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 VI Encontro Anual irá decorrer de 4 a 7 de maio de 2016, na Católica Porto. 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

2017-2018 Harry Ransom Center Research Fellowships in the Humanities at The University of Texas


The Harry Ransom Center, an internationally renowned humanities research library and museum at The University of Texas at Austin, annually awards more than 50 fellowships to support research projects in all areas of the humanities, including film.

The Center’s film collections include the papers of producers David O. Selznick and Lewis Allen, director Nicholas Ray, actors Gloria Swanson and Robert De Niro, screenwriters Ernest Lehman and Paul Schrader, acting teacher Stella Adler, special effects master Norman Dawn, and the Interstate Theatre Circuit, among others. For more information about the Center’s film collections, visit www.hrc.utexas.edu/collections/film.

The fellowships range from one to three months, with stipends of $3,000 per month. Also available are $1,200 to $1,700 travel stipends and dissertation fellowships with a $1,500 stipend. Fellowship residencies may be scheduled between June 1, 2017, and August 31, 2018. During the fellowship, scholars will work on-site at the Ransom Center in Austin, Texas. Austin is home to a thriving film community including the Austin Film Festival, Austin Film Society, and the South by Southwest Film Conference and Festival.

Please note that our application deadline has changed: The application deadline for 2017–2018 fellowships is November 15, 2016, 5 p.m. CST. All applicants, with the exception of those applying for dissertation fellowships, must have a Ph.D. or be independent scholars with a substantial record of achievement.

Fellows will become part of a distinguished group of alumni. Since the fellowship program's inauguration in 1990, the Ransom Center has awarded fellowships to more than 1,000 scholars from around the world.

For details and application instructions, visit: http://budurl.com/utup

Questions about the fellowship program or application instructions may be directed to ransomfellowships@utexas.edu.

Please circulate this announcement among colleagues and students.
(info atualizada em 26/09/2016)

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3rd FUSIONS ON CINEMA: CALL FOR PAPERS



PDF: http://caminhos.info/docs/call_simposio_16.pdf
Submissions: http://caminhos.info/pt/simposio/simposio-inscricao
[Portuguese Version Below]
[EN]
The 3rd International Symposium Fusion in Cinema will take place from the 24th to the 26th November 2016, in Leiria. This 3rd edition of the Symposium will be co-organized by Caminhos Film Festival and Mobile Unit Research on Local Studies (ELO) at the Universidade Aberta, and all proposals will undergo a peer review process, held in the form of blind review, in order to guarantee the fairness and impartiality of the assessment. The submitted and accepted papers for communication will be, afterwards, published in the minutes of the symposium in electronic format. The best works will be published in the Journal Linguagem do Cinema e do Audiovisual do Latec-UFRJ.
Teachers, researchers, guest speakers, experts and artists from different areas will analyze in this 3rd International Symposium, the current artistic and educational practices, the new roles of the different actors involved in today’s creative and operational dynamics of art, education and culture.

1. COMUNICATIONS/THEMES
The Caminhos Film Festival and the Universidade Aberta invite you to submit communication proposals in Portuguese, English or Spanish, not exceeding 1500 characters (including spaces), in the following thematic lines of the Symposium (which would be open to others):

Line 1 – Fusion of Arts in Cinema
The relations between the different arts and film:
- Literature / Plot; - Interpretation / Representation;
- Music; - Photography; - Visual arts.

Line 2 – Cinema and Technology
The technological progress and the way Cinema reaches the Spectator:
- Architecture;
- Subtitling, dubbing and audio description;
- The New technologies, Internet and cinema;
- The supports, formats and new media;
- Cinema and Games or Cinema and Digital Games.

Line 3 - Cinema, Research and Education
Cinema in different learning environments (online and on-site);
Cinema and Research in Educational Context;
Film Practices in School;
Cinema and New Technologies in Education;
Cinema and Social Networks in Formal and Informal Learning Contexts;
Learning Object Production;
Audiovisual with Educational Purposes and using Film Language.

Line 4 - Cinema and Television
Theoretical approaches on audiovisual production in general, including all genres and distribution platforms, framing it in a national and international contemporary context; The analysis of the relationship between achievement and production of film and television content; Film and Television parallel worlds or interconnected;

2. DATES AND SUBMISSIONS
Until 30th october 2016The submission of proposals is to be held in
www.caminhos.info/simposio <http://www.caminhos.info/simposio> - by filling out the form available.

3. FAQ
Communication proposals to be submitted should include the definition and delimitation of the research object of study; the scientific relevance and merit of the proposal; the objectives and research methodology/analysis used; primary references; and three to five keywords. Each communication proposed shall also be submitted with a biography of the author(s) with up to 750 characters (including spaces).
Each applicant can submit more than one proposal, and communications can be presented in co-authorship. All communications will have a maximum duration of 20 minutes, regardless of the number of co-authors or the number of communications line / panel.

[PT]
III “FUSÕES NO CINEMA” - CHAMADA DE TRABALHOS
O III Simpósio Internacional Fusões no Cinema irá decorrer de 24 a 26 de novembro de 2016, em Leria. Esta 3.ª edição do Simpósio será co-organizada pelos Caminhos Film Festival e pela Unidade Móvel de Investigação em Estudos do Local (ELO) da Universidade Aberta, sendo que todas as propostas passarão por um processo de revisão por pares, realizado sob a forma de análise cega (blind-review), de modo a garantir a isenção e imparcialidade da avaliação. Os trabalhos submetidos e aceites para comunicação serão, posteriormente, publicados nas atas do simpósio em formato eletrónico. Os melhores trabalhos serão publicados na Revista de Linguagem do Cinema e do Audiovisual do Latec-UFRJ.
Docentes, investigadores, oradores convidados, especialistas e artistas de diferentes àreas analisam, neste III Simpósio Internacional, as atuais práticas artísticas e educativas, os novos papéis dos diferentes agentes envolvidos na dinâmica criativa e operativa da arte, da educação e da cultura hoje.

1. COMUNICAÇÕES/TEMAS
Os Caminhos Film Festival e a Universidade Aberta convidam-no a submeter propostas de comunicação, em português, inglês ou castelhano, que não excedam os 1500 carateres (incluindo espaços), nas seguintes linhas temáticas (que poderão ser alargadas a outras) do Simpósio:

Linha 1 – A Fusão das Artes no Cinema
As relações entre as diferentes artes e o cinema:
- Literatura / Argumentismo; - Interpretação / Representação; - Música; - Fotografia; - Artes Plásticas.

Linha 2 – Cinema e Tecnologia
A evolução tecnológica e a forma como o Cinema chega ao Espectador:
-Arquitetura;
-A legendagem, dobragem e audiodescrição;
-As Novas tecnologias, Internet e cinema;
-Os suportes, formatos e os novos media;
- Cinema e Jogos ou Cinema e Jogos Digitais.

Linha 3 – Cinema, Investigação e Educação
Cinema em diferentes ambientes pedagógicos (online e presenciais);
Cinema e Investigação em Contexto Educativo;
Práticas de Cinema na Escola;
Cinema e Novas Tecnologias em Educação;
Cinema e Redes Sociais em Contextos Formais e Informais de Aprendizagem;
Produção de Objetos de Aprendizagem (OA) Audiovisuais com Fins Educativos e recorrendo à Linguagem Cinematográfica.

Linha 4 – Cinema e Televisão
Abordagens teóricas, sobre a produção audiovisual em geral, incluindo todos os géneros e plataformas de difusão, enquadrando-a num contexto contemporâneo nacional e internacional; A análise das relações entre realização e produção de conteúdos cinematográficos e televisivos; Cinema e Televisão mundos paralelos ou interligados;

2. DATAS E SUBMISSÕES
Até dia 30 de outubro 2016A submissão de propostas deverá ser realizada em
www.caminhos.info/simposio <http://www.caminhos.info/simposio> - através do preenchimento do formulário disponível.

3. FAQ
As propostas de comunicação a apresentar devem incluir a definição e delimitação do objeto de estudo da investigação; a relevância e pertinência científica da proposta; os objetivos e a metodologia da investigação/análise utilizada; principais referências bibliográficas, e três a cinco palavras chave. Cada proposta de comunicação deve igualmente ser submetida com uma biografia do(s) autor(es) com até 750 carateres (incluindo espaços).
Cada proponente poderá apresentar mais do que uma proposta de comunicação, sendo que as comunicações poderão ser apresentadas em co-autoria. Todas as comunicações terão a duração máxima de 20 minutos, independentemente do número de coautores ou do número de comunicações por linha/painel.
(info atualizada em 23/09/2016)

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CFP: Exploring the Intersections of Fashion, Film, and Media


CALL FOR PAPERS

Special issue: Exploring the Intersections of Fashion, Film, and Media

Journal: Networking Knowledge, Journal of the MeCCSA Postgraduate network


Since the turn of the 20th century, the film industry has played a key role in the promotion and representation of fashion. Likewise, fashion's mediated character through newsreels, television, newspapers, magazines, photography, and even paintings has facilitated the study of costume and dress history. Film scholars have dedicated efforts to the study of fashion and film, focusing mostly—but not exclusively—on matters of representation through costume design. Significant contributions from scholars like Jane Gaines (1990), Stella Bruzzi (2012), and Adrienne Munich (2003)—among others—have paved the way for an interdisciplinary approach to study fashion from a film and media perspective, and shaped a multitude of intercultural links between cinema and other media practices. Far from being an exhausted topic, however, the intersections between the fashion and film industries offer a vast potential for historical research that is increasingly becoming of interest to scholars around the globe.


This call for papers seeks to widen the existing research network, gathering articles from postgraduate students and early career researchers from different backgrounds with a dedicated interest in researching the intersections between fashion, film and media, inviting them to present historical case studies that provide an overview of the ways in which these areas of study overlap and intertwine. We will prioritize historical studies based on archival research as a principal methodology.


Possible topics might include, but are not limited to:

• Product placement of fashion products in films.

• Representation of fashion in film.

• Fashion and media practices.

• Fashion magazines

• Fashion photography/photographers

• Fashion in film fan magazines

• Televised coverage of fashion shows

• Fashion advertising

• Histories of leaders and unsung heroes working in the fashion and film industries.

• Costume designers working off-screen in the creation of fashion.


ABSTRACT SUBMISSION

Abstracts of a maximum of 150 words, 5 keywords and a short biography should be submitted to the guest editors at elizabeth.lunden@ims.su.se and natalie.snoyman@ims.su.se by October 27th, 2016.​
(info atualizada em 22/09/2016)

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CFP: Edited Volume: "Critical Distance: New Explorations in Documentary Theory and Practice"



Deadline: Dec 9, 2016

CALL FOR CHAPTERS

Critical Distance: New Explorations in Documentary Theory and Practice

Edited by:
Dr. Gerda Cammaer, Ryerson University
Dr. Blake Fitzpatrick, Ryerson University Dr. Bruno Lessard, Ryerson University

We are soliciting chapter abstracts for an edited collection tentatively titled "Critical Distance: New Explorations in Documentary Theory and Practice."

The field of documentary studies has vastly expanded since the early 1990s when foundational publications established the critical paradigms towards which scholars would gravitate to shed light on nonfiction film. Over the past two decades, a number of dedicated journals, annual conferences, and book series have consolidated documentary studies under the leadership of an active community of scholars.

This volume will account for recent shifts in documentary practice and theory by examining new methodologies arising from an expansive repertoire of media practices, including (but not limited to) photography, film, video, sound, installation, and new media. These multiplatform and multidisciplinary forms of representation call for new analytical models and multifaceted approaches to documentary studies linking documentary media to an expanded field that includes media studies, cultural studies, digital media arts, game studies, geographic analysis, critical topography, and contemporary art, just to name a few.

Predicated upon the notion of "critical distance," the expression references the power of documentary images and sounds to do crucial work in responding critically to contemporary issues as discovered in the situated conditions of the world. As we intend to look to new sounds and images, the collection sets itself up at a distance from previous collections and trends in documentary studies, including the overrepresentation of documentary film and the overreliance on historical and phenomenological approaches.

This innovative collection of essays thus seeks to re-launch documentary studies in light of recent developments in critical theory, continental philosophy, pressing contemporary issues, and 21st-century documentary practices. It will argue that the present moment is one in which collapsing social structures and environmental challenges will be best addressed through new formulations of ideas and practices in documentary media. These considerations address space, time, theory, media, and dissemination as the cinema screen gives way to the gallery, mobile screens, and the Internet as sites for documentary images and sounds. New theorizations are needed to account for these political, social, and representational shifts in order to go beyond the still predominant paradigms in documentary studies, as well as traditional models for film and photographic distribution. In short, the volume will address counter-narratives to dominant documentary media forms, practices, formats, and theories.

We welcome a range of approaches to the theme of "critical distance" in documentary theory and practice. Possible topics include, but are not restricted to, the following:

- Actor-network theory and assemblage theory;
- Speculative realism and object-oriented ontology;
- Post-Lacanian approaches (S. Žižek, A. Johnston, J.-A. Miller, C.
Malabou) to documentary media;
- Animal studies and documentary media;
- Ecomedia and documentary;
- "Critical realism" (Allan Sekula)
- Post-humanity;
- The Anthropocene and documentary productions;
- Neglected areas and traditions, especially Africa, the Middle East, East Asia, and South-East Asia;
- Critical topography
- Social documentary photography;
- Documentary photography studies;
- Documentary games;
- Documentary and the north;
- Drone documentaries;
- Microdocumentaries / mobilementaries;
- Documentary sound, sound art, and podcasts;
- Locative, wearable, mobile media;
- 3D stereoscopic vision & IMAX;
- VR, augmented reality, and 360-camera technology;
- Data visualization;
- Documentary and the gallery / museum;
- Documentary installations;
- Research-creation scholarship and documentary making.

Submission requirements:
Please send a 500-word abstract (excluding bibliography) with a title, a 100-word bio, and a short CV and contact info (for each
author/co-author) to both lessard@ryerson.ca and gcammaer@ryerson.ca by December 9th, 2016.

Deadlines:
Submission of abstract: December 9th, 2016 Notification of decisions: by February 20th, 2017

Contact info:
Bruno Lessard, PhD
Associate Professor
School of Image Arts
Documentary Media Research Centre (docmediacentre.ca) Ryerson University lessard@ryerson.ca

Gerda Cammaer, PhD
Associate Professor
School of Image Arts
Documentary Media Research Centre (docmediacentre.ca) Ryerson University gcammaer@ryerson.ca

Reference / Quellennachweis:
CFP: Edited Volume: Critical Distance. In: H-ArtHist, Sep 14, 2016.
<http://arthist.net/archive/13650>.

--

H-ARTHIST
Humanities-Net Discussion List for Art History E-Mail-Liste für Kunstgeschichte im H-Net

Editorial Board Contact Address / Fragen an die Redaktion:
hah-redaktion@h-net.msu.edu

Submit contributions to / Beiträge bitte an:
http://arthist.net/mailing-list/mode=contribute

Update your subscription / Abo-Verwaltung:
http://arthist.net/admin/

--

(info atualizada em 21/09/2016)

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Senior Lecturer/Programme Leader in Filmmaking



Manchester School of Art is a pioneer of art and design education in the UK and offers a broad range of architecture, art, design, media and theatre courses.

Experimentation and collaboration are at the heart of what we do and our award-winning Benzie Building, opened last year on our 175th anniversary, confirms this approach - encouraging staff and students to work across disciplines and explore common ground. Our heritage demonstrates a strong connection to the cultural identity and economic development of Manchester and we remain committed to helping the City to be internationally competitive. Manchester has always been a city where innovation was encouraged and it is our mission to help this to continue.

Role

The BA Hons Filmmaking programme at the Manchester School of Art, combines practice-based learning with film theory, film language, and craft based filmmaking processes including digital and VR. The programme embraces both the past and the future, educating students to be independent critical thinkers with the ability to define the medium.

We are looking for a dynamic individual to lead this successful programme. The ideal candidate will be someone who has had programme leadership experience in HE. Someone who understands the Art School ethos and can lead this successful programme at a time when the Media Department is under an unprecedented level of expansion. The main intention of the programme is to equip the students with all the essential skills that they need to thrive as creative filmmmakers. Many of our graduates are award winners and we require a leader who is able to lead a strong research active staff team and build on these successes.
As a filmmaker you will have sufficient breadth and/or depth of specialist knowledge of Filmmaking practice in one or more of the following areas (Digital Cinematography, Marketing & Distribution, New Media Filmmaking, Interactive Filmmaking, Transmedia, Digital Storytelling)

Closing Date: 30th September 2016
You can find further details here:
http://www2.mmu.ac.uk/jobs/vacancies/
(info atualizada em 20/09/2016)

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Screenplay Festival Deadlines. Submit your specific genre.


Special Screenplay Writing Deadlines for your specific genre.

Save from 30% to 40% off. Garner FULL FEEDBACK on your script from the
industry, plus get the chance to have it performed by professional
actors.

Submit by the September 25th Deadlines:

Drama Screenplay Festival:
https://festivalfordrama.com/

Comedy Screenplay Festival:
http://www.festivalforcomedy.com/

Horror Screenplay Festival:
https://festivalforhorror.com/

Thriller/Suspense Screenplay Festival::
https://thrillersuspensefestival.com/

Crime/Mystery Screenplay Festival::
https://crimemysteryfestival.com/

Action/Adventure Screenplay Festival:
https://actionadventurefestival.com/

Sci-Fi/Fantasy Screenplay Festival:
https://fantasyscififestival.com/

Family Screenplay Festival:
https://festivalforfamily.com/

Romance Screenplay Festival:
https://festivalforromance.com/

Animation Screenplay Festival:
https://feedbackanimationfestival.com/
(info atualizada em 20/09/2016)

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Call for papers: Under the Volcano, 70 Years On


Call for papers: Under the Volcano, 70 Years On

International conference, Liverpool John Moores University and Bluecoat, Liverpool, UK, Friday 28 and Saturday 29 July 2017


Confirmed speakers

Sherrill Grace OC (Professor Emerita, University of British Columbia); Michael Schmidt OBE FRSL; Paul Tiessen (Professor Emeritus, Wilfrid Laurier University); Vik Doyen (KU Leuven); Miguel Mota (University of British Columbia); Chris Ackerley (Professor Emeritus, University of Otago); David Large (University of Otago); Patrick A. McCarthy (University of Miami)

Outline

2017 marks the seventieth anniversary of the publication of Malcolm Lowry’s great modernist novel /Under the Volcano/, and the sixtieth anniversary of Lowry’s death. This two-day international conference will explore the legacy of Lowry’s work, his literary status today and his ongoing role as source of inspiration to creative writers and artists across various disciplines. The conference appropriately takes place in Liverpool, across the Mersey from Lowry’s birthplace on the Wirral. Since 2009, Bluecoat (Liverpool’s contemporary arts centre) has worked with the Firminists, an informal collective of Lowry enthusiasts and academics, to stage an annual ‘Lowry Lounge’ to celebrate the writer in the place of his birth. This programme has included guided walks, film screenings, talks and discussions, archival displays, music and other creative responses to Lowry, and book launches of the University of Ottawa Press critical editions of /Swinging the Maelstrom/ (2013), /In Ballast to the White Sea /(2014) and /The 1940/ /Under the Volcano/ (2015). The 2017 Lowry Lounge will take place on Saturday 29 July at Bluecoat and conference delegates will have the opportunity to participate in the programme.

We welcome proposals for 20-minute papers or ideas for panels. Topics might include, but need not be limited to:

·/Under the Volcano/as canonical, cult, or (late-)modernist novel

·Reappraising Lowry as a literary figure today: where does Lowry sit in the canons or contexts of English/British and/or Canadian and/or North American literature?

·The concept of the masterpiece in relation to a writer’s oeuvre as a whole: is /Under the Volcano/ Lowry’s only wholly successful work?

·Lowry and politics, especially in relation to the recently published /In Ballast to the White Sea/

·Editing Lowry and the new critical editions of his texts; genetic criticism

·Place and psychogeographical approaches to Lowry

·Lowry and temporality – the fluidity of time and memory in Lowry’s writing

·Lowry and intertextuality

·Lowry and cinema, music, or other art forms

·Lowry as source or inspiration for contemporary creative work

·Lowry and gender

Alongside academic papers we would also welcome presentations of creative work inspired by or connected to Lowry, including film, visual art or work in other media. There will be opportunities to screen or display such work as part of the event.

Please submit 300-word proposals along with a short (200 words max) biographical note to Helen Tookey h.j.tookey@ljmu.ac.uk<mailto:h.j.tookey@ljmu.ac.uk> by 30 November 2016.

Organising committee

Helen Tookey (Liverpool John Moores University)

Bryan Biggs (Artistic Director, Bluecoat)

Robert Sheppard (Edge Hill University)

Ailsa Cox (Edge Hill University)

Mark Goodall (University of Bradford)

Colin Dilnot (Merseyside-based artist and researcher)

Location

Liverpool is on the North-West coast of England and has airport connections via Liverpool John Lennon Airport (20 min. from city centre) or Manchester Airport (30 miles), as well as excellent road and rail links (2 hours 15 min from London by train). A former European Capital of Culture (in 2008), the city has a superb cultural offer of galleries, museums, theatres and other attractions, excellent restaurants, affordable hotels and a vibrant nightlife. It is also within easy reach of coastal walks, the Wirral peninsula and North Wales.
(info atualizada em 19/09/2016)

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Lesbian Lives Conference
February 2017, Brighton (UK)

The theme for the 2017 Lesbian Lives Conference is Lesbian Love/s. The 23rd edition of this conference is hosted by the University of Brighton LGBT and Queer Life Research Hub in conjunction with feminist scholars from University College Dublin. The organisers of this two-day international and interdisciplinary conference now welcome proposals from academics, scholars, students, activists, documentary and film-makers, writers and artists.

The Lesbian Lives Conference is not just the world’s only annual academic conference in Lesbian Studies, it is a large international event that draws speakers and participants from all continents and hosts the best-known as well as emerging scholars in the field. In the past we have hosted Emma Donoghue, Jackie Kay, Joan Nestle, Sarah Schulman, Cherry Smyth, Del La Grace Volcano, Sarah Waters and academics such as Sara Ahmed, Terry Castle, Laura Doan, Lisa Downing, Lillian Faderman, Sarah Franklin, Claire Hemmings, Alison Hennegan, Sally R. Munt, Helena Whitbread, Bonnie Zimmerman among many others.

*CfP: Lesbian Lives Conference 2017: Lesbian Love/s - University of Brighton, UK, 24-25 February 2017.*

Submit proposals of no more than *300 words *tohttps://set.formstack.com/forms/conferenceabstracts <https://set.formstack.com/forms/conferenceabstracts> by *17th October 2016*. For more details and for regular conference updates visit: www.facebook.com/LLconference <http://www.facebook.com/LLconference>.

The conference organisers welcome proposals for (A) individual papers, (B) sessions, (C) round table discussions, (D) workshops and (E) visual presentations or performances. This conference also includes a series of film screenings, which run concurrently with the main programme. We encourage submissions across all genres, both fact and fiction which align to the conference theme, and which have been produced between 2014-2017. Proposals are welcomed on (though are by no means limited to) the following:
• LBTQ Love Research
• Historicising Lesbian Love
• Lesbian Friendship and Love
• Lesbian Love and Queer Kinship
• Lesbian Love and Intimacy
• Lesbian Love and Marriage
• LBTQ Families
• Lesbian Dating and Courtship
• Love, Sex and Sexuality
• Lesbians and Romance
• Lesbian Fan Fiction and Shipping
• Representations of Lesbian Love
• Polyamory
• Lesbian Love and Politics
• LBTQ Affection and Public Space
• Lesbian Love and Art
• Lesbian Love and Youth
• Queer Affect Studies
• Religious and Secular Loves
• Lesbian Erotic Love
• Lesbian Styles and Taste
• Lesbian Love and Home

*A. Individual Papers: *Individual papers should last 20 minutes (c. 2,400 words). Individuals should submit: (1) paper title, (2) abstract (up to 300 words), (3) biography (c. 100-150 words), (4) institutional affiliation and address (if any), (5) audio-visual requirements.

*B. Sessions: *Panels of academic papers should include 3 speakers and 1 moderator. Each paper should last for 20 minutes (c. 2,400 words), with a further 30 minutes for questions and discussion. Proposers should submit (1) session title, (2) paper titles, (3) abstracts for each paper (c. 100 words), (3) biography for each participant (c. 100-150 words), (4) institutional affiliation and address (if any) for each participant, (5) audio-visual requirements.

*C. Round Table Discussions:* Round table discussions should include 6 speakers and 1 moderator. Each paper should last for 10 minutes (c. 1,200 words), with a further 30 minutes for questions and discussion. Proposers should submit (1) round table title, (2) rationale for round table (up to 300 words), (3) biography for each participant (c. 100-150 words), (4) institutional affiliation and address for each participant (if any), (5) audio-visual requirements.

*D. Workshops: *Workshops last 90 minutes. Proposers should submit (1) workshop title, (2) rationale for workshop (up to 300 words), (3) biography (c. 100-150 words), (4) institutional affiliation and address (if any)

*E. Visual presentations or performances: *documentary, video, art, video-art, musical, theatrical, comic or multi-media presentations by individuals or groups are welcomed.

*The Lesbian Lives Conference is open to all genders and any political and sexual orientations. There is an ethos of welcome and accessibility.* The Lesbian Lives Conference has considered and signed a comprehensive statement of support for ‘Feminists Fighting Transphobia’ accessible at: http://feministsfightingtransphobia.wordpress.com/2013/09/16/a-statement-oftrans-inclusive-feminism/

*Occasionally, organisers of some workshops will want to focus on particular issues and cohorts and will wish to limit participation on certain grounds (such as people who are recently bereaved, or to certain categories or intersections of age, race, class and gender). The Lesbian Lives Conference wishes that proposals for workshops will state clearly why they might wish to limit participation in particular ways and will, in principle, facilitate such desired boundaries. However, the Lesbian Lives Conference will not allow a positive preference operate as prejudice: grounds for focusing on particular identity issues are valid provided that they are not based on assumptions of purity and hierarchy of value.

The social, cultural and artistic impact of this annual conference cannot be underestimated as it gathers together academics, activists, performers and writers who do not otherwise have the opportunity to address such large audiences or to network across international and professional boundaries. It is a forum for political organisation on the levels of both community activism and established international NGOs. Many books (academic and literary) and films (documentaries and dramas) are launched at this event and it is continually referenced in lesbian work and events internationally.

The conference sets the parameters for debate in the manifold disciplines that now take ‘Lesbian’ or ‘Lesbian Communities’ as the object of inquiry or as a category for analysis. The Lesbian Lives conference is open to people of all identities and strongly welcomes and encourages members of all LGBTQ communities to attend. We particularly want to extend a welcome to bi and trans communities.
(info atualizada em 16/09/2016)

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New call for lesson plans: "Teaching Postfeminism and Media Culture", Teaching Media Quarterly


New call for lesson plans: “Teaching Postfeminism and Media Culture,” Teaching Media Quarterly 4(4)

Submission deadline: Friday, October 28th, 2016
Postfeminism, as an ideology, rests on the assumption that the work of feminism is done and over. Although that claim may be contested in the contemporary moment, many post-discourses continue to hold sway in how we look at, engage with, and interpret media culture. The current cultural moment is markedly different than that under which theories of postfeminism were initially imagined - the 2008 recession, the introduction of discourses of 4th wave feminism, etc.. Thus, in a moment where past theorizations of postfeminism are being re-imagined and previous exemplar media texts of postfeminism are largely unfamiliar to undergraduate students (ex: Ally McBeal, Sex and the City, Buffy the Vampire Slayer), how we approach teaching this framework must adjust accordingly. Teaching Media Quarterly is interested in how instructors are teaching discourses of postfeminism as well as how they are adjusting previous lesson plans to accommodate new critical scholarship on this topic. We seek lesson plan submissions geared toward undergraduate-level students that demonstrate a critical engagement with postfeminist discourses and media culture.

We are especially interesting in lesson plans that are informed by, but not limited to, the following questions:

- How do postfeminist discourses intersect with other post- ideologies?

- How can postfeminism be brought into classroom discussions in a manner that privileges intersectional approaches to understanding identity including race, class, sexuality, age, and ability?

- How does the way media texts engage with postfeminist discourses vary depending on genre (fictional television, reality television, advertising, film, etc.), medium, and/or location?

For submission instructions go to http://www.teachingmedia.org/call-for-proposals/.

Teaching Media Quarterly Submission Guidelines

All submissions must include: 1) a title, 2) an overview (word limit: 500 words) 3) comprehensive rationale (using accessible language explain the purpose of the assignment(s), define key terms, and situate in relevant literature) (word limit: 500), 4) a general timeline, 5) a detailed lesson plan and assignment instructions, 6) teaching materials (handouts, rubrics, discussion prompts, viewing guides, etc.), 7) a full bibliography of readings, links, and/or media examples, and 8) a short biography (100-150 words). All citations must be in Chicago Author-Date style.

Please email all submissions using the TMQ Submission Template (.docx) in ONE Microsoft Word document to teachingmedia.contact@gmail.com<mailto:teachingmedia.contact@gmail.com>.
(info atualizada em 15/09/2016)

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Vacancy: Lectureship in Filmmaking (2 posts) at UWS


School of Media, Culture and Society

Ayr Campus and Film City Glasgow

Full-time, Permanent

An exciting opportunity has arisen for two Lecturers in Filmmaking
to join our team in the School of Media, Culture and Society (MCS).

MCS is a large (circa 2500 studentFTEs) multidisciplinary school
where the social sciences and creative and cultural industries meet.
We are focused on becoming a centre of excellence in media, culture,
and society education, knowledge creation and exchange. We offer a
supportive and aspirational environment in which staff and students
work in partnership to create societal and cultural change.

You will have the skills, knowledge, and experience to play a key
role in achieving in teaching, internationalisation, research, and
commercial activity. You will play a central role in our Screen and
related disciplines primarily contributing to our popular BA (Hons)
Filmmaking and Screenwriting and our soon to be offered MA
Filmmaking. Candidates should have a strong practitioner profile in
Filmmaking particularly fiction/documentary filmmaking and production.

Ideally you should hold a PhD in filmmaking or a related field. You
will be responsible for contributing to an excellent student
experience by planning, developing and delivering an exciting
curriculum utilising contemporary forms of pedagogy. You will
produce and publish excellent research outputs commensurate with the
stage of your career and demonstrate an ability or potential to
attract independent research funding. An internationalised
experience is central to the UWS student experience and therefore
you will support initiatives for staff and students to engage in
international activities.

You will be a highly motivated individual, passionate about your
discipline and about contributing to the best possible student
experience. You will be able to demonstrate a commitment to a
successful academic career (research, enterprise, and teaching) and
be comfortable working both autonomously and within and across a
range of teams.

The successful candidate will be excited by the opportunity to work
in a multidisciplinary environment and will seek to exploit the
opportunities afforded by this.

Informal enquiries may be made to Professor Nick Higgins, Director
of the Creative Media Academy on 01292 886298,
emailNick.Higgins@uws.ac.uk <mailto:Nick.Higgins@uws.ac.uk>, or
Professor Derek Carson, Dean of School, on 0141-848-3983, email
derek.carson@uws.ac.uk <mailto:derek.carson@uws.ac.uk>

Deadline: 11 Oct. Full details at jobs.uws.ac.uk



Graham Jeffery
Reader: Music and Performance
Education Lead, Culture & Creativity
School of Media, Culture and Society
University of the West of Scotland
Paisley Campus
High Street
Paisley
PA1 2BE

generalpraxis.blogspot.com
www.uws.ac.uk/mcs/
twitter.com/grahamjeffery
twitter.com/UWScreative
(info atualizada em 14/09/2016)

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CFP - Cine americano: The Cinema of Latin America and the United States


Sent on behalf of Catherine Leen (Catherine.m.leen@nuim.ie <mailto:Catherine.m.leen@nuim.ie>): Call for Papers: Conference at National University of Ireland Maynooth, November 8-9, 2016

Cine americano: The Cinema of Latin America and the United States.

Whether working against it or within it, Latin American and Latina/o cineastes and actors have had a long and complex relationship with Hollywood. The apparent contradiction between the criticism of the Oscars in 2016 for excluding people of colour when, for the second consecutive year, the Best Director Award was presented to a Mexican, makes this a timely moment to consider the relationship between the cinemas of Latin America and North America. Papers do not necessarily have to compare North American and Latin American cinemas, but in the interest of establishing a dialogue between the two, presenters are asked to relate their papers to the following topics:

• Music and Cinema

• Transnational Cinema

• Conflict and Violence

• Marginalised Voices

• Race and Ethnicity

• Independent and ‘arthouse’ cinema

• Gender and Sexuality

• Star Studies

• Picturing Politics

• Documentary Cinema

The conference will feature a retrospective of the work of renowned Chicano director Jesús Treviño, who will screen his work and discuss his films and TV career as the director of internationally renowned series including /Law and Order Criminal Intent, Star Trek: Voyager/ and /ER/. We will also host a screening and discussion of the Paraguayan documentary Feliciano /Centurión: Abrazo Íntimo al natural/ (2016), followed by a discussion with its producer Fabián Bozzolo.

Abstracts for papers of no more than 20 minutes in length should be sent to Catherine.m.leen@nuim.ie <mailto:Catherine.m.leen@nuim.ie> no later than October 20, 2016.

__________

Dr Niamh Thornton | Reader in Latin American Studies

Head of Iberian and Latin American Studies

1

http://www.liv.ac.uk/cultures-languages-and-area-studies/staff/niamh-thornton/

Rm 416 |Department of Modern Languages and Cultures |Cypress Bldg |Chatham Street |University of Liverpool|Liverpool|L69 7ZR

Phone: +0044 (0)151 794 2753|Twitter: @enortee|Website: www.niamhthornton.net <http://www.niamhthornton.net/>

Modern Languages Open: Writing Sprint https://modernlangdigital.wordpress.com/

Specular Ghosts Project http://specularghosts.wordpress.com/

Description: Description: http://ukisres01.bloomsburylan.com/getimage.aspx?id=166233&class=books&cat=default&size=web&type=web&dpi=72&bibliologin=1&s=3794b5c7-878f-44c3-a7b5-f0452e9ca632 <http://bloomsburycp3.codemantra.com/widgets/9781441128683/RevolutionAndRe.html>
(info atualizada em 13/09/2016)

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Cfp: Women's Filmmaking and Feminist Criticism in the Digital Era

Call for Papers

Women’s Filmmaking and Feminist Criticism in the Digital Era

Monash Prato Centre, Italy, 3-4 July 2017

The aim of this two-day international closed workshop (10-12 participants) is to consider how women filmmakers are responding to the opportunities and challenges offered by the rise of digital technologies and how feminist film scholarship is developing new frameworks to account for these transformations in women’s cinema and beyond. We take the methodology Patricia White evolved in /Women’s Cinema, World Cinema/ (Duke UP, 2015) as a point of departure for examining the interplay between industry and technology (new modes of digital production, distribution and exhibition), texts (style, genre, forms, aesthetics), and audiences (gendered modes of address, new modes of viewing, intercultural and transnational circulation and exchange) in the screen works by women from around the world and from across a wide range of screen media forms, including television, web films, video art, audiovisual essays, features and documentary. We are particularly interested in instances where women work across media and where this work opens up new spaces for women's expression and social action.

Our intention is not simply to apply concepts in new media to the practice of women filmmakers. We encourage workshop participants to also ask what difference, if any, digitality makes in terms of the kinds of feminisms contemporary women’s filmmaking engages and/or, indeed, engenders: intersectional, reflexive, collective, radical, and so forth. How are digital technologies shaping new modes of feminist film criticism and practice? What are the media archaeologies of these new modes? What kinds of spaces/places are these new modes occurring in?

Participants will be required to submit a 2500-3000 word paper by 1 May 2017. Papers will be workshopped at the event with the aim of producing a collected volume on this topic.

Confirmed Keynote Speakers: Patricia White, Professor of Film and Media Studies, Swarthmore College, USA, and Kim Soyoung, Documentary filmmaker and Professor of Cinema Studies, Korean National University of Arts, South Korea.

Convenors: Therese Davis (therese.davis@monash.edu) and Olivia Khoo (olivia.khoo@monash.edu)

Please send 300 word proposals and a bio to the convenors by 31 October 2016. Notifications by end of November 2016. Please note: there will be no registration fees however we are not able to provide funding for airfares or accommodation.
(info atualizada em 12/09/2016)

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Call For Chapters for Narratives of Place in Literature and Film


The deadline for the call for chapters for an edited anthology on Narratives of Place in Literature and Film is under two weeks away (18th September).

Description:

Narratives of place link people and geographical location with a cultural imaginary through literature and visual narration. The social and cultural spatialities of place have ancient roots, yet continue to evolve. Contemporary literature and film often frame narratives with specific geographic locations, which saturate the narrative with cultural meanings in relation to natural and man-made landscapes. For example, fiction novels like Vikas Swarup's /Slumdog Millionaire /(2005) that takes place in Mumbai and Orhan Pamuk's many novels set in Istanbul immerse characters in the sentient cityscapes of modern metropolises. The Pacific Crest Trail in Cheryl Strayed's /Wild/ (2013) and Cormac McCarthy's /The Road /(2006) and their film adaptations speak to, and beyond, American pastoralism and the metaphor of the road. Place, of course, refers not only to land; cinematically, Andrew Kötting’s round-Britain coastal excursion, /Gallivant /(1996), reveals people in relation to their locales, whilst /Last Resort /(Dir. Pawel Pawlikowski, 2000) examines entrapment and exclusion through an abandoned seaside town converted into an immigration center. From the labyrinthine streets of big cities to landmarks in open landscapes, place provides rich visual subtexts in films. Place may be manmade or natural, but is always-already imbued with meaning and cultural significance. In /Landscape and Memory/ (1995), Simon Schama comments, "landscapes are culture before they are nature" (61). In cultural production, place is associated with human identity and ideologically with the formation of nations, borders, indigeneity, and perceptions of selfhood and otherness. This interdisciplinary collection seeks to interrogate such connections to probe how place is narrativized.

Scope:

Drawing on, but not limited to, the fields of literature and film studies, this collection seeks a broad range of responses to questions regarding the narrativizing of place. Possible themes include:

·movement through landscapes

·gendered spatialities

·narrativizing histories of place

·notions of belonging and displacement

·nation, borders, and identity

·boundaries, thresholds and liminal spaces

·place as a loci of contestation

·corruption and contamination of/by places

Anthology editors:

·Steven Allen, PhD, University of Winchester, UK

·Kirsten Møllegaard, PhD, University of Hawai'i at Hilo, USA

Submission details:

Abstracts of 300-350 words are invited along with a 100-150 word biography to the email address below. The deadline for abstract submission is 18^th September, 2016. Notification of acceptance or rejection will be emailed by 2^nd October 2016. An academic publishing house has already expressed an interest in the project. Subject to a positive review from the publisher of the full book proposal, the provisional deadline for draft chapters (6000 words max.) is June 2017.

Contact email (submission and inquiries):

·narrativesandplace@gmail.com


With thanks,
Kirsten and Steven
University of Winchester
(info atualizada em 09/09/2016)

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Call for Submissions (Book chapters for an edited book): Revisiting the Aca-fan concept with and beyond Jenkins


CFP: Call for Submissions (Book chapters for an edited book)

Book title: Revisiting the Aca-fan Concept (With and Beyond Jenkins)

Submission deadline: October 1st, 2016.
Notification of acceptance: October 15, 2016 First drafts submitted by January 1st, 2017 Anthology will be published in fall of 2017

Editor: Prof. Frédéric Gimello-Mesplomb (Centre Norbert Elias) (Eds.)

Publisher: Routledge


Description


Jenkins has described himself as an "Aca-fan", a term that first gained cur- rency in the early 1990’s. Jenkins is further credited with helping in the wide- spread popularization of the term, together with Matt Hills' concept of the "fan-academic", that describes an academic who consciously identifies and writes as a fan. Jenkins’s theories was extensively discussed in 2011, in a special issue of Cultural Studies edited by James Hay and Nick Couldry but this volume did not focus on the Aca-fan concept. Furthermore, over the past several years and in spite of the Hills/Jenkins partial responses (Hills has enlighten his approach of the acafan in 2007 in « Media Academics as Media Audiences: Aesthetic Judgements in Media and Cultural Studies ») and the few papers published worldwide (Maigret-Macé, 2005; Booth, 2013; Cristofari-Guitton, 2015, Gimello-Vilatte, 2015), the academic community (including fan studies scholars) had not yet deeply explored the perimeter of the Aca-fan concept as a whole topic of study. More recently, Paul Booth acknowledged that the ‘Aca-fan’ “does not do enough to involve fans in the process of research”, (Booth, 2013) while Bruno Cailler and Cécile Masoni observed an antagonism between both communities (Masoni-Cailler, 2015). Paradoxically, while Jenkins most powerful concepts such as transmedia convergence or participatory audiences were dissected worldwide, the Aca-fan heuristic values remain relatively neglected and under-discussed within the academic field, including in fandom studies.


Statement of Aims

Guided by these questions, we are seeking chapters for an edited collection that historicizes, interrogates and problematizes the Aca-fan concept as a stimulating framework, for which to better understand the scholars involvement within contemporary media culture. The aim of this edited volume is to both revisiting and reinterpret, from an epistemological perspective, several research defined key concepts that have formulated "fan-academic" propositions with and beyond Hills or Jenkins. Editors are especially interested in testimonies from academics engaged in emerging academic fields, where the Aca-fan concept is familiarized such as studies in popular music, videogames, media, film, audience theory and media epistemology, just to name a few.

We invite prospective participants to submit a 500 words abstract that draws upon empirical and/or critical approaches through the exploration of Aca-fan contemporary and/or historical issues. Chapters may address (but are not limited to) the following topics:

*Analyzing early profane or academic works, prior to Hills and Jenkins, that are devoted to academic fandom such as “An Ethnography of Star Trek Fandom” (Di Costanzo, 1977) or “Thinking About Slash/Thinking About Women” (Bjorklund, 1988), among others.

*Case studies stemming from scholars implementing the Aca-fan con- cept in their classes and further questioning the impact of such, from an educational or epistemological perspective.

*The Aca-fan concept: concerning a practice-based Audience theory and Reception Studies

*Discussing Social Science Methodology through the Aca-fan: Is the scholar a fan just “like the others”?

*What is the concept meaning to non Aca-fan scholars?

*Legally introduce scholar’s tastes and quality judgment through aca- demic writings: A (new) form of criticism?

*Participant Observation Data Collection method

* Analysis of academic debates regarding Aca-Fandom rhetoric


Please submit a 500 word abstract, a list of 10 references and a brief biog- raphy to Centre Norbert Elias - Prof. Frédéric Gimello-Mesplomb (cne-ecc[alt]univ-avignon.fr) by *October 1st, 2016. *Successful submissions will be notified on October 15th. Upon acceptance, full articles (between 6000 and 8000 words, including references) will be due at the latest on the 1st of December, 2016.


Calendar

1) Call for Proposals sent out by July 1st, 2016; 2)Proposals received by October 1st, 2016;

3) Review of proposals, and confirmation of first-level contributions made by October 15, 2016, and contributors informed of decisions at this stage;

4) First drafts submitted by January 1st, 2017;

5) Evaluation and peer-review of first drafts, and feedback sent to contributors by February 1st, 2016;

6) Second and final drafts submitted by March, 15, 2017;

7) Review of second drafts, and follow-up with contributors, where applicable, by April 30, 2017;

8) Completion of manuscript (introduction, index, copyediting, formatting, etc.) by June 1st, 2017, and then submitted to the Publisher.

9) Excepted publication : Fall 2017.


About the editor


The Centre Norbert Elias Culture and Communication Research Team headed by Prof. Gimello-Mesplomb focuses in communicational approach of cultural subjects with an emphasis in cultural and heritage institutions, cul- tural practices and reception analysis (audience studies), studies on groups involved in cultural activities structuring their leisure practices. The team concerns 17 full members (tenured professors and assistant/associate pro- fessors), 22 associates (professionals, postdoctoral students, visiting re- searchers and scholars) and hosts over than 40 PhD students in communica- tion sciences. The lab publishes the international peer-review ISI indexed journal Culture & Musées.

mail : cne-ecc[alt]univ-avignon.fr

Website : http://centre-norbert-elias.ehess.fr/

Suggested bibliography

BJORKLUND Edi. “Thinking About Slash/Thinking About Women”, Nome, Vol. 11, 1988, 30-39.

BOOTH Paul. Digital Fandom: New Media Studies. Bern, Peter Lang, 2010. BOOTH, Paul. « Augmenting Fan/Academic Dialogue: New Directions in Fan Research ». Journal of Fandom Studies, 2013, vol. 1, n° 2, p. 119-138.

BUSSE, Kristina, HELLEKSON, Karen. « Identity, Ethics, and Fan Privacy ». In LARSENKatherine and ZUBERNIS Lynn (dirs), Fan Culture: Theory/Practice, Newcastle-Upon-Tyne : Cambridge Scholar Publishing, 2012, p. 38-56.

MASONI Céline, CAILLER Bruno. « Fans versus universitaires, l’hypothèse dialogique de la transmédialité au sein d’un dispositif socio-narratif ». Revue française des sciences de l’information et de la communication, 2015, vol. 15.

CRISTOFARI Cécile, GUITTON Matthieu J. « L’aca-fan : aspects méthodologiques, éthiques et pratiques », Revue française des sciences de l’information et de la communication, 2015, vol. 7, URL : http://rfsic.revues.org/1651.

DICOSTANZO James L. “ Final Frontier: An Ethnography of STAR TREK Fandom”, Interphase, Vol. 4, 1977.

FRANÇOIS Sébastien. « Fanf(r)ictions ». Réseaux, 2009, volume 153, n° 1.
GIMELLO-MESPLOMB Frédéric, VILATTE Jean-Christophe. « Les recherches sur les publics en sciences de l’information et de la communication », Revue française des sciences de l’information et de la communication, 2015, vol. 7, URL : http://rfsic.revues.org/1651.

GIMELLO-MESPLOMB Frédéric. “Some Epistemological Considerations About the Theories of Film and Cultural Consumption in the Internet Age: Revisiting Superstardom Models, Long Tail Phenomenon and Quality Appraisal”. Katowice (Poland) : Scientific Publications of the University of Economics in Katowice, 2012, p. 105-115.

HAY James, Couldry Nick. « Rethinking convergence/culture: an introduction ». Cultural Studies 25. 4-5 (2011): 473-486.

HENNION A. « Une sociologie des attachements. D’une sociologie de la culture à une pragmatique de l’amateur », Sociétés, 85 (3), 2004, pp. 9-24.

HILLS Matt. Fan Cultures. Londres : Routledge, 2002.

HILLS Matt. « Media Academics as Media Audiences: Aesthetic Judgements in Media and Cultural Studies ». In Gray Jonathan, Sandvoss Cornell, et Harrington C. Lee (Eds.), Fandom : Identities and Communities in a Mediated World, New York : New York University Press, 2007, p. 33-47.

HILLS Matt, JENKINS Henry. « Intensities Interviews Henry Jenkins @Consoleing Passions, University of Bristol, July 7th, 2001 ». Intensities, 2002, volume 2, n° 1.

JENKINS Henry. Textual Poachers: Television Fans and Participatory Culture. Londres : Taylor & Francis, 1992.

JENKINS Henry. Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York : New York University Press, 2006.

JENKINS Henry. “Rethinking ‘rethinking convergence/culture”. Cultural Studies, 2014, vol. 28, no 2, p. 267-297.

LARSEN Katherine, ZUBERNIS Lynn. « Introduction ». In Larsen Katherine and Zubernis Lynn (Eds.), Fan Culture : Theory/Practice, Newcastle-Upon-Tyne : Cambridge Scholar Publishing, 2012, p. 1-13.

SCHNEIDER Marco. “Ethics and epistemology: warning against the" axiological neutrality" on contemporary communication research”. Matrizes, 2013, vol. 7, no 2, p. 221-234.

TUSHNET Rebecca. « ‘I’m a Lawyer, not an Ethnographer, Jim’: Textual Poachers and Fair Use ». Journal of Fandom Studies, 2013, vol. 2, n° 1, p. 21-30.

ZUBERNIS Lynn, LARSEN Katherine. Fandom at the Crossroads : Celebration, Shame and Fan/Producer Relationships. Newcastle-Upon-Tyne : Cambridge Scholars Publisher, 2012.

(info atualizada em 08/09/2016)

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Vacancy - Dean of Fine Arts and Communications (FFAC)-MacEwan University, Edmonton Alberta, Canada



MacEwan University, Edmonton Alberta, Canada

Careers

APPLY NOW

Vacancy /Position:

Dean of Fine Arts and Communications (FFAC)

MacEwan University inspires students with a powerful combination of academic excellence and personal learning experiences – ours is a connected culture that focuses on learner-centered teaching, and on providing opportunities for students to grow and achieve.

The university provides a transformative education in a creative, collaborative and supportive learning environment. 19,000 full- and part-time students are enrolled in more than 65 programs: four-year undergraduate degrees, applied degrees, university transfer programs and one- and two-year diploma and certificates. Additional offerings include preparation for university and college, English as an Additional Language, professional and personal development courses and workshops, corporate training and the Conservatory of Music.

MacEwan University is searching for its next Dean of the Faculty of Fine Arts and Communications. For more than 40 years, MacEwan has been home to dynamic and high profile fine and performing arts and communications programs with deep community roots. The Faculty is now at a pivotal point in its evolution, developing new degree programs and preparing for the Fall 2017 opening of a state-of-the-art 430,000 square foot Centre for Arts and Culture on MacEwan’s City Centre Campus in the heart of the vibrant downtown of Edmonton.

Reporting to the Provost and Vice-President Academic, the Dean of Fine Arts and Communications is responsible for the academic and administrative direction of the Faculty. The successful candidate will be a collaborative leader with an earned terminal degree in a field related to the academic and professional areas of the Faculty. A strong record of achievement in teaching, research and/or creative activity, and service to qualify for a senior academic appointment is required. Successful experience in post-secondary administration and an understanding of the culture of an undergraduate student-focused institution will be important assets.

Consideration of candidates will begin in October 2016 and will continue until the position is filled. Candidates are sought for a continuing academic appointment to begin as early as January 2017 or at a mutually agreed upon date.

MacEwan University recruits and selects on the basis of qualifications, skills, and other bona fide occupational requirements. We are committed to hiring practices that promote diversity and are inclusive and barrier-free.

For more information about this opportunity, contact:

PEKARSKY & Co.

Christine DeWitt, Principal

christine@pekarskyco.com <mailto:christine@pekarskyco.com>

(780) 665-4965 ext. 104

pekarskyco.com <http://pekarskyco.com>

Benefits

When you become part of the MacEwan team, you will enjoy a competitive salary. Our total compensation package includes:

• Competitive base pay

• Generous vacation time

• Secure pension plan

• Excellent benefits package

• Effective recognition and retention programs

• Continuous learning culture

• Opportunities for career growth

This position is included under the Employment Policy for Officers (D1040)

All qualified candidates are encouraged to apply; however, Canadian citizens and permanent residents will be given priority.

Category Full-Time Continuing

Salary Commensurate with education and experience

Closing Date Consideration of candidates will begin in October 2016 and will continue until the position is filled.

Competition No. 16.08.151

Apply In Person/By Mail MacEwan University

Human Resources Department

University Services Centre

Rm. 10-600, 10700 - 104 Avenue

Edmonton AB T5J 4S2

Fax: (780) 497-5430

Apply Online

http://www.macewan.ca/wcm/Administrative/HumanResources/Careers/index.htm?jobId=16.08.151&list=Management

(info atualizada em 07/09/2016)

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

CFP: Revista Abusões nº 3


Revista Abusões <http://www.e-publicacoes.uerj.br/index.php/abusoes/about/submissions#authorGuidelines>


CHAMADA PARA PUBLICAÇÃO



Flavio García (UERJ) e Luciana Silva (UERJ/ UC) convidam para a submissão de artigos à publicação no nº 3 da revista Abusões, referente a 2016.2 (jul-dez/2016), em homenagem ao Prof. Doutor Carlos Reis (Universidade de Coimbra).

O número será dedicado à temática “Figurações de personagem em contextos insólitos”. Figuração – processo de composição de seres de ficção (REIS, Carlos. “Pessoas de livro: Figuração e sobrevida da personagem”, in Revista de Estudos Literários [Revista do Centro de Literatura Portuguesa da Universidade de Coimbra], 2014. 4, p.43-68) – é o conceito central para a proposição de artigos a este número da revista Abusões. O termo-conceito figuração, conforme Carlos Reis, designa processo(s) de composição de personagens em universos específicos com os quais interagem, e, dessa interação, deduzem-se efeitos propriamente estéticos – procedimentos operacionais de constituição das personagens –, e, também, ideológicos e cognitivos, suscitados por sua composição. Contextos insólitos determinam um universo específico em que se quer vislumbrar a personagem e correspondem, neste caso, a mundos possíveis ficcionais, ou seja, a constructos narrativos intencionalmente elaborados para pôr em xeque os limites tênues de realidade construídos no interior da própria narrativa (ALBALADEJO MAYORDOMO, Tomás. Semántica de la narración: La ficción realista. Madrid: Taurus Universitaria, 1991), tendo sido armados com a instalação de arquiteturas discursivo-textuais dissonantes daquelas próprias ao sistema semionarrativo real-naturalista, abarcando, desse modo, infinitas vertentes do insólito ficcional. Essas vertentes da ficção vão desde o Maravilhoso até as variações mais contemporâneas do Realismo Maravilhoso, na América Latina, ou do Realismo Animista, na África, perpassando pelo Gótico, pelo Fantástico, pela Ficção Científica etc., bem como se manifestam em diferentes expressões narrativas, seja na literatura, no cinema, na televisão, no espaço cibernético etc.

Os textos deverão ser enviados, impreterivelmente, até 30 de setembro de 2016 (data já prorrogada).



Editorial

As artes da abusão: dos erros de percepção, das coisas que se tomam por outras, das ilusões e dos enganos; da crença no fantástico e das superstições; dos feitiços, dos esconjuros e dos malefícios. Foi em torno dessa hoje exótica palavra que nasceu a Abusões, revista dedicada às ficções que transitam nas franjas do real, um projeto que é fruto da parceria entre dois Grupos de Pesquisa, certificados pela Universidade do Estado do Rio de Janeiro (UERJ) junto ao Diretório de Grupos do Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq), o Nós do Insólito: Vertentes da Ficção, da Teoria e da Crítica e o Estudos do Gótico.

O vigor desse campo de estudos nas universidades brasileiras é atestado pelo surgimento e consolidação, nos últimos anos, de vários grupos de pesquisa a ele dedicados, para além dos que assumem a Editoria desta revista, como o Vertentes do Fantástico na Literatura (UNESP, envolvendo os três campi em que há o curso de Letras), o Espacialidades Artísticas (UFU), o Língua e literatura: interdisciplinaridade e docência (UNIFESP), o Narrativa e insólito (UFU) e o Belvidera – Núcleo de Estudos Oitocentistas (UFPE), todos praticamente reunidos com os nossos grupos da UERJ, no Grupo de Trabalho da Associação Nacional de Pós-graduações e Pesquisa em Letras e Linguística (ANPOLL) Vertentes do Insólito Ficcional.

Dessas inúmeras e labirínticas intersecções e tangências entre o insólito, o gótico, o fantástico, o estranho, o maravilhoso, o sobrenatural, o extraordinário, a fantasia, o medo, o horror, o terror e outras manifestações ficcionais congêneres virão os artigos que darão corpo à publicação. Interessa veicular os resultados de pesquisas dessa vasta rede de estudos, seja como um instrumento de divulgação, seja como um ambiente crítico, capaz de integrar trabalhos individuais em projetos coletivos.

Abusões é uma publicação semestral, hospedada no Portal de Publicações Eletrônicas da UERJ <http://www.e-publicacoes.uerj.br/index.php/abusoes/about/submissions#authorGuidelines>, e tem por finalidade a divulgação de artigos, resenhas, entrevistas e fontes documentais relevantes para os estudos do Gótico, do Fantástico e do Insólito, tomados em sentido lato. A revista publica textos em Português, Espanhol, Galego, Francês, Italiano, Inglês e Alemão, com titulo, palavras-chave (em um mínimo de 3 e um máximo de 5) e resumo, obrigatoriamente, em língua portuguesa e em uma das demais línguas.



Editoria Chefe:

Flavio García (UERJ, Brasil);

Júlio França (UERJ, Brasil)



Editoria Adjunta:

Luciana Colucci (UFTM, Brasil)



Conselho Editorial:

Aurora Gedra Alvarez (UPM, Brasil);
Fernanda Aquino Sylvestre (UFU, Brasil);
Flavio García (UERJ, Brasil);
Heloisa Helena Siqueira Correia (UNIR, Brasil);
Júlio França (UERJ, Brasil);
Karin Volobuef (UNESP Araraquara, Brasil);
Luciana Colucci (UFTM, Brasil);
Maria Cristina Batalha (UERJ, Brasil);
Marisa Martins Gama-Khalil (UFU, Brasil);
Renata Philippov (UNIFESP, Brasil);
Regina da Costa da Silveira (UniRitter, Brasil).


Conselho Científico:

André de Sena Wanderley (UFPE, Brasil);
DaleKnickerbocker (East Carolina University, Estados Unidos da América);
Daniel Balderston (University of Pittsburgh, Estados Unidos da América);
David Roas (Universitàt Autónoma de Barcelona, Espanha);
Elton Honores Vásquez (Universidad Nacional Mayor de San Marcos, Peru);
Jean-Philippe Imbert (Dublin City University, Irlanda);
Júlio Jeha (UFMG, Brasil);
Maria Conceição Monteiro (UERJ, Brasil);
Maria João Albuquerque Simões (Universidade de Coimbra, Portugal);
Maurício César Menón (UTFPR, Brasil);
Mark Macleod (Charles Sturt University, Austrália);
Rosalba Campra (La Sapienza Università di Roma, Itália).
(info atualizada em 06/09/2016)

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CFP: Special Issue of NANO on Star Wars: The Force Awakens



Call for Papers: NANO New American Notes Online Issue 12 on Star Wars: The Force Awakens

Deadline: February 1, 2017
Special Issue: Star Wars: The Force Awakens: Narrative, Characters, Media, and Event

Guest Editors: Jason W. Ellis, Alan Lovegreen, and Sean Scanlan

This thing [Star Wars] communicates. It is in a language that is talking to young people today, and that’s marvelous.
--Joseph Campbell in conversation with Bill Moyers, The Power of Myth (1988)

There are certainly many more themes in The Force Awakens that speak to us, and help us to learn more about these characters and what makes them tick.
--Dan Zehr, “Studying Skywalkers” column on starwars.com <http://starwars.com> (May 18, 2016)

It is the aim of this special issue of NANO to address the significance of the latest installment of Star Wars by exploring its narrative, characters, media, and event. Across nearly four decades, audiences spanning generations have experienced Star Wars through films, television programs, books, video games, special events such as the annual “celebrations,” and other storytelling media, including action figures and LEGO. Following Disney’s acquisition of Lucasfilm, George Lucas’ production company, audiences experienced a new transmedia event and a continuation of the old stories with the release of Star Wars Episode VII: The Force Awakens in 2015. Joseph Campbell’s earlier observations about the first film raises new questions that deserve to be answered about the latest: How does this new film communicate? What language does it use? And, to whom is it speaking?

One way to approach these issues of communication and language is through the convergence of the film’s narrative and characters, especially how the transmission of this convergence gets revealed through a variety of media as an event. For example, how does the film’s narrative respond to, continue, and challenge those that it follows? And what about the cast of characters—some returning and some new? What do these characters and their performance of the narrative have to say about the here-and-now as well as the past? Of course, the narrative is told through media, which includes different film technologies, digital distribution, DVD and Blu-Ray discs, websites, video games, and apps. And stepping back for a larger perspective, the release of the film and its transmedia supporting elements inform The Force Awakens as an event, in part orchestrated by Disney/Lucasfilm, and in part connected to contemporary events, including #oscarssowhite, #womeninfilm, and #paygap. Furthermore, how does its event(s) relate to those of the past, including specifically those centered on the release of the earlier films and subsequent events awakening fans’ nostalgic enthusiasm. The Force Awakens’ considerable box office performance and tie-in successes signal how significant this film (and its progenitors) is, and it is the aim of this special issue to explore the promise and pitfalls of its cultural influence.

This issue welcomes multimodal essays up to 4,000 words (excluding works cited) exploring topics relating to Star Wars: The Force Awakens, including but not limited to the following:

* transmedia storytelling and The Force Awakens (including “Journey to Star Wars: The Force Awakens” publications, such as Chuck Wendig’s novel, Star Wars: Aftermath, and comic books Star Wars: Shattered Empire and Star Wars: Poe Dameron
* media transformation and adaptation (e.g., comparing the film with Alan Dean Foster’s novelization)
* materiality and The Force Awakens (e.g., LEGO, play, and collecting)
* Star Wars fandom and cosplay
* Star Wars reference materials and publications
* starwars.com <http://starwars.com> and the official Star Wars app
* Star Wars videogames including LEGO Star Wars: The Force Awakens, Star Wars Battlefront, and the now defunct Disney Infinity tie-ins
* Jakku Spy VR experience
* Star Wars Celebration and ComicCon special events
* social and political movements’ coinciding/connecting with The Force Awakens
* the hero’s journey and the heroes’ journeys
* movement and storytelling
* vehicles as characters
* nostalgia and familiarity
* inclusive casting/characters
* droids and aliens
* hidden bodies/cgi characters (e.g., Maz Kanata/ Lupita Nyong’o and Captain Phasma/Gwendoline Christie)
* race and gender in The Force Awakens
* terrorism, insurgency, war, and militarism
* surveillance

Direct questions to the Special Issue co-editors: Jason W. Ellis [jellis@citytech.cuny.edu <mailto:jellis@citytech.cuny.edu>], Alan Lovegreen [alanlovegreen@yahoo.com <mailto:alanlovegreen@yahoo.com>], and Sean Scanlan [sscanlan@citytech.cuny.edu <mailto:sscanlan@citytech.cuny.edu>].

NANO is a multimodal journal. Therefore, we encourage submissions that include images, sound, or video in support of a written argument. These multimodal components may consist of objects and data sets that go beyond traditional media. The multimodal components of the essay must be owned or licensed by the author, come from the public domain, or fall within reasonable fair use (see Stanford University Libraries’ Copyright & Fair Use site, http://fairuse.stanford.edu/overview/fair-use/ and the U.S. Copyright Office’s Fair Use site, http://www.copyright.gov/fls/fl102.html for more information. NANO’s Fair Use Statement is available on its submission page, http://www.nanocrit.com/submissions-information/).

For questions about video, audio, or image usage, please contact NANO: editornano@citytech.cuny.edu <mailto:editornano@citytech.cuny.edu>.

NANO uses modified MLA (Modern Language Association) formatting and style.

Submission style guidelines: http://www.nanocrit.com/submissions-information/style-guide-nano/

Submission form: http://www.nanocrit.com/submissions-information/submission-form-page-nano1

Keywords and abstract: Each author is asked to submit 5 keywords and a 150-word abstract to accompany their submission.

Schedule: Deadlines concerning the special issue to be published in NANO:

* Submission deadline: February 1, 2017
* Complete comments and peer review June 2017
* Pre-production begins August 2017
We look forward to receiving your contributions.


--
Jason W. Ellis, Ph.D.
Assistant Professor of English
New York City College of Technology
English Department
300 Jay Street, N512
Brooklyn, NY 11201

blog: http://dynamicsubspace.net/
twitter: @dynamicsubspace
(info atualizada em 06/09/2016)

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CFP: Biblical Epics Collection
CFP: New Heart and New Spirit: Perspectives on the Modern Biblical Epic


The extreme profitability of Mel Gibson’s /The Passion of the Christ/ in 2004 came as a great surprise to the Hollywood establishment, particularly considering its failure to find production funding through a major studio. Since this time, the big-budget mainstream biblical epic, long thought dead in terms of widespread marketability, has become a viable Hollywood studio product with regards to seeking both profits and critical acclaim, as well as outlets for auteurist ‘passion projects’ such as Gibson’s film, Darren Aronofsky’s /Noah/(2014), and Ridley Scott’s /Exodus: Gods and Kings/. With this year seeing two new fiction films featuring depictions of Jesus, the crucifixion, and resurrection [/Risen /(dir. Kevin Reynolds) and/ Ben-Hur /(dir. Timur Bekmambetov)], academic consideration of the modern biblical epic is both timely and highly relevant.

This is a preliminary call for papers and proposals for an edited collection using a broad range of approaches in the analysis of these films and this phenomenon specifically. Proposals can address, but are not limited to:

-Stylistic and narrative analysis

-Considerations of genre

-Historical and political contexts

-Industrial efforts to capitalise on this trend (see the short-lived Fox Faith studios in the mid 2000s and its products)

-Critical viability and acceptance

-Intersections of, or discord between, faith and fandom

-Representations of race and gender

-Auteurist analyses of these films

-Philosophical and more broadly theoretical approaches to these films and this trend.

Proposals and abstracts of approximately 300 words with a short bio can be submitted to Wickham Clayton by 31 September, at wickscripts@hotmail.com <mailto:wickscripts@hotmail.com> . Also feel free to email for expressions of interest and questions regarding the project.
(info atualizada em 05/09/2016)

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Narratives of Place in Literature and Film
Narratives of place link people and geographical location with a cultural imaginary through literature and visual narration. The social and cultural spatialities of place have ancient roots, yet continue to evolve. Contemporary literature and film often frame narratives with specific geographic locations, which saturate the narrative with cultural meanings in relation to natural and man-made landscapes. For example, fiction novels like Vikas Swarup's /Slumdog Millionaire /(2005) that takes place in Mumbai and Orhan Pamuk's many novels set in Istanbul immerse characters in the sentient cityscapes of modern metropolises. The Pacific Crest Trail in Cheryl Strayed's /Wild/ (2013) and Cormac McCarthy's /The Road /(2006) and their film adaptations speak to, and beyond, American pastoralism and the metaphor of the road. Place, of course, refers not only to land; cinematically, Andrew Kötting’s round-Britain coastal excursion, /Gallivant /(1996), reveals people in relation to their locales, whilst /Last Resort /(Dir. Pawel Pawlikowski, 2000) examines entrapment and exclusion through an abandoned seaside town converted into an immigration center. From the labyrinthine streets of big cities to landmarks in open landscapes, place provides rich visual subtexts in films. Place may be manmade or natural, but is always-already imbued with meaning and cultural significance. In /Landscape and Memory/ (1995), Simon Schama comments, "landscapes are culture before they are nature" (61). In cultural production, place is associated with human identity and ideologically with the formation of nations, borders, indigeneity, and perceptions of selfhood and otherness. This interdisciplinary collection seeks to interrogate such connections to probe how place is narrativized.

Scope:
Drawing on, but not limited to, the fields of literature and film studies, this collection seeks a broad range of responses to questions regarding the narrativizing of place. Possible themes include:
·movement through landscapes
·gendered spatialities
·narrativizing histories of place
·notions of belonging and displacement
·nation, borders, and identity
·boundaries, thresholds and liminal spaces
·place as a loci of contestation
·corruption and contamination of/by places

Anthology editors:
·Steven Allen, PhD, University of Winchester, UK
·Kirsten Møllegaard, PhD, University of Hawai'i at Hilo, USA

Submission details:
Abstracts of 300-350 words are invited along with a 100-150 word biography to the email address below. The deadline for abstract submission is 18^th September, 2016. Notification of acceptance or rejection will be emailed by 2^nd October 2016. An academic publishing house has already expressed an interest in the project. Subject to a positive review from the publisher of the full book proposal, the provisional deadline for draft chapters (6000 words max.) is June 2017.

Contact email (submission and inquiries):
narrativesandplace@gmail.com
(info atualizada em 02/09/2016)

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CFP: Amateur Film and the Institution (Film History Special Issue)



CALL FOR PAPERS

Film History

Special Issue: “Amateur Film and the Institution”

Guest Editors: Enrique Fibla, Masha Salazkina (Concordia University)

Deadline for abstracts: October 15th, 2016

**

In recent years, Film Studies scholarship began to pay more attention to the effects that various non-theatrical film initiatives – such as educational, industrial, and other institutional productions - have had on the way modern life is ordered, experienced and imagined. Although amateur film initiatives have sometimes been included in such debates, their relationship to professional film expressions and institutions has not yet been explored in depth. Shifting discourses on the status of amateurism vs. professional aesthetics have shaped much of film criticism and theory, emerging with particular force at certain moments in history. Yet, usually deemed a mere hobby devoted to recording family gatherings and trips, amateur cinema’s rich history as a vernacular media form, with its own journals, circulation circuits, and particular relationship to actuality is yet to be fully explored. Likewise, the current amateur digital media explosion has gathered scholarly attention, but it remains to be articulated in relation to a more comprehensive history of vernacular media. Such histories can potentially allow for a new map and timeline of moving image production to emerge: countries or regions previously deemed peripheral for film history due to their lack of a strong film industry may become relevant to rethink the space that film occupies in cultural history globally.

With these ideas in mind, the /Amateur Film and the Institution/ special issue looks to discuss the different implications of amateur cinema around the world in relation to the technological, social, cultural, and economic developments that marked its emergence in different contexts. A central task of the special issue will be to interrogate the relationship between amateur practices and broader film institutional developments and open a conversation by addressing a range of questions, such as: What role did amateur production play in the institutionalization of film? What kind of alternative institutions did amateurs create? How does the development of these practices and discourses impact our understanding of the history and geography of moving images?

We invite contributions from scholars and practitioners to submit paper proposal on the history of film amateur practices around the world. Topics may include, but are not limited to:

-Archival institutions and non-professional film

-Non-professional film movements, journals, and festivals

-Amateur pornography

-Political potential of amateur cinema

-Amateur filmmaking and experimental/avant-garde cinema

-Self-made productions and the contemporary digital culture

-DIY technologies and aesthetics

-Amateur film in relation to industrial and educational films

-Histories of critical debates about the status of “the amateur” in film and media

-New geographies of moving image history beyond commercial film

-The impact of the study of amateur cinema on film historiography

Send a 500-600 word abstract and a brief biographical note to**enrique.fibla@concordia.ca <mailto:enrique.fibla@concordia.ca> *and* salazkina.masha@gmail.com <mailto:masha.salazkina@concordia.ca> by *October 15^th 2016*. The editorial team will notify selected proposals by *November 1^st 2016*. Completed manuscripts (up to 9,000 words) will be due *February 1^st 2017*, and will be accepted for publication pending editorial and external readers evaluation. All submissions will be subjected to double blind peer review.

For further information on /Film History /journal submission guidelines see: http://www.iupress.indiana.edu/pages.php?pID=78&CDpath=4

*In addition to scholarly articles, we invite submissions of relevant previously unpublished original documents on this topic, in English or in translation, to be included in the special issue.*

About the Journal:

//

/Film History/ publishes original research on the international history of cinema, broadly and inclusively understood. Its areas of interest include the production, distribution, exhibition, and reception of films designed for commercial theaters as well as the full range of non-theatrical, non-commercial uses of motion pictures; the role of cinema as a contested cultural phenomena; the technological, economic, political, and legal aspects of film history; the circulation of film within and across national borders; and the relations between film and other visual media and forms of commercial entertainment. In addition to original historical research, /Film History/ also will on occasion publish review essays, report on newly available archival collections, and make available primary documents.
(info atualizada em 01/09/2016)

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CFP JICMS Conference



CALL FOR PAPERS

International Conference


Journal of Italian Cinema and Media Studies

Innovations and Tensions

Italian Cinema and Media in a Global World

The American University of Rome

9-10 June 2017

*
*

/Journal of Italian Cinema and Media Studies/, published by Intellect Ltd. since 2012, is a peer-reviewed triannual journal. /JICMS/is the leading English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema, and media professionals. Within the realm of a trans-cultural debate, the purpose of /JICMS/ is to refer to Italy as the unifying geo-cultural site for a contemporary discussion of translocal cinema. The journal aims to elaborate a multifaceted definition of Italian cinema, shifting the critical paradigm outside the inwardly focused field of Italian film studies and exploring how Italian cinema and mediaexpand beyond the boundaries of their (pen)insularity. The journal also intends to explore the hybridization of film and media as well as the permeability and versatility of new media.

In 2017, /JICMS/ celebrates its 5^th anniversary (2012-2017) with an international conference. This conference will provide a forum for developing innovative directions for the journal. We will exchange ideas about trans-national approaches to Italian cinema and media and foster debate on the role of Italian cinema and media in the complex tapestry of global societies in the twenty-first century.

With this CFP, the conference organizers invite proposals for single papers, pre-constituted panels and roundtables that would identify innovations and tensions shaping contemporary Italian cinema and media productions in a global world.

Keynote Speaker

Professor Milly Buonanno, La Sapienza University

Possible topics include, but are not limited to:

-Italian cinema and international co-productions

-LGBTQ cinema

-Borderlands and the changing geographies of liminal spaces

-Filmmakers of diverse ethnic, religious, national background

-Diasporic and accented filmmakers/filmmaking

-Digital diaspora and electronic migrant communities

-Digitalized cultures for participating, citizenship, and intercultural communication

-Postcoloniality in various media

-Digital cinema

-Italian film festivals in the world

-Television serial narratives

-Presence-absence of Italians of various ethnic background in the media

-Web series

-New media and intermediality

-Networked activism

-Transmedia and social activism

-Transmedia narratives and productions in film and television

-Video-games

-Animation

-Subtitling and dubbing

-How or if Italy is rethinking or renegotiating its situation in the EU

-Who owns/controls the media in Italy, and what are the ramifications of this political economy of the

-Future Memories: Anniversaries of Cinema and Media Institutions

Please send an abstract of 250 words plus a short bio of 100 words for single papers, or 350 words with individual titles and bios for pre-constituted panels or roundtables in Italian or in English in a word.doc format, *no pdf*. We invite proposals for 20-minute presentations (inclusive of film clips). We welcome presentations using both conventional tools and video-essay commentaries.

The languages of the conference are English and Italian

Abstracts for consideration should be submitted to the conference organizer Flavia Laviosa at flaviosa@wellesley.edu <mailto:flaviosa@wellesley.edu>

The deadline for the submission of abstracts is 15 October 2016
Notification of acceptance of abstracts will be sent out to authors by 15 December 2016

Participants will receive a complimentary copy of /JICMS/.

Selected papers will be considered for publication for a special edited volume or issues of /JICMS./

This conference is organized by Flavia Laviosa (Wellesley College) in collaboration with Catherine Ramsey Portolano (The American University of Rome) and co-sponsored by The American University of Rome, Wellesley College and Intellect.

Additional activities

A guided visit to the CinecittàStudio will be offered on Thursday June 8^th , 20 euro

A choice of two tours will be offered on Sunday June 11^th

1) Southern Lazio: Ninfa, Valvisciolo and Sermoneta: 60 euro

2) Bomarzo and Viterbo: 60 euro


Flavia Laviosa
Senior Lecturer, Italian Studies & Cinema and Media Studies
Faculty Fellow, Albright Institute for Global Affairs
Director, Rome Winter Session Program
Wellesley College

Editor, /Journal of Italian Cinema and Media Studies/
Certified ACTFL OPI Trainer and Tester, Italian
Certified EPIC AP Reviewer, Italian
(info atualizada em 31/08/2016)

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CFP - 10th International Conference and Festival on Global Cult Film Traditions


Updated Call for Papers
The 10th International Conference and Festival on Global Cult Film Traditions

Birmingham City University Presents:

Cine Excess X
Cult Genres, Traditions and Bodies: A Decade of Excess
The Big Screen (Birmingham City University)
10th-12th November 2016
www.cine-excess.co.uk

Over the last 10 years, the Cine-Excess International Film Conference and Festival has brought together leading scholars and critics with global cult filmmakers for an event comprising a themed academic conference with plenary talks, filmmaker interviews and UK theatrical premieres of up and coming film releases.

Previous guests of honour attending Cine-Excess have included Catherine Breillat (Romance, Sex is Comedy), John Landis (An American Werewolf in London, The Blues Brothers), Roger Corman (The Masque of the Red Death, The Wild Angels), Stuart Gordon (Re-Animator, King of the Ants), Brian Yuzna (Society, The Dentist), Dario Argento (Deep Red, Suspiria) Joe Dante (The Howling, Gremlins), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave (Blow Up, The Devils), Ruggero Deodato (Cannibal Holocaust, House on the Edge of the Park) Enzo G. Castellari (Keoma, The Inglorious Bast***s), Sergio Martino (Torso, All the Colours of the Dark), Jeff Lieberman (Squirm, Blue Sunshine) and Pat Mills (Action Magazine, 2000 AD).

Cine-Excess X is hosted by the Birmingham School of Media at Birmingham City University, and will feature a three day academic conference alongside film industry panels and a season of related UK premieres and retrospectives taking place at screening venues across the region.

To celebrate its 10th anniversary, the conference Cult Genres, Traditions and Bodies: A Decade of Excess reconsiders some of the key debates around cult film genres, traditions and modes of representation that have influenced the development of the annual Cine-Excess event over the past decade. At the same time, the event looks forward to the future development of cult film studies by dissecting new perspectives that are now dominating this area of study.

In their early influential studies of ‘outlaw’ film formats such as the slasher cycle, melodrama narrative and ‘skin flick’, theorists such as Carol J. Clover and Linda Williams identified a cinematic and sensory response to excess, which linked unwieldy film genres to even more unruly representations of the human body. While such studies proved pivotal in identifying the potentially subversive features of key cult film cycles, more recent accounts have expanded this scope of analysis to consider a far wider range of global film formats, whilst also assessing the stylistic, performative and representational strategies that come to dominate such startling visions. The explosion of interest in graphic comics, transmedia and online platforms has further extended the theoretical interest in cult genres, traditions and bodies, by widening the scope of enquiry beyond the cinematic medium to other areas of activity which warrant further investigation.

In order to explore these themes further, Cine-Excess X will consider a broad variety of cult media creations including key case-studies of cult activity from film, television, literature, comics and digital media. A number of international filmmakers associated with key cult genres will be in attendance at Cine-Excess X to discuss their work and interact with academic speakers.

Proposals are now invited for papers on a wide range of cult film genres, traditions and strategies of representation. However, we would particularly welcome contributions focusing on:


* Cult visionaries: the cinema of Alejandro Jodorowsky
* Master of the Macabre: the Cinema of John Carpenter
* Fantasies of female revenge in cult cinema
* Grossed-out and top grossing: cult comedies of excess
* New case-studies of classic cult and ‘exploitation’ auteurs
* High art and low taste: case-studies in extreme experimentation
* From national borders to new territories: global traditions of the cult image
* From AIP to The Asylum: case-studies of cult production studios
* I know what you starred in last summer: the cult of bad acting
* Realm of the senses: cult renditions of sensory affect
* Revered and ruined: case-studies of the cult biography
* Small screen scares: Netflix, Amazon and new platforms for terror
* From the burlesque to the brutal: cult interpretations of exotic performance
* Consuming excess: new perspectives on cult audiences
* The good, the bad and the forbidden: cult representations of taboo
* Transmedia excess: cult narratives and contemporary platforms
* Scored: soundtracks and compositions to the cult film canon
* Subcultures on two wheels: from Hells Angels flicks to the Sons of Anarchy series
* From slasher and sexploitation to cult noir: transgressive femininities on screen
* Crash and burn cults: Hollywood flops reborn
* The men and women from Hong Kong: new studies of kung fu performativity
* Superheroes, sidekicks and subversives: the graphic face of the cult comic book
* Corporeal excess: new readings of the cult body

Please send a 300-word abstract and a short (one page) C.V. by

Friday 9th September 2016 to:
Xavier Mendik Fran Pheasant-Kelly Glenn Ward
Birmingham City University University of Wolverhampton University of Brighton
xavier.mendik@bcu.ac.uk F.E.Pheasant-kelly@wlv.ac.uk G.P.Ward@brighton.ac.uk

A final listing of accepted presentations will be released on Friday 16th September 2016.

Delegate fees for Cine-Excess X are £100/£60 (concessions). This includes entrance to the conference, related Cine-Excess screenings, and industry panels. A selection of conference papers from the event are scheduled to be published in the Cine-Excess e-Journal. For further information and regular updates on the event (including information on guests, keynotes and screenings) please visit www.cine-excess.co.uk
(info atualizada em 30/08/2016)

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CFP: Science & Popular Culture Area


Papers, panels, and round tables are now invited for the Science & Popular Culture area of the PCA/ACA Conference in San Diego, California *April 12th-15th 2017*.


With the integral place of science in Western and global society as well as the current proliferation of science and technology on television and in films, it is more important than ever to examine what popular culture texts are telling us about science. Such analyses serve to illuminate where science features in these texts, as well as how science is viewed, digested, and discussed by the public. Studying science in popular culture is essential to understanding how scientific ideas are utilized, explored, critiqued and sometimes exploited outside of their formal contexts. The common fascination with science has also created a popular culture niche of its own, giving rise to new engagements with scientific knowledge, practices, and technologies. Presented papers will also be eligible for inclusion in the /Journal of Science and Popular Culture/ (Intellect, beginning publication October 2017).


Submissions should be 100-250 words in length and can address any aspect of the complex interrelation of science and popular culture, including (but not limited to):


* Representations of science/scientists in television, film, art,
print (newspapers, magazines, novels, comics, etc.), and other media
* Use of science in popular culture
* The cultural influence of science
* Influences of popular culture on science and scientists
* Internet culture and science
* Science-related cultural artifacts
* Scientists as celebrities, and celebrity advocates of science
* Popular science and public understandings of science
* Science communication and education
* Non-Western cultures and science
* Translations of science into the public domain
* Science of the everyday
* Molecular gastronomy and other food science
* Science as art/the artistic dimensions of science
* Science and science fiction
* The public and popular dimensions of scientific debates
* Science and music
* History and philosophy of science
* Reconciling primary science with public perceptions
* Moments of conflict between scientific discoveries/knowledge/work
and cultural beliefs


To submit a paper visit http://pcaaca.org/national-conference/proposing-a-presentation-at-the-conference/ by *1 October 2016.*
For any nquiries contact:

spcpca@gmail.com <mailto:spcpca@gmail.com>
(info atualizada em 29/08/2016)

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Storymaking Symposium
Storymaking is a one day Symposium to be held on Friday 11th November 2016, at The Liverpool Screen School, Liverpool John Moores University organized in collaboration with the ICC (Institute of Cultural Capital).

The focus of this symposium is making stories with rather than just for the audience.

In the contemporary cultural landscape we can all self publish our novel, release our own films online and share our photography through numerous social media sites, gathering our own audience from across the globe. These new capabilities are altering the relationship between producers and consumers of cultural products and afford possibilities for new experiences that are collaborative.

Participatory culture is a new and developing area of media practice, which would benefit from exploration and discussion of; technologies that afford participation, the ethics of collaboration with users, the creative potential of working with an audience and methods to develop communities of users.

This discussion will allow a sharing of practice amongst those who already produce new media / digital content and work collaboratively with others and practitioners who are interested in developing work with audiences and users

The symposium will investigate approaches to participatory cultural practice and ask - what happens when the audience joins in?

Themes to explore might include (but are not limited to):
Participation in narrative projects
Creative collaboration
Guardianship of people’s stories
Providing a voice
Connecting people and places
Creating a social archive
Methods for creating a community of collaborators
Ethics and ownership
Audience versus participant

Presentations will be 20 minutes duration.

To submit a paper please email presentation title, name, affiliation (or company) and up to 250 word abstract to:
Sarah Haynes – s.haynes@ljmu.ac.uks.haynes@ljmu.ac.uk> and Ian Bradley – i.bradley@ljmu.ac.uki.bradley@ljmu.ac.uk>

Deadline for submission of papers is 9th September 2016

This symposium is Supported by MeCCSA Practice Network
(info atualizada em 26/08/2016)

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CFP: Journal Messengers from the Stars: On Science Fiction and Fantasy No. 2, 2017

Reminder: CFP   Journal Messengers from the Stars:  On Science Fiction and Fantasy No. 2, 2017

Edited by: Frances Pheasant-Kelly Co-edited by: Adelaide Meira Serras, Ana Rita Martins and João Félix  Messengers from the Stars is an international, peer-reviewed journal, offering academic articles, reviews, and providing an outlet  for a wide range of creative work inspired by science fiction and fantasy. It aims at promoting science fiction and fantasy in the humanities while, at the same time, providing a forum for discussion on all aspects of science fiction and fantasy by welcoming innovative approaches and critical methodologies to the critical and creative landscape.  For our 2017 issue we welcome proposals that directly address different approaches to Science Fiction and Fantasy. The journal will cover the following topics: Artificial Intelligences;  Comic Books/Graphic Novels;  Fantasy and Children’s Literature;  Fantasy and Science Fiction on Screen (cinema, television, Web, video games, etc…);  Fantasy and the Gothic;  Imagination and Fantasy;  Fantastic Journey;  Medieval Fantasy;  National and International Fictions;  Popular Culture; Spaces of Fantasy/Sci-fi; Science and Fiction; Steampunk;  Trauma and Fantasy; Terrorism and Fantasy; Utopias/Dystopias.


Submissions, between 4000 and 6000 words in English, must be sent to mfts.journal@gmail.com by September 3rd, 2016. The authors will be notified by the end of October.   All submissions must follow the journal’s guidelines available at: http://messengersfromthestars.letras.ulisboa.pt/journal/submission-guidelines
(info atualizada em 25/08/2016)

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