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]
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:
(info atualizada em 29/08/2016)
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
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 – firstname.lastname@example.org
Deadline for submission of papers is 9th September 2016
This symposium is Supported by MeCCSA Practice Network
(info atualizada em 26/08/2016)
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 email@example.com by . The authors will be notified by the end of October. All submissions must follow the journal’s guidelines available at: http://messengersfromthestars.
(info atualizada em 25/08/2016)
Visiting Lecturer work: MA Producing Film & TV
RHUL Media Arts is seeking a wonderful Line Producer/Producer/Head of Production/ Industry Professional to teach in London.
Autumn Term 2016 – 22 hrs.
When: Thursday or Friday afternoons
30 September 2017 – 9 December 2017
The Royal Holloway Masters in Producing Film and Television offers aspiring producers an opportunity to acquire the creative and entrepreneurial skills required to enter the rapidly changing universe of film and television.
The course is taught in Bedford Square in Central London. It concentrates on developing the creative, managerial, financial and legal capabilities required for a successful career in production. Whilst reflecting the global nature of the contemporary media marketplace, its main focus is UK film and television fiction rather than factual production. The programme is highly professional and its graduates are successfully employed in the film and television industries around the world.
Production Management – Autumn 2016
This unit introduces students to the nut and bolts of production management. They will learn how the Production Department works and the role of Line Producer and Producer. They will learn to create professional Budgets and Schedule in Movie Magic Software. They will learn how to cost all the elements involved in production as well as understand post-production, contract requirements for talent and crew, insurance issues, shooting abroad, co-production and union requirements. They will understand how to produce professional production paperwork such as call sheets, movement orders, purchase orders, cost reports and accounts. They will understand what deliverables are required for both Film and TV. In addition they will learn to think strategically about production problems and location issues. They will gain an insight in to how contracts are negotiated and productions managed financially. The assessment for this course is a Budget, Schedule, Cash Flow with Creative approach to producing a high quality low budget film or 50 minute TV drama.
Please contact Gillian Gordon, Course Director, for further information: Gillian.firstname.lastname@example.org or call 07900244609.
(info atualizada em 25/08/2016)
CFP: Film Criticism journal
Film Criticism <http://www.filmcriticismjournal.org/>/<http://www.filmcriticismjournal.org/> is a peer-reviewed publication in its 40thyear of continuous publication, making it the third oldest academic film journal in the United States. Our aim is to bring together the best scholarship in the field of film and media studies in order to present work that foregrounds textual criticism as a primary value. Our readership is generally academic, but we strive to publish material that is accessible to undergraduates and a broader popular audience.
We are interested in articles that engage moving-image media in the broadest sense: film, television, online video, etc. FC is also committed to developing film and media criticism that derives from a cultural studies tradition -- criticism that situates media texts in a political context and recognizes the role that culture plays in reproducing, structuring and maintaining social power relations.
For additional information, please visit:
Website: _http://allegheny.edu/filmcriticism <http://allegheny.edu/filmcriticism>_
Facebook: _www.facebook.com/fcjournal <http://www.facebook.com/fcjournal>_
Or email: email@example.com <mailto:firstname.lastname@example.org>_
Joe Tompkins, Editor
(info atualizada em 24/08/2016)
XX SOCINE, Curitiba
A XX SOCINE será sediada pela UTP - UNIVERSIDADE TUIUTI DO PARANÁ, de 18 a 21 de outubro de 2016, seguida pelo FICBIC – FESTIVAL INTERNACIONAL DE CINEMA DA BIENAL DE CURITIBA, nos dias 22 e 23 de outubro de 2016.
Toda a informação em www.utp.edu.br/xxsocine2016
(info atualizada em 22/08/2016)
Alphaville Issue 11 - Cinema Heritage in Europe & Call for Papers: Issue 13 "Screening Race"
Alphaville: Journal of Film and Screen Media
Call for Papers: Issue 13 "Screening Race"
Deadline: 9 September 2016Full information: http://alphavillejournal.com/CFP.html
Call for Submissions: conference, film festival, and exhibition reports
The editors of Alphaville: Journal of Film and Screen Media seek reports for Issue 12, to be published January of 2017. Potential contributors are invited to contact the Reports Editor to agree the submission of a conference, film festival or exhibition report. Submissions in MLA style, along with a short biographical note and contact information, will be due by 30th of September 2016. Reports and interviews should be 1,500-2,500 words in length and should be original, unpublished in print or electronically, and not under consideration elsewhere.
Guidelines are available at: http://www.alphavillejournal.com/Guidelines.html
Please contact the Reports Editor, Caroline Schroeter, at: email@example.com
The Editorial Board of Alphaville: Journal of Film and Screen Media is delighted to present Issue 11: Cinema Heritage in Europe edited by Pierluigi Ercole (De Montfort University), Daniela Treveri Gennari (Oxford Brookes University), Silvia Dibeltulo (Oxford Brookes University) and Lies Van de Vijver (Ghent University).
Now online at http://www.alphavillejournal.com
Cinema Heritage in Europe: Editorial
Pierluigi Ercole, Daniela Treveri Gennari, Silvia Dibeltulo, and Lies Van de Vijver
New Cinema History and the Comparative Mode: Reflections on Comparing Historical Cinema Cultures
Daniel Biltereyst, Ghent University, and Philippe Meers, University of Antwerp
Cinemagoing as Spatially Contextualised Cultural and Social Practice
Elisa Ravazzoli, Institute for Regional Development and Location Management, EURAC Research
Cinema Parisien 3D: 3D Visualisation as a Tool for the History of Cinemagoing
Julia Noordegraaf, Loes Opgenhaffen, and Norbert Bakker, University of Amsterdam
Ethnography as a Tool of Cinema History: Cinemagoing in Light of the Experience of a Local Film Market
Jean-Marc Leveratto and Fabrice Montebello, Laboratoire Lorrain de Sciences Sociales, Université de Lorraine
Narrative Modes of Cinemagoing Memories
Susanne Haake, University of Education Weingarten
Visualising Data in Digital Cinema Studies: More than Just Going through the Motions?
Deb Verhoeven, Deakin University
(Editor Marian Hurley)
The Magic World of Orson Welles. James Naremore. University of Illinois Press, 2015.
Shannon Scott, University of St. Thomas
The History of British Literature on Film, 1895–2015. Greg M. Colón Semenza and Bob Hasenfratz. Bloomsbury Academic, 2015 Kevin M. Flanagan, University of Pittsburgh
Swashbucklers: The Costume Adventure Series. James Chapman. Manchester University Press, 2015.
Lucinda Pope, University of Reading
The Three Amigos: The Transnational Filmmaking of Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón. Deborah Shaw. Manchester University Press, 2013.
Elliot Hardman, Liverpool Hope University
Laurent Cantet. Martin O’Shaughnessy. Manchester University Press, 2015.
Ally Lee, University of Warwick
Reports: (Editor Loretta Goff)
45th International Film Festival Rotterdam
Emre Çağlayan, University of Brighton and University for the Creative Arts
12th Irish Screen Studies Seminar
Loretta Goff, University College Cork
(info atualizada em 19/08/2016)
Schermi. Storie e culture del cinema e dei media in Italia
Special issue: “Catholics, cinema and sex in Italy between the 1940s and the 1970s”
Edited by Mauro Giori and Tomaso Subini
Deadline: September 15, 2016
In 1961, in his pastoral dedicated to the “Giornata per la moralità del cinema” (Day for morality in cinema) organized by Venetian dioceses, the bishop of Vittorio Veneto – pope-to- be John Paul I – described humankind as “people who walk around keeping a piglet on a lead” because of the original sin. Such admission of the centrality of eros in human nature by a prominent member of the Church hierarchies recalls Félicien Rops famous “Pornocrates” allegory (1878), by which the Belgian artist acknowledged the predominant position gained by sex and sexuality within the art system, right before the emergence of cinema and psychoanalysis. As scholarship inspired by Foucault’s theories (which have become a classic) has shown, attempts to manage sexuality and its representations were made using different forms of control, that is, not only by promoting prohibition and censorship according to a traditional view of puritan decency, but also participating in the “discursive explosion” that invested Twentieth-century culture.
In Italy, Catholics were naturally confronted with this dialectics between silence and loquacity, which shaped the debate on sex and also characterized some key stages of film history: the bishop of Vittorio Veneto completed his metaphor noticing how, “passing by a ditch, [...] the piglet jumps in it, growling merrily”. For the bishop, the cinema was that very “ditch, from where one returns with a soiled soul”. Between the end of WWII and the late 1970s, when pornography emerged, discourse on sexuality progressively involved the cinema, in the context of wider debates on society, on its means of communication and artistic representation in the wake of controversies on prostitution, night clubs, seaside fashion, contraception, sex education, new habits in young people, divorce etc.
This issue of “Schermi” will represent an occasion to rethink and investigate the role played by Catholics – at both cultural and institutional level – in this debate. The issue will be framed within the wider context that led to the acknowledgment of the prominence gathered by sexuality at the key stages in the development of Italian cinema and will receive suggestions elaborated in the field of film studies over the last forty years, in terms of historical research as well as of theoretical and methodological advances.
We invite submission on the following topics:
- notions of taboo, the obscene and pornography
- threshold between private and public; decency
- Catholics and administrative censorship
- cinema, politics and legislation
- Catholic film criticism (journals and critics)
- currents and debates within the Church
- relationship with the diverse strands of secular culture
- the Venice Film Festival and its management
- the role of Church institutions (Ente dello Spettacolo, Secretariat for Morality, etc.)
- knowledge on sex: medicine, psychoanalysis, investigations, surveys, sex education, pedagogy, conferences, journals
- representations of specific themes and issues: family, male/female opposition, marriage, prostitution, divorce, contraception, homosexuality, the body, etc.
- gender issues, sexual subcultures
- Catholic cinema
- popular cinema and its genres
- single films and authors
- the public: idealizations and actual behaviour
- paratexts (magazines, bills, etc.)
- the cinema and its relationship with other medias (variety show, theatre, television,
- journals and magazines, photostories, novelizations, comics, etc.)
Scholars who intend to submit an abstract are invited to access the online database of our research project (“Catholics and cinema in Italy between the 1940s and the 1970s”) to outline their proposal. The database (http://users.unimi.cattoliciecinema) contains scanned copies of more than 7000 documents (complete with index and metadata with keywords allowing specific queries). The documents have been collected from ecclesiastical archives and have seldom (if at all) been the object of research. Scholars who have not yet subscribed to the database can request an account to (tomaso.subini /at/ unimi.it <http://unimi.it>).
300-word proposals, together with a short bio, must be sent to schermi /at/ unimi.it <http://unimi.it> by September 15, 2016.
We will accept proposals both in Italian and English.
Dr Mauro Giori (University of Milan): (mauro.giori /at/ unimi.it <http://unimi.it>)
Dr Tomaso Subini (University of Milan): (tomaso.subini /at/ unimi.it <http://unimi.it>)
(info atualizada em 19/08/2016)
CFP EuropaCorp Conference in Paris, January 13, 2017
“EuropaCorp, a French Major”
One-day international conference
January 13^th , 2017
Université Paris Diderot - Paris 7
15 rue Hélène Brion – 75013 Paris
Organisation and contact:
Gaspard Delon (firstname.lastname@example.org <mailto:email@example.com>) and
Ana Vinuela (firstname.lastname@example.org <mailto:email@example.com>)
CERILAC Research Centre
Call for Papers
Over the last 15 years, the economic power and industrial impact of EuropaCorp haveelicited in France a lively and often unfavorable commentary about the studio founded by Luc Besson and Pierre-Ange Le Pogam, seen as the spearhead of a Hollywood-style commercial cinema. This one-day conference, organized by the CÉRILAC laboratory, proposes to fill the deficit of academic reflection on this French production company and its numerous subsidiaries, for which the financial and creative strategies remain poorly known. The following axes of reflection, neither exhaustive nor exclusive, may guide the proposed communications:
1) Focusing on cinematographic content, we propose to interrogate first of all the positioning of the studio with respect to the generic norms, aesthetics and narratives that are frequently associated with Hollywood. The visibility and image of the firm's brand in the public space will be the object of discussions, in line with the diversity of its productions. These include franchises and blockbusters (/Le Transporteur/, /Arthur et les Minimoys/, /Taken/) aimed at the international public, as well as films with a stronger national identity (/Banlieue 13/, /Saint Laurent/) or those imbued with a formal sobriety (/The Lady/).
2) We seek to identify the constraints and margins of invention that govern the work of the company's contributors (directors, writers, stars and actors, technicians, etc.). We propose to examine, more globally, the evolution of the “artistic spectrum” advanced by EuroCorp productions since the beginning of the 2000's.
3) The examination of the conditions of production and the public reception of the films will be the opportunity to consider the role of technical innovations in the company policy. We can also question the notions of ‘author’ and ‘producer’, in terms of the functioning of EuropaCorp.
4) We will focus also on the studio's positioning in the French media industry and in the global film market. Topics of research includethe financial, commercial and managerial practices of the company; the articulation between its different activities (production, distribution, video/VOD, right sales, exhibition and licensing), as well as the internationalisation strategies developed (from the use of English as the filming language to the creation of the US subsidiary Relativity EuropaCorp Distribution).
5) We will study the relationship between EuropaCorp and public authorities in France, to determine the impact of actions taken by the company in the areas of cultural policy (reform of the tax credits system), industrial policy (the construction of the Cité du cinéma) and, more recently, training for future film professionals with the creation of the École de la Cité.
Communication proposals (1500 characters maximum, in French or in English) should be sent by October 1^st , 2016, to Gaspard Delon (firstname.lastname@example.org <mailto:email@example.com>) andAna Vinuela (firstname.lastname@example.org<mailto:email@example.com>). Proposals should include a short bibliography (4 titles maximum), as well a short biography of the author (5 lines maximum).
(info atualizada em 18/08/2016)
CFP: Brasil sob o Holofote/Brazil in the Spotlight (Belfast, 11-12 novembro de 2016)
CHAMADA PARA TRABALHOS: Brasil sob o Holofote/Brazil in the Spotlight (Belfast, 11-12 novembro de 2016)
A REBRAC / Rede Europeia de Brasilianistas de Análise Cultural (https://rebracweb.wordpress.com) tem o prazer de anunciar seu segundo congresso internacional, que terá lugar na Queen’s University, Belfast, 11-12 de novembro de 2016. O tema do encontro será ‘Brasil sob o Holofote’. Num ano em que o Brasil vive um período de instabilidade política e o Rio de Janeiro é sede dos jogos Olímpicos, o congresso visa ser uma oportunidade para refletir, desde o ponto de vista dos estudos culturais/análise cultural, sobre a visibilidade internacional que o Brasil tem atraído (em termos políticos, econômicos e culturais) nos últimos anos, bem como sobre o impacto nos estudos culturais das mudanças recentes que têm ocorrido no panorama sócio-político brasileiro.
O congresso convida especialmente reflexões críticas sobre quais aspectos da cultura brasileira têm atraído atenção e quais têm se tornado ou permanecido menos visíveis na mídia ou no âmbito acadêmico. Seguindo o primeiro evento da REBRAC em Londres (2015), temos a honra de organizar o segundo congresso em Belfast, dentro do comprometimento da REBRAC de incentivar trocas acadêmicas entre diferentes instituições europeias. Com isso em mente, convidamos a submissão de propostas de trabalho de brasilianistas em qualquer lugar do mundo que estejam trabalhando na área de análise cultural. Dependendo do número de propostas, prioridade será dada a submissões vindas de brasilianistas baseados em instituições europeias.
Sessões plenárias confirmadas:
Professor John Gledson, Professor Emérito em Estudos Brasileiros, Universidade de Liverpool: “Machado de Assis in the 21st Century: cultural icon and/or subversive presence?”.
Professor Leonardo Tonus, Programa de Estudos Lusófonos, Université Paris-Sorbonne IV: ‘E agora José? Avanços e recuos da política brasileira de exportação do livro para a França’.
Esperamos também contar com programação paralela de mostra de cinema brasileiro, com presença de cineasta brasileiro (a confirmar).
Convidamos submissões para apresentações de 15 minutos, em português ou inglês, dentro do tema geral proposto. Esperamos poder conceder um número de bolsas a alunos de pós-graduação como ajuda de custo para
participação no evento (a confirmar). A REBRAC pretende publicar uma seleção de trabalhos apresentados num número especial de revista.
Favor enviar um resumo, em português ou inglês, de entre 150-180 palavras (incluindo título da apresentação e filiação acadêmica do palestrante), para: firstname.lastname@example.org. Prazo: 5 de setembro de 2016. Aceitação, programa provisório e detalhes sobre acomodação e transporte serão divulgados até 12 de setembro.
Comitê organizador: Tori Holmes (Queen’s University Belfast), Stephanie Dennison (Universidade de Leeds), Sara Brandellero (Universidade de Leiden) e Ana Paula Cardozo de Souza (Universidade de Leiden). Evento realizado com o apoio da Queen’s University Belfast e da Universidade de Leeds.
(info atualizada em 18/08/2016)
CFP: Society for Phenomenology and Media: 19th Annual Conference
Call for Papers / Panels
SUBMISSION DEADLINE: October 30th, 2016
Society for Phenomenology and Media
19th Annual Conference
‘Living in the Anthropocene’
March 15-17, 2017
Free University of Brussels, Belgium
The Society for Phenomenology and Media (SPM) is pleased to receive abstracts (200 words maximum) for consideration of inclusion in its 19th annual international conference. The conference will be sponsored and hosted by the Free University of Brussels (VUB), Belgium.
Proposals for 3-person panels are also accepted. These should be organized around specific media — for example: film, the Internet, mobile communication, medieval manuscripts, print media (books, newspapers, and magazines), stage drama, television, visual art, dance, etc. Panel proposals should include three papers, one of them by the panel organizer. Individual abstract submissions are assigned to a panel by the conference host.
The overarching theme of this year’s conference will be ‘Living in the Anthropocene.’ According to many climate and environmentalist scientists, we have entered a new phase in history: the anthropocene, in which the human (anthropos) has become the most influential factor, impacting significantly upon the earth’s atmosphere and biosphere – often in destructive ways. The notion of the anthropocene faces us with pressing questions concerning the status of technology, capitalism, industrialization, societal organization, and many more. At the conference, we want to investigate the anthropocene concept in the light of media – an underexposed angle up until now – and vice versa.
We kindly ask contributors to align their submission with the conference theme, but welcome proposals about all areas covered by the Society.
The Society for Phenomenology and Media encourages interdisciplinary approaches and theoretical diversity. Individual papers and panels need not be limited to phenomenological approaches. In the past, papers have come from diverse theoretical perspectives, including critical theory, cultural studies, hermeneutics, Marxism, New Historicism, post-colonial theory, pragmatism, semiotics, speech-act theory, and so on. Participants have come from a wide range of disciplines: philosophy, media studies, communications, psychology, history, political science, sociology, rhetoric, literary theory, cognitive science, cultural studies, and other fields.
Deadline for individual abstracts and panel proposals: October 30th, 2016.
Doctoral students are invited to submit proposals, but should note that SPM limits the number of papers from students.
Conference abstracts and panel proposals submitted are peer-reviewed. Papers accepted and presented are published in the SPM annual Conference Proceedings; selected papers are also published in Glimpse, the annual publication of SPM.
For consideration, submit abstracts/panel proposals by using the EasyChair system at:
For up-to-date information on the conference and the Society, see the SPM website:
If you have questions about the conference hotel and getting to and from Brussels, see the SPM website:
Other questions may be addressed to:
Dr. Francesca Dell'Orto,
(info atualizada em 17/08/2016)
Digital Intimacies: interrogating the interface between intimate lives and calculative digital media platforms
Convened by Amy Dobson (UQ), Nicholas Carah (UQ), and Brady Robards (UTAS)
University of Queensland (Brisbane), December 12 and 13, 2016
Following last December’s Digital Intimate Publics symposium at UQ we are again hosting a small, single-panel, two day symposium that continues our efforts to navigate the interplay between intimate lives and the logics of digital media.
We are very pleased to announce that Professor Sarah Banet-Weiser (USC Annenberg School of Communication) will join us as a keynote speaker. Professor Banet-Weiser’s work on feminist theory, popular culture, authenticity, ambivalence and brand culture has set out many of the questions and issues we aim to explore over these two days.
/Call for papers/
From ephemeral everyday image play on Snapchat, to hook-up and dating apps like Grindr and Tinder, to the exploration of bodies, affects and identities on Tumblr, to the depiction of domestic life by Instagram influencers, intimate lives are being performed, recorded, analysed and commodified through the digital.
Digital media platforms can be understood as engineering projects that seek to calibrate and modulate human capacities driven by the commercial demands of sponsoring brands. They publicise and promote certain kinds of intimacies and bodies. Young, female, and heteronormative bodies are more likely to be made visible by the commercially-driven technical architecture of digital media. At the same time, these digital spaces are also sites where ‘nondominant’ people and bodies flourish as ‘‘a porous, affective scene of identification among strangers that promises a certain experience of belonging and provides a complex of consolation, confirmation, discipline, and discussion about how to live as an x’ (Berlant 2008, p. viii).
In this juxtaposition we encounter the ambivalent nature of intimacy and publicity on digital media: a site of promise and a site for the emergence of new logics of control. Our intimate and everyday lives are lived in relation to the calculative, algorithmic and promotional logic of digital media systems. Careful attention to the entanglements between lived experience and the media architecture that is a material fact of everyday life is critical in an era where the sensory and analytic capacities of media are expanding dramatically alongside the living out of our intimate lives.
Sarah Banet-Weiser (2012) argues that ambivalence is a critically important affect in the interplay between ourselves and commercial media and brand culture. This ambivalence is in part the product of life lived in a media and cultural formation that thrives on the creative, critical and affective capacities of users.
With this in mind we are seeking papers that explore the interface between the intimate and the calculative:
·How do digital media calibrate and commodify the human capacity to affect one another?
·What kinds of calculations do users make about the algorithmic brokering of visibility and attention by digital media platforms?
·What possibilities are generated by the ambivalent entanglement between users and the digital?
We welcome scholars of digital culture who are engaging with ideas about intimacy, publicity, publics, promotional culture, brands and digital media.
Timeline: Abstracts of 300 words due August 31, 2016 with notifications of accepted papers sent by September 30.
Please send abstracts to Nicholas Carah at email@example.com
(info atualizada em 17/08/2016)
Associate Lecturer vacancies at University of Lincoln
We anticipate work being available from September and throughout the year.
If interested in being considered, please send your CV and a brief email highlighting your key research interests and any HE or other teaching experiences to Rosaline Smith (PA to Head of School): firstname.lastname@example.org <mailto:email@example.com>
Dr Sarah Barrow
Head, School of Film & Media
University of Lincoln
(info atualizada em 16/08/2016)
CFP: Uses of Fantasy in Changing Media Landscape
In recent years, fantasy fiction has gained popularity in different mediums. For instance, in television fantastic or speculative themes are more visible than ever before, and – as television scholar J. P. Telotte has noted – they are even invading the so called reality television. The Uses of Fantasy seminar focuses on the uses and users of fantasy in contemporary culture and contemporary representation of fantasy in different cultural mediums. In other words, the seminar concentrates on the reception, representation and meaning of fantasy in a changing media landscape. The seminar is organised by the project Uses of Fantasy – The World Hobbit Project in Finland in cooperation with the University of Jyväskylä and The Research Centre for Contemporary Culture.
We invite presentations and panels on the uses and users of fantasy as well as on the contemporary representations of fantasy on different mediums, such as literature, television, film, comics and graphic novels, games and new media. These may include but are not limited to:
- Audience responses and the meanings of fantasy; affective
attachments to fantasy; fantasy fandom and other participatory user
- Adaptation and transmedia; representing fantasy via different mediums
- The cultural meanings of fantasy; representations of cultural
phenomena through fantasy; the politics of fantasy (e.g. in relation
to gender, sexuality, ethnicity, age, class, disability etc.)
- Fantasy and narration; fantastic characters; fantastic genres
(science fiction, horror etc.)
Proposals for scholarly papers from any academic discipline that seek to examine, interrogate, and expand research related to any aspect of uses of fantasy, in any medium are welcome. Papers will be allowed a maximum presentation time of 20 minutes.
One of our keynote speakers will be Emeritus Professor Martin Barker, Aberystwyth University (Great Britain), who will give a lecture on The World Hobbit Project and also participate in the seminar.
Please submit a 500-word proposal describing the content of your proposed paper, and few words about yourself and your research (including your current affiliation) to hobbitprojectfinland(at)gmail.com. The deadline for the proposals is September 5, 2016.
If you have any questions about the seminar, please contact hobbitprojectfinland(at)gmail.com.
More information on the seminar website: https://theworldhobbitprojectfinland.com/seminar/
(info atualizada em 16/08/2016)
World of Media-2017
Submitted papers should be no longer than 5 000 words, accompanied by a short abstract, up to 200 words, and contain 5-7 key words. The title page should include the title of the paper, the name of the author(s), full title and the affiliation of the author(s) (full name of the institution and department, city, country, e-mail address). The text of the article should be written in good English.
The journal appears annually, so we accept papers throughout the whole year. Deadline for each issue is September 15th (i.e. for World of Media-2017 deadline will be September 15th, 2016).
You can find the volumes of World of Media and all necessary information on the web-sitehttp://worldofmedia.ru/
If you have any questions please don’t hesitate to contact the
editorial board (firstname.lastname@example.org
(info atualizada em 15/08/2016)
CFP the giallo and cinema in Italy (1910-1972) - Bianco e Nero I/2017
Giallo all’italiana: the giallo and cinema in Italy (1910-1972)
edited by Luca Mazzei and Paola Valentini
In 1929, the publishing house Mondadori launched a book series that was destined to become historic: the “libri Gialli” that were entirely dedicated to crime novels. In Italy, crime stories – sombre narratives, recounting fictional adventures à la Dumas with grisly back drops in the style of Grand Guignol – had existed for a long time, in fact from as early as 1872. In Mondadori’s “Gialli”, however, everything was new. The conjecture of the narratives was Cartesian, with rigorous logic, yet at the same time they were open to limitless interpretation (Morpurgo-Tagliabue 1986). Gialli were aimed at a new readership, a reinvigorated and international bourgeoisie. From 1931, in part following the demands of a decree of the Fascist government, the series published the first Italian Giallo writers. From this moment onward the Italian crime novel took off, it became a “genre”, initiating a lengthy, intense inter-medial dialogue (Quazzolo 2000, Valentini 2007). The Giallo phenomenon intersected theatre, cinema and radio: from L’anello di Teodosio by L. Chiarelli, 1929 to Giallo di M. Camerini, 1934; from L’ombra dietro la porta, A. De Stefani, 1934, to Il gran Cinema by G. Gherardi, 1930, from Grattacieli by G. Giannini 1930, to L'anonima Roylott, 1936, G. Giannini and R. Matarazzo. Though momentarily interrupted by the Second World War, the Giallo wave re-emerged in the post-war period, cross-contaminating and becoming influenced by the noir, the polar, the procedural drama and even the coarse realism of hard boiled detective fiction. The moment therefore witnessed the emergence of the solitary detective all’italiana (from Sheridan to the TV adaptation of Maigret, from Lizzani to Germi, from Petri to Di Leo or Castellari), who was contaminated, redefined, parodied, but nevertheless an internationally recognized brand. In 1972, the cultural hybrid changed again, and as the “Giallo all’italiana”, or that specific filone of the thriller known as the “Italian Giallo”, it took on a clear shape and identity – albeit articulated in various manifestations - that was highlighted in 1972 alone, a year of particularly prolific filmmaking, via the work of Lucio Fulci or Riccardo Freda, Dario Argento or Umberto Lenzi, of Aldo Lado or Emilio P. Miraglia. However, it was specifically the preceding culture of the Giallo (in film but not only) – which was just as pervasive as the more widely studied comedy – that matured into a stable identity in 1972, producing a historically important juncture and provocation, which is the object of study of this issue.
Much scholarship has addressed the Italian Giallo in literature (Benvenuti, Rizzoni 1979; Cremante 1989; Crovi 2002; Pistelli 2006; Milanesi 2009); a few scholars have also focused on the cinematic context (Vermander, Jansen, Lanslots 2010); there is a rich bibliography on specific individuals, in particular Mario Bava and Dario Argento (Pugliese, 1996; Carluccio, Manzoli, Menarini 2003; Lucas 2007; Zagarrio 2008; Jones, Kermode 2012; Pezzotta 2014); and more recently, some attention has been paid to production dynamics (Shipka 2011), moving beyond the traditional thematic analyses (Koven 2006). However, the object’s relevance deserves an “ecosystemic” investigation that takes full account of the intermedial context, the professionals employed, the reconfiguration of production that took place around the Giallo, the technological modernization that it inspired, or the new types of audience that it generated, not to mention the close-knit relationship the genre created and maintained with the surrounding cultural industry, starting with the extremely fruitful link to television.
>From this perspective, issue I/2017 of Bianco e nero aims to reflect on all aspects of the Giallo in Italy, in film and across the media and cultural panorama, from literature to theatre, from literary illustrations to graphic novels, from radio plays to TV dramas, all sectors with which the Giallo has intersected in an intense dialogue. In this sense, the field of study of the Giallo in Italy will be bracketed by the earliest cinematic manifestations and the conquest of television, with magical Gialli and detective shows like Geminus (Luciano Emmer, 1969) or Il segno del comando (Daniele D’Anza, 1971). It offers the chance to reflect on personalities and professionals, not only directors but also screenwriters, musicians or set designers; on single films but also sub-genres or TV programmes; on expressive techniques but also technological ones; and on the critical discourses that have closely intersected with the Giallo between 1910 and 1972.
The editors encourage proposals that address the Giallo while privileging little considered historical moments and personalities (silent film, pre-war, etc.) with a historical-cultural approach that is able to account for the entire cultural and media panorama.
Areas of study may include (but are not limited to) the following:
· The birth and expansion of the critical and theoretical category of the Giallo, between nationalism and an international vocation
· Italian silent cinema and its relationship with European crime serials
· Giallo and exploitation, production and co-production, the exploration and imitation during the post-War period
· The role of sound and music: technological innovation and new creative collaborations between musicians and directors
· Cinema and images: literature, para-literature, graphic novels and illustrations as a foundation for the realization and visual promotion of a film
· TV programming, between the national re-contextualization of global crime and “native” Gialli
· Detective fictions, conjecture and Italian scientific culture
· The Giallo and ephemeral culture: design, fashion and architecture
· The Giallo and censorship, visibility and the obscene
· The Giallo and audiences
Proposals, consisting of a brief abstract (no more than 200 words), five keywords and a concise author’s biography, should be sent by 30 September 2016 to the following email addresses: email@example.com; firstname.lastname@example.org; email@example.com. Once the proposal has been approved, the deadline for the complete essay will be 30 December 2016. Articles should be between 20,000 and 30,000 characters, and they will undergo a double blind peer review.
Stefano Benvenuti, Gianni Rizzoni, Il romanzo giallo: storia, autori e personaggi, Mondadori, Milano 1979
Giulia Carluccio, Giacomo Manzoli, Roy Menarini (a cura di), L’eccesso della visione. Il cinema di Dario Argento, Lindau, Torino 2003
Renzo Cremante, Le figure del delitto: il libro poliziesco in Italia dalle origini a oggi, Grafis, Casalecchio 1989
Luca Crovi, Tutti i colori del giallo. Il giallo italiano da De Marchi a Scerbanenco a Camilleri, Marsilio, Venezia 2002
Claudio Gallo 1994
Alan Jones, Mark Kermode, Dario Argento: The Man, the Myths & the Magic, FAB Press, London 2012
Mikel J. Koven, La Dolce Morte: Vernacular Cinema and the Italian Giallo Film, Scarecrow, Toronto - London 2006
Tim Lucas, Mario Bava. All The Colors Of Dark, Cincinnati, Video Watchdog, 2007
Claudio Milanesi (a cura di), Il romanzo poliziesco. La storia, la memoria, Astraea 2010
Guido Morpurgo-Tagliabue, Metacritica del romanzo giallo, «Intersezioni», 1986, n. 2.
Alberto Pezzotta, Mario Bava, Il Castoro Cinema, Milano 2014
Maurizio Pistelli, Un secolo in giallo. Storia del poliziesco italiano (1860-1960), Donzelli, Roma 2006
Roberto Pugliese, Dario Argento, Il Castoro, Milano 1996
Paolo Quazzolo, Delitti in palcoscenico. La commedia poliziesca, Campanotto, Udine 2000
Danny Shipka, Perverse Titillation: the Exploitation Cinema of Italy, Spain and France, 1960-1980, McFarland, Jefferson – London 2011
Paola Valentini, Presenze sonore. Il passaggio al cinema sonoro in Italia tra cinema e radio, Le Lettere, Firenze 2007
Dieter Vermander, Monica Jansen, Inge Lanslots, Noir de noir: Un'indagine pluridisciplinare, Peter Lang, Paris 2010
Vito Zagarrio, Argento vivo: il cinema di Dario Argento tra genere e autorialità, Marsilio, Venezia 2008
(info atualizada em 15/08/2016)
Call for Manuscripts for Co-Edited Volume on "Ethnic Media in the Digital Era"
The ethnic media sector is transforming and expanding in the digital era. It is a sector in the media industry that has seen considerable growth in the past decade, while many mainstream, legacy media have struggled to survive or ceased to exist. Ethnic media have gained more visibility among not only the larger media industry’s stakeholders (including marketing and advertising professionals) but also policymakers. This has been especially true in the U.S., but also in Canada, Australia, and across the European Union.
A confluence of factors is transforming and expanding this sector, including immigration generation shifts among some of the largest ethnic populations in immigrant-receiving countries, the increasing visibility of hybrid cultural, racial, and ethnic identities, the seemingly constant emergence of new media technologies, and the global political economy of media industries. New and emerging media projects are constantly adding diversity to the ethnic media sector, and simultaneously challenging established knowledge and expectations around what ethnic media are and what they look like, what roles they perform in the lives of their audiences, what the motivations of their producers are, what their relationship is with mainstream media, and what challenges they face as they strive to become sustainable operations in the digital era.
The Internet has challenged, and in many ways fundamentally changed, the way that media interact with their audiences, the modes of media production and competition, as well as established business models. Mainstream media have tried and tested a variety of approaches to effectively respond to these challenges and changes, with varying levels of success. Their successes and failures have and continue to be documented in academic and trade publications.
In contrast, we know less about ethnic media. For several years, academics and professionals involved in ethnic media have speculated that ethnic media are lagging behind mainstream media with respect to adoption of the Internet and the use of related technologies to produce and distribute content, communicate with their audiences, and develop new revenue streams. Some have argued that this is because ethnic media organizations tend to be smaller, local, and often non-profit entities, thereby lacking the technological know-how and the human and financial resources necessary to create and maintain online content. From a different perspective, others suggest that ethnic media may be protected from the challenges created by the Internet (e.g., cannibalization of offline content, new sources of competition) because, among other reasons, they are well-positioned in niche markets to provide valuable content, for which other media (traditional and new) cannot provide substitutes.
Another source of innovation and change in the ethnic media sector is the increasing participation of younger generations in media production, which is facilitated, at least partially, by new communication technologies. Although many ethnic media are founded by and for first-generation immigrants, an increasingly larger number of youth who adopt hyphenated and hybrid identities are creating a variety of online communicative spaces of their own such as Angry Asian Man and Racialicious (U.S.) and Schema Magazine (Canada). However, there is scant research on these new media projects.
To begin to address the aforementioned major gaps in the literature, an in-depth examination of continuities and changes in the ethnic media landscape around the globe in the digital era is necessary.
For this edited volume, the co-editors welcome manuscripts on an array of topics, such as:
-Digital divides and ethnic media
-Digital diasporas or cyber ethnic communities
-The impact of the digital revolution in the everyday lives of ethnic media audiences
-Youth, cultural/racial/ethnic hybridity, and media consumption and production
-Journalism, professional identity, and ethnic media producers
-Media competition and new business models in the digital era
-Ethnic-mainstream or interethnic media relations in the global media industries
-Communication policy, media law, and ethnic media in the digital era
-Minority languages, media, and media technologies
-Historical perspectives on technology and ethnic media
Theoretical essays, empirical studies, case studies, and policy-oriented scholarship on the abovementioned topics conducted in any geographical area of the world are welcomed. Scholarship pertaining to regions of the world less studied (e.g., Africa, East and South Asia, Central and South America), and that is comparative in nature, is encouraged. Work based on any theoretical perspective and methodological framework, and work by authors from all disciplines, including media and communication studies, journalism, sociology, political science, and economics, will be considered.
Deadline for abstract:
Please indicate interest by submitting a 500-word abstract as a Word document attachment directly to Sherry Yu (firstname.lastname@example.org
>) by August 31, 2016
Decision: September 30, 2016
Deadline for full paper: December 15, 2016
Publication: Spring 2018
(info atualizada em 12/08/2016)
CFP: Edited Collection on Corporate Crime and Conspiracy in Contemporary Television
Chapters may focus on any fiction television (including VOD) programme/s that debuted no earlier than 1995. We would especially welcome contributions dealing with programmes from countries other than the UK and USA. Some examples of these include: /Blue Eyes///Blä ögon /(Sweden, 2014-2015), /À droite toute /(France, 2008), /The Code /(Australia, 2014- ), /Follow the Money///Bedrag /(Denmark, 2016- ), /Continuum /(Canada, 2012-2015), /Charlie Jade /(South Africa/Canada, 2005), /Mario /(Italy, 2013-2014), /Pied Piper///Piribuneun Sanai /(South Korea, 2016- ) and /Pokémon: The Series /(Japan, 1997- ). For further examples, see the list here <https://docs.google.com/document/d/1U9FAUcS1nXVp2XFEnY_Z9OoqgKpN6Vlparo2IfDCvkk/edit?usp=sharing> (please note: this is a crowd-sourced document so we can’t guarantee the accuracy of the information contained in it).
Though not prescriptive, the following list of topics may provide inspiration:
* Studies of the televisual representation of:
- Complicity and cooperation between governments and corporations
- Private military contractors and the corporatised war industry
- Corporations as the new exercisers of biopolitical control (e.g.
in shows featuring bio-research firms, such as /Fringe /and
- Corporate espionage
- Corporate lobby groups (e.g. arms, pharmaceuticals, tobacco)
- Unethical corporations in programmes primarily aimed at children
(e.g. /Pokémon/, /Captain Planet/, /Sesame Street/) //
- Corporate malfeasance and the environment
- Studies of the representation of corporate crime and conspiracy
across the work of particular writers or showrunners (e.g. Joss
Whedon, Rob Thomas)
* Studies of the representation of corporate crime and conspiracy
across a single, long-running programme (e.g. “The Sun Makers” in
classic /Doctor Who/; Cybus Enterprises in the reboot)
* Corporative narratives and genre
* Corporate narratives and gender
* Corporate conspiracies and dystopian or end-of-the-world narratives
* The influence of earlier conspiracy texts (e.g. Pakula’s “paranoia
trilogy”) on more recent televisual examples
* Subversions or parodies of the corporate conspiracy trope
* Contrasting corporate narratives in different environments (e.g. how
are these narratives portrayed or received in the UK vs. Germany, or
US vs. India?)
* Extra-textual analyses of corporate conspiracy narratives.
Please send any questions or abstracts of 300-400 words for chapters of approximately 6000 words plus a short biography to email@example.com <mailto:firstname.lastname@example.org> by the 15th of September 2016. First drafts of chapters will be due by the 15th of January 2017. We are in contact with an interested publisher and envisage a 2018 publication date.
Editors: Dr Erin Giannini (independent scholar and TV editor for /PopMatters/) and Dr Eve Bennett (London Metropolitan University).
Book website: https://corporateconspiracy.wordpress.com/ <https://corporateconspiracy.wordpress.com/>.
We look forward to receiving your proposals.
Eve and Erin
(info atualizada em 11/08/2016)
Call for Contributions - The dark side: A supervillians reader
The Dark Side: A Supervillain Reader
University Press of Mississippi
Edited by Robert Moses Peaslee and Robert G. Weiner
It seems as though everywhere one looks the villain and anti-hero is at the forefront of popular culture, especially where sequential art characters appear on film and television. From the popularity of characters like Walter White, Frank Underwood, and Wilson Fisk, to /Gotham’s/ second season (subtitled /Rise of the Villains/) and the 2016 release of /Suicide Squad/, to /Captain America: Civil War/’s heroes being considered villains depending on one’s perspective, the supervillain is truly having a moment. But our fascination with villainy has a much longer history, one that provides rich context for what we’re seeing today.
If a superhero is only as substantial as the villains she or he faces, what happens when the line between villainy and heroism is blurred? How do we account for this narrative shift in focus toward the villain’s point of view? How should we read the villain in the 21^st century?
This call seeks original and reprinted contributions to a reader on supervillains (similar to Hatfield, et.al.’s /Superhero Reader /and Coogan and Rosenberg’s /What is a Superhero?/), a volume that will be useful in both undergraduate and graduate courses, but also have general audience appeal.
This project is under contract with the University Press of Mississippi. Manuscript submission is scheduled for summer 2017, with publication to follow according to review, revision, and publication schedules.
Possible topics include but should not be limited to:
* Proto-supervillains in theology, classics, mythology, literature, etc.
* “Super” villains in cinema like Darth Vader, Voldemort, Agent Smith
and Anton Chigurh
* Specific comics villains like Dr. Doom, Darkseid, Captain Cold,
Paste Pot Pete, The Plutonian, The Red Skull, etc.
* Conceptual discussions of (heroism and) villainy
* Means versus ends philosophies and supervillainy (for example,
Magneto as civil rights activist)
* Political and economic power as explored in supervillains or
* Evolution of supervillains in popular culture
* Audience engagements, fandom and relationships with supervillains
* Complexity of problems, simplicity of solutions – the villain as fixer
* Anti-heroes: taxonomy, characterization, conceptualization, impact
(e.g., Diabolik, The Punisher, Lobo)
* Reverses and opposites – heroes’ “evil” mirror images
* Gender, sexuality and supervillains
* Race, ethnicity and supervillains
* The hero as villain (e.g., Marvel’s /Civil War/, Superman as killer,
* The villain as hero (e.g., /Suicide Squad, Lucifer/)
Contributors of new material should seek to develop short, tight essays of 3,000-4,000 words that explore ideas related to villainy and the concept of the supervillain. We seek a balance between pieces that relate to villainy in general and those that focus on sequential art characters from various media, including film, television, videogames, comic strips, comics, and graphic novels. Please send a 200-300 abstract to email@example.com<mailto:firstname.lastname@example.org> and Rob.Weiner@ttu.edu <mailto:Rob.Weiner@ttu.edu> by October 15, 2016. Authors of accepted abstracts should be prepared to submit final essays no later than December 31^st .
Authors of previously published work that would be interested in having their pieces reprinted or excerpted as part of this volume should submit to email@example.com and firstname.lastname@example.org by October 15, 2016 a citation, abstract, pdf of the piece (if possible), and written confirmation of the previous publisher’s and/or the author’s permission and rights to reprint.
Please note that all submissions will be reviewed by the editors and are not guaranteed for publication until final review and official acceptance.
(info atualizada em 10/08/2016)
Transmedia Musics Call for Papers
CALL FOR PAPERS: One-day Conference on Transmedia Musics
University of Leicester, Friday November 18^th 2016
Targeted towards a special edition for publication in 2017/18 of /The Soundtrack/, and as part of the 50^th Anniversary of Media at the University of Leicester, Intellect journal /The Soundtrack /and IDeoGRAMS (the Interdepartmental Group for Research into the Arts, Media and Society) are pleased to announce a one-day conference on *transmedia musics*. Paper proposals are invited in any of the following areas and anything else relevant (this is simply indicative):
o Music which is used across transmedia texts
o Scoring across media
o Re-using music versus original scores in transmedia texts
o Levels of musical integration across the text
o Music in film, TV and game franchises
o Musical aesthetics in transmedia texts
o Compositional strategies for transmedia production specificities
Please send your proposals (250 words) plus a 100 word biography and affiliation details, in word format (i.e. not pdfs) to Dr. Anna Claydon at email@example.com <mailto:firstname.lastname@example.org> Please indicate on your proposal document if you wish to be considered for the journal special edition.
DEADLINE Sept 1^st . Acceptances will be sent out during the following week. The final schedule will be issued on September 26^th .
Should your paper be invited to submit to the journal following the conference (you will know by December 1^st ), the deadline for your submission will be February 1^st 2017. For further information about /The Soundtrack, /please go to: http://www.intellectbooks.co.uk/journals/view-Journal,id=146/
(info atualizada em 09/08/2016)
Senior Lecturer in Global Cinemas and Cultures University of Aberdeen
The deadline for applicants is August 31st, 2016.
Full details about the post can be found here:
For informal inquiries about the post please contact Professor Edward Welch at email@example.com <mailto:firstname.lastname@example.org>.
Dr. Paul Flaig
Lecturer in Film & Visual Culture
University of Aberdeen
Co-editor, New Silent Cinema:
(info atualizada em 08/08/2016)
UT-Austin search for new Radio-Television-Film Department Chair
at Austin is looking for an exceptional leader and innovator, and
someone with the managerial skills to oversee a department where
1,000 students and 50 faculty members want nothing short of
excellence. Please spread the word to any qualified candidate whom
you consider a good match for the position.
Screening of applicants will begin late this summer. The position
description and application may be found online here:
The department is part of the Moody College of Communication, the
largest and most comprehensive college of communication in the
country. More information about it may be found
(info atualizada em 05/08/2016)
Call for Chapters: ReFocus: The Films of Mary Harron
Web link: http://call-for-papers.sas.upenn.edu/cfp/2016/05/06/call-for-chapters-refocus-the-films-of-mary-harron
ReFocus: The Films of Mary Harron
Edited by Kyle Barrett and Paula Blair
Edinburgh University Press
Series Editors: Gary D. Rhodes and Robert Singer
Canadian-born filmmaker and screenwriter Mary Harron has created a distinctive body of work over the past twenty years, largely working in the United States, examining feminism in /I Shot Andy Warhol/ (1996) and /The Notorious Bettie Page/ (2005), consumerist hyper-masculinity in /American Psycho/ (2000) and teenage coming-of-age in /The Moth Diaries/ (2011). Harron has also directed episodes of network, cable and streaming television series, including /Homicide: Life on the Street/ (1993-1999), /Six Feet Under/ (2000-2005) and /Constantine/ (2014-2015) as well as the television film /Anna Nicole /(2013). This /ReFocus/ volume seeks chapters that focus on Harron’s diverse career as an independent filmmaker and director-for-hire within television.
Harron emerged during the “Indiewood” boom in the 1990s and has often been overlooked in favor of filmmakers such as Quentin Tarantino and Steven Soderbergh. Harron has also been accused of misogyny within her work, particularly in /American Psycho/, which she co-wrote with actress Guinevere Turner, a collaboration that would continue with /The Notorious Bettie Page/. In examining such perceptions in relation to Harron’s growing and understudied feminist project, this book aims to unearth the significance of the subversive themes and practices that emerge throughout Harron’s understudied career, and to investigate her standing as a diverse and challenging filmmaker working in North America today.
We welcome a range of theoretical, philosophical, historical and industrial approaches to engaging with all aspects of Mary Harron’s work, including chapters concerning, but not limited to, the following;
- Harron’s place in the history of women in the film and television industries
- Adaptation and authorship
- Harron’s treatment of gender, feminism and/or sexuality
- The economics of the projects to which Harron is attached
- Harron as screenwriter and/or collaborator
- Performance and performativity in Harron’s films
- Harron’s television work
- An exclusive interview with Harron
- Engagements with Harron’s recent or new projects (e.g. /The Moth Diaries /or /The Family/)
- Your suggested topic
We will accept expressions of interests and abstracts of up to 500 words accompanied by a 100-word bio, to be sent to Kyle.Barrett@uws.ac.uk<mailto:Kyle.Barrett@uws.ac.uk> and email@example.com <mailto:firstname.lastname@example.org> by 14 August 2016. We will aim to announce successful proposals by mid-September. Full chapters of 5000-7000 words will be provisionally due by the end of December 2016.**Chapters should adhere to US English spellings and technical formatting, and endnote (Chicago) style citation.
(info atualizada em 04/08/2016)
Lectureship in Film and Screen Media (12-Month Whole-time Post)
University College Cork, Ireland
Closing Date for Applications: 10 Aug 2016
Salary: €31,821 - €56,967/€62,353 - €76,942
12-Month Whole-time Post
University College Cork wishes to appoint a Lecturer in Film and Screen Media. We welcome applications from candidates with expertise in any area of film and screen media studies; however, candidates with a teaching and/or research expertise in film and screen media industries will be especially welcome. The successful candidate will be expected to contribute core and optional modules to the BA in Film and Screen Media and to the MA in Film and Screen Media, in topics that may include film and screen media studies and screen industries at undergraduate level; and seminars on film and screen industries and on research methodologies at postgraduate level. The successful candidate will also be required to coordinate modules involving links with film festivals and masterclasses by film professionals, and will be expected to supervise student projects and dissertations at both BA and MA level. Experience of research supervision is desirable, as is experience of video production. Applicants can learn more about the Discipline’s programmes at www.ucc.ie/en/filmstudies <http://www.ucc.ie/en/filmstudies>
Applicants should have a PhD, or be near completion of a PhD degree. Evidence of a commitment to excellence and innovation in both teaching and research is required; a contribution to the research culture of the Discipline will also be expected. The successful candidate will be expected to formulate a research plan appropriate to the terms and conditions of the post. The successful candidate will be expected to participate as appropriate in the administrative work of the Discipline, to show initiative and commitment to the Discipline, and to make contributions to the university and the community.
Film and Screen Media at University College Cork is a Discipline anchored in the Schools of English and of Languages, Literatures and Cultures. It is a vibrant centre of teaching and research across a broad range of areas, including American and European cinema, Irish film, silent cinema, transnational cinemas, screen media, non-fiction cinema and filmmaking, and publishes the peer-reviewed Alphaville: Journal of Film and Screen Media. We are now looking for a highly qualified and motivated lecturer to take up a 12-month lectureship from 1st September 2016.
Further details and application procedure are available here: https://www.ucc.ie/en/hr/vacancies/academic/full-details-666516-en.html
(info atualizada em 04/08/2016)
CFP: 30 years of Pixar Animation Studios – Symposium
CFP: 30 years of Pixar Animation Studios – Symposium
Saturday 10th December 2016, King’s College London
On August 17^th 1986, Pixar Animation Studios premiered its ground-breaking computer-animated film short /Luxo Jr/. (John Lasseter, 1986) to an enraptured audience gathered at the annual SIGGRAPH computer graphics conference in the Dallas Convention Center Arena. Screened alongside two other test shorts – /Flags and Waves/ (Bill Reeves and Alan Fournier, 1986) and /Beach Chair/ (Eben Ostby, 1986) – /Luxo Jr./ pioneered the possibilities enabled by new digital technologies and announced Pixar’s proprietary computer software as a landmark filmmaking tool. /Luxo Jr./ rapidly became a signature success for the company, marrying technical achievements in the field of digital technology with effective storytelling and strong characterisation, and is widely credited among animation historians as being as significant to Pixar’s early animated history as /Steamboat Willie/ (1928) had been for the Walt Disney Studio nearly sixty years previous.
Since this breakthrough tale of two desk lamps, the Pixar studio has garnered a reputation for producing quality computer-animated features with an unparalleled degree of commercial and critical success. The studio has released a total of seventeen computer-animated feature films and over thirty short films, as well as a range of digitally-animated advertisements, television specials and supplementary spin-off media. While Pixar’s feature films alone have made over $10 billion worldwide and won thirteen Academy Awards (including Best Animated Feature eight times), nine Golden Globes and eleven Grammys, their wider contribution to the industry revival of animated film cannot be overlooked. The release of /Toy Story/ (John Lasseter, 1995) on 22^nd November 1995 prompted a number of companies, facilities, divisions and subsidiaries to make the transition from visual effects companies offering customised services to computer-animated film production. With post-millennial mainstream U.S. animation seemingly in ‘good health,’ it is the Pixar studio that are universally recognised for their role in reimagining feature-length animation once more as an economically viable and desirable Hollywood studio product.
To coincide with the 30^th anniversary of /Luxo Jr./ and following the recent cinema release of their computer-animated feature-film /Finding Dory/ (Andrew Stanton, 2016), this one-day interdisciplinary symposium invites proposals for twenty-minute paper, 5-minute micro-talks or video essays on any aspect of the Pixar studio that interrogates the qualities of its animated legacy. By bringing animation theorists and practitioners together with scholars of contemporary Hollywood cinema and popular media, this symposium will discuss the success, appeal and specificities of this critically-lauded animation studio, and explore the broader implications of animation’s digital shift. /30 years of Pixar Animation Studios/ seeks to collect a broad range of critical approaches to the analysis of Pixar, and potential paper topics include, but are not limited to:
* The origins of Pixar and relationship to Industrial Light & Magic/
* Software (CAPS, RenderMan, Marionette), labour and computer-animated
* Questions of authorship (John Lasseter, Eben Ostby, Bill Reeves, Sam
Leffler, Ed Catmull, Steve Jobs)
* Early Pixar ‘for hire’ and the studio’s commercial projects
* Pixar, digital technology and the history of visual effects
* The Pixar shorts
* Case studies of particular Pixar films
* Pixar on television (/Toy Story Treats/, /Buzz Lightyear of Star
Command/, /Toy Story Toons/, /Cars Toons/, /Toy Story of Terror!/,
/Toy Story That Time Forgot/)
* Pixar and the landscape of contemporary Hollywood animation
* rivalry with DreamWorks, Blue Sky, Illumination Entertainment
* The Emeryville campus and the Pixar University
* Pixar’s corporate history and the Disney/Pixar merger
* Production culture and the Pixar Brain Trust
* Pixar Home Media
* Fandom and critical reception (The Pixar Theory, ‘Pixarification’)
* Art exhibitions and installations (‘Pixar: 25 Years of Animation’,
‘The Science Behind Pixar’)
* Pixar and film genre
* Pixar, style and digital aesthetics
* Sound design and soundtrack (Randy Newman, Michael Giacchino, Thomas
* Pixar and animation studies
Speakers are invited to submit a 250-word abstract and short biography to Dr Christopher Holliday (email@example.com<mailto:firstname.lastname@example.org>). The deadline for proposals is 1^st October 2016. Please do get in touch if you wish to discuss possible topics or have any questions regarding the symposium.
Conference organiser: Dr Christopher Holliday (King’s College London)
(info atualizada em 03/08/2016)