriptions of the social and political actions) and continuing with
    any imaginal narration of the contemporary social issues (the crisis
    being a major one) this conference invites analysis research of the
    contemporary narrations of the media in order to finally « capture » the
    dominant myths sustaining our everyday life.

    The “success stories” usually describe issues concerning the struggle
    for power and control (including cases of the formed zones of security
    and insecurity, of the role and mobilization of technological issues, of
    the elites chosen to affront the crisis etc.). In filmic stories
    individual heroes become the protagonists of “world salvation”
    (reductionist pedagogy as far as it concerns the crisis, giving
    nevertheless a dominant perception concerning the nowadays division of
    the world into security and insecurity zones where regions like
    Mediterranean Sea become “frontier lands”). We need to mention here the
    different /war representations /(including the economic war) given that
    the absolute crisis in history is « war » (including periods of Law
    exceptions, of social radicalizations, where societies play for their
    survival, the dissolution and the *re-arrangement *of a certain relation
    to the world and of new definitions of the “social link”).

    Some main axes of investigation proposed for this conference are (not
    exclusively) the following:

    Representations;

    Heroes and Victims;

    Propagandas (triumph of a dominant model of thought) using dreams, myths
    and ideals;

    Dialogue between dominant myths and peripheral reflections;

    Cultural Industries and local productions;

    Film, Media Receptions & Cultural Studies (the decoding of spectators
    and the understanding of different narratives);

    Abstracts (around 500 words) must be sent before *April 30th* to the
    address: recitsfilmiquesdelacrise@gmail.com
    <mailto:recitsfilmiquesdelacrise@gmail.com>

  • CFP: Comparative Cinema - N15 (Fall 2020): Feminine desires in film. Theories, methods, case studies.



    http://www.ocec.eu/cinemacomparativecinema

    From the 1980s, with what is known as the “feminist conscience turn”,
    the essentialist ways to define female subjectivity entered a crisis,
    and so did the monolithic conception of feminine desire as an
    unchangeable entity. An open conception of the desiring female subject
    as a locus for a set of multiple, complex and potentially contradictory
    experiences began to be upheld. In this new paradigm, the oeuvre of
    Teresa de Lauretis, Judith Butler or, in another direction, Rosi
    Braidotti, have offered new philosophical roads to talk about subjects
    and their desires. Film theory has not been foreign to this
    metamorphosis, and it has generated works of reference from authors such
    as Tania Modleski, Jackie Stacey, Gaylyn Studlar or Linda Williams. This
    Call For Papers invites authors to present texts that, following these
    new directions, help to rethink the representation of feminine desires
    in film, both from a historical perspective as well as attending to the
    vitality of contemporary creation. The journal will take into account
    the articles that propose an in-depth study of the different theoretical
    and methodological basis related to this study field, and those that
    analyze, from a comparative perspective, gestures, gazes and images that
    are selected as analytical subjects for advancing research on the
    audiovisual representation of feminine desires in films. It is
    suggested, in the case studies, that authors begin their articles with a
    comparison between two images or sequences from different films as a
    starting point, before expanding upon their research.

    Languages: 'Comparative Cinema' edits all its articles in English, but
    also accepts originals to be evaluated and published in Catalan or
    Spanish. If an article is accepted, its authors must assume the costs of
    translating it to English.

    Length of the articles: from 5.000 to 6.000 words, including footnotes.
    The texts (in Word) and the accompanying images must be sent through the
    OJS platform of RACO.

    See here other submission details and format guidelines:
    https://www.raco.cat/index.php/Comparativecinema/about/submissions#authorGuidelines


    Submission dates: from September 15th to December 15th, 2019.

    * From September 15th onwards, Comparative Cinema will start receiving
    texts for a new miscellaneous section, in which the journal will include
    articles that have no thematic bond to the proposed monographic issues.
    From this date on, the reception of these submissions will be carried
    out continuously throughout the year, but the articles will be published
    in subsequent issues of the journal, prior coordination with the editors.


    comparativecinema@upf.edu

    ISSN: 2014-8933

    Legal Deposit: B.29702-2012

  • CFP: International Journal of Fim and Media Arts (IJFMA)




    IJFMA is preparing a special issue titled ‘Flow and Archive’ dedicated
    to Television and to its current challenges

    The digital turn has allowed television to be reimagined after the
    networked computers. Following the telephone and radio, the new paradigm
    inspiring the future of television are the networked computers, their
    social networks and the participatory visual culture established on the
    aftermath of the twentieth century cultural industries. After the
    liveness and flow, definitional components of television, we are
    currently offered with DVR-mediated television experiences and
    collections of short videos which can be uploaded, viewed and shared by
    the viewer. By becoming searchable and accessible online, television
    provides a similar experience to the archives and to the video
    aggregators that entertain the new generations of cellphone viewers. The
    discussion about the future of television not only makes it worth
    thinking about its past, the cultural value of its equipments and its
    most resilient genres, but is certainly an opportunity to analyse how TV
    journalism is challenged by social networks, and how its public service
    can be revalued.

    IJFMA welcomes papers addressing one or more of the following themes:

    •Early and current screen practices;

    •TV superseded equipments as material and cultural heritage;

    •TV and media participatory turn;

    •TV and transmedia industries;

    •Old and resilient TV genres;

    •Flow /versus/archive as a television challenge;

    •Memory and the obsolete in online video collections;

    •Social networks and other new challenges to public service broadcasting;

    Contributions are encouraged from authors with different kinds of
    expertise and interests in media studies, television and media history.

    Full paper submissions are due by April 30th 2019.

    Please find submission information at
    http://revistas.ulusofona.pt/index.php/ijfma/about/submissions

    Journal Website: http://revistas.ulusofona.pt/index.php/ijfma

    For any query, please contact: victor.flores@ulusofona.pt
    <mailto:victor.flores@ulusofona.pt>

  • CFP: V Encontro Internacional Cinema & Território (UMA)


    O Cinema e a Antropologia nascem e desenvolvem-se no final do século XIX. Desde o início, o filme tenta capturar o que é o objeto da etnologia: as práticas do ser humano na relação que estabelece com os seus semelhantes e com o espaço físico-cultural em que situa a ação. O trabalho de descrição dos primeiros filmes, que evoca o diário de campo do antropólogo, dá lugar a filmes “compósitos”, que integram vários géneros cinematográficos, orientados para a compreensão do outro. No âmbito do seu trabalho científico, o antropólogo torna-se assim autor de documentários ficcionais. Por outro lado, os filmes realizados por cineastas podem também adquirir uma dimensão antropológica. Assim, associar o Cinema ao Território tem por objeto afirmar, segundo o conceito de Henri Lefebvre, que o cinema é “produtor de espaço”. Não é só um espaço de mediação artística mas também de poder, um território político, económico e cultural. O Cinema como espelho reflete as realidades do mundo.

    No âmbito do V Encontro Internacional Cinema & Território acolheremos comunicações que contribuam para o tema “Em torno do corpo”, apresentando trabalhos relevantes e promovendo uma discussão que se pretende alargada e construtiva, no âmbito lato dos estudos de cinema e antropologia.

    A Comissão Organizadora
    A Comissão Científica


    -----------------------------




    Temática: “Em torno do corpo”

    O território mais próximo do ser humano é o seu próprio corpo. Diariamente olhamos o nosso corpo e diariamente o nosso corpo é olhado. É do confronto originado por esta ritualidade que se evidenciará a relevância de “um corpo do qual pouco importa que esteja aqui, que seja o aqui ou o aí de um lugar, mas do qual importa sobretudo que opere como o lugar-tenente e o vigário de um sentido.” (Nancy, 2000: 66-67). A partir desta reflexão de Jean-Luc Nancy, propomos as seguintes linhas de abordagem que situam diferentes problemáticas em torno do corpo e o cinema sem, contudo, excluir outras propostas.

    Corpo-ritual: comunidade e identidade;
    Corpo-espaço: performatividades cinemáticas;
    Corpo-ecrã: mutações fílmicas em contexto tecno-sociológico.

    Proposta de comunicação
    As propostas de comunicação deverão ser enviadas para o seguinte endereço eletrónico: encontros.cinema.uma@gmail.com com o assunto “ENCONTRO – PROPOSTA”. No documento enviado deverão constar os seguintes elementos:
    Nome(s), contacto(s) e afiliação académica do(s) orador(es) proponente(s);
    Título da comunicação;
    Resumo (500 palavras) – na língua do autor e em língua inglesa;
    Palavras-chave – máximo 6;
    Bibliografia;
    Breve nota biobibliográfica, onde constem as suas principais áreas de interesse e investigação (100 palavras).

    Artigos
    O texto das comunicações, na forma de artigo, deve ser submetido para publicação em Cinema & Território – Revista internacional de arte e antropologia das imagens, em 2019 através do e-mail ct-review@mail.uma.pt

    Toda a informação acerca das normas de publicação em http://www.ct-review.org

    Calendário – submissão de propostas
    Envio de proposta de comunicação (resumo) – até 31 de maio de 2019.
    Notificação de aceitação das propostas – até 15 de junho de 2019.

    Línguas de trabalho do Encontro
    Português, espanhol, francês e inglês.

    Inscrições

    Participantes com comunicação – custo: 40€.
    Esta inscrição inclui coffee-breaks, almoço e emissão de certificado de participação.


    Forma de pagamento:
    O pagamento das inscrições deve ser efetuado por transferência bancária, como indicado no respetivo formulário. Após o pagamento, o autor deve enviar respetivo comprovativo para o endereço eletrónico: encontros.cinema.uma@gmail.com.
    Faça AQUI a sua inscrição.

    Estadia:
    Residência Universitária: preços acessíveis e competitivos. Faça quanto antes a sua reserva aqui.

  • CPF: Women in East Asian Cinema


    A Chinese Film Forum UK Conference
    HOME, Manchester

    4 – 6 December, 2019

    Keynote Speaker: Dr Jinhee Choi, King's College London


    Recent interventions into global film and processes of canonisation have
    worked to highlight the contributions of women in spaces and discourses
    previously dominated by men. Yet, despite these social and academic
    movements, women remain under-represented across vital areas of film
    culture as recent discussions of the 2019 Oscars and the 2018 Cannes
    Film Festival have shown. This event aims to highlight the increasing
    English-language research of contributions by self-identifying women in
    East Asian cinema and to interrogate questions of representation,
    labour, and production contexts. For English speaking fans, academics
    and researchers based outside of East Asia, this work is all the more
    important as a counter to the limiting and selective problems of
    international film festivals and regional distribution.

    This three-day conference seeks to bring together researchers of women
    in East Asian cinema for a mix of panels, workshops, and film events
    with industry guests to continue and develop these ongoing
    conversations. The event is hosted as a collaboration between the
    Chinese Film Forum UK (CFFUK), a Manchester-based collective, and HOME,
    Manchester's leading independent cross-art venue and cinema. 2019 marks
    ten years since “Visible Secrets: Hong Kong's Women Filmmakers”: a film
    season that was organised by a nascent CFFUK at HOME's old Cornerhouse
    venue. This year also marks HOME's year-long programming initiative
    “Celebrating Women in Global Cinema” which continues the celebratory,
    research-led and consciousness raising work of that original Visible
    Secrets project.

    This conference invites papers on a variety of topics concerning women
    in East Asian cinema. We take a loose definition of “East Asia” -
    including considerations of diaspora, for example – to encourage
    submissions from those who may feel limited by narrow geographical
    boundaries.

    Topics include though are not limited to:

    * Case studies of directors, producers, and crew members
    * Case studies of significant industry figures
    * Case studies of stars
    * Representation
    * Historiographies and redressing the canon
    * Generations – i.e. old age, girlhood
    * Spaces for women's voices
    * Questions of labour and industry practices
    * Production histories
    * Herstories
    * Women in East Asian diasporas

    150-200 word proposals for a 20-minute paper presentation and a short
    biography, or queries, should be sent by Monday 29th April 2019 to
    Felicia.Chan@manchester.ac.uk <mailto:Felicia.Chan@manchester.ac.uk>
    with “WEACconf” in the email’s subject line. Panel submissions welcome.

    Conference organisers for the CFFUK are Dr Felicia Chan, University of
    Manchester; Dr Fraser Elliott and Rachel Hayward, HOME; and Professor
    Andy Willis, University of Salford.