A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VIII Encontro Anual da AIM irá decorrer de 16 a 19 de maio de 2018, na Universidade de Aveiro. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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CFP: Deconstructing the Zombie: Cultural and Ideological Approaches

We would like to remind you that next December 15, 2017 will finish the reception of chapter proposals for the academic bookwe are currently editing, entitled /Deconstructing the Zombie: Cultural and Ideological Approaches/.

We would like to show our gratitude to the international academic community for the positive reception of the project, having received proposals from different countries such as the United States, Canada, the Republic of Bulgaria, Japan or Spain.

The project will be published by Editorial Doble J, a specialized editorial in Politics, Philosophy, Arts and Music academic studies, which is indexed in Scholarly Publishers Indicators in Humanities and Social Sciences (SPI), SPI Expanded and Finnish List.


The main purpose of our book is to compose a complete study about the figure of the zombie and its significance from a cultural and ideological academic approach. We are interested in its presence in all existing media: cinema, television, literature, comics, and video games, as well as music and painting.

Topics may include (but are not limited to):

• The Origins and History of Zombies

• Historical Roots around the Archetype of Zombie

• A Review of the Concept of ‘Zombie’

• Zombie Reconstructions in Contemporary Society

• The Representation of the Zombie in Cinema and Television

• The Zombie and the Capitalist Society

• The Zombie as a Criticism tool of the System

• The Zombie as a Supporter of the System

• The Zombie as a Capitalist Victim

• Media and Digital Zombification

• Zombies from Gender Studies

• The Figure of the Zombie from Psychoanalysis

• The Zombie and its Social Reintegration

• Zombies and Religion

• Zombies and Power

• Zombies and Politics

• Zombies and Violence

• Zombies and Sex

• Zombie Armies and Soldiers

• Zombies and Ecology

Please, submit your proposal (a 500-word abstract) and a biographical summary (200 words) to the following e-mail addresses: Alfonso M. Rodríguez de Austria Giménez de Aragón (University of Seville) alfonso.m / at / / Cristina Algaba (Universidad Loyola Andalucía) cpereza / at /

We will appreciate if you share this Call For Chapters information with those colleagues who may be interested in the project. Original manuscripts are accepted in Spanish or English.

Deadline to submit chapter proposals: December 15, 2017

Once accepted, the coordinators of the project would request a first draft of the chapter by June 15, 2018. The final text should be sent to the emails mentioned above before September 15, 2018.

Proposal Submission Information (English): <>

Información sobre la convocatoria de capítulos de libro (Spanish): <>

Alfonso M. Rodríguez de Austria Giménez de Aragón

Film Studies < <>>

Contact e-mail: alfonso.m / at /

Profesor en la Especialización en Comunicación Audiovisual (Universidad Centroamericana de Nicaragua)

Licenciado en Filosofía y Doctor en Comunicación (Universidad de Sevilla)

Especialista Universitario en Derechos Humanos y Prácticas Ciudadanas (Universidad Pablo de Olavide)

Grupo de Investigación en Comunicación Política, Ideología y Propaganda, IDECO

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CFP: European Cinema in the 21st Century

We invite you to contribute to a monograph on /European Cinema in the 21^st Century/ as outlined in the CFP below, which is intended for a – currently under-served – undergraduate and early postgraduate market. Abstracts and author biographies are due by the 31^st of December, while the full book chapters (6000 words) are expected by the end of August 2018. We are aiming to publish this volume with Palgrave Macmillan, one of the leading academic publishers, which has already expressed a provisional interest in this monograph. We are looking forward to reading your fascinating proposals.

Best wishes,
Ingrid Lewis, Assistant Lecturer in Film and Theatre Studies, Dundalk Institute of Technology, Ireland, author of /Women in European Holocaust Films/ (Palgrave Macmillan, 2017)
Laura Canning, Lecturer in Film and Television, School of Film & Television, Falmouth University, United Kingdom.

Book title: European Cinema in the 21st Century: Discourses, Directions and Genres

Book’s scope and content

Modules of European cinema have become increasingly popular in university curricula, both in European countries and overseas. However, knowledge on the topic is often fragmented across a variety of studies, or centred around specific national cinemas, which can act as a hindrance in discerning key trends and assimilating the complexities of European cinema. This book articulates a way of rethinking the study of contemporary European cinema by placing at the centre of its efforts the students and their needs.

This monograph aims to provide important insights on the key features of European cinema in the 21^st Century highlighting its major aesthetic schools, traditions, national identities and transnational concerns. These features are complemented by an accessible and student-friendly structure in which each chapter discusses significant topics, explains their context and provides definitions of key terms. Each chapter also encourages critical thinking by providing a set of reflective questions, and a case-study that summarises and applies the theoretical content.

Furthermore, many scholars have drawn attention to the peripheral position assigned to Central-Eastern filmic traditions in overall scholarship on European cinema. This monograph is the first of its kind to apply a transversalapproach to European cinema, bringing together the East and the West, while providing a comprehensive picture of key trends, movements, genres and national cinemas. Simple and effective, this book fills a significant gap in the scholarly literature on the topic and provides an invaluable tool for both lecturers and students.

Indicative topics (we welcome additional suggestions)

-What is European Cinema? Defining European cinema and establishing its borders;
-Questions of European identity;
-Auteur cinema in Europe (proposals which focus on film workers outside of the writer/director axis are also welcomed);
-Commercial versus art cinema;
-Popular genres in recent European Cinema (comedy, horror etc);
-European Film Noir;
-Ecology in Nordic (and other) Cinemas;
-Migrations and Diaspora in European Cinema;
-Post-Communist film;
-Post-Yugoslav cinema;
-National versus transnational (pan-European) cinemas;
-Emerging national cinemas and movements (such as the Romanian New Wave)
-History, memory and trauma in European Film;
-New trends and directions of recent European Cinema;
-European versus Hollywood dynamics;
-European film in the context of ‘World’ cinema;
-Questions of language, culture and identity;
-Transmedia, new media and cinema spectatorship;
-Gender and sexuality in recent European cinema;
-Centres and margins, the urban and the rural.

We invite contributions for chapters of 6,000 words focusing exclusively on European films released in the 21^st Century. Given that we aim for an educational series publication, each chapter should include the following elements: definitions of key terms; topic development; recapitulative questions; a case study (an in-depth analysis of a chosen film that explains and applies the theoretical content of the chapter); and a bibliography. Please send your proposals to both these emails: and

*Provisional timeline*
*December 31, 2017*: 300-word abstracts, 5 bibliographic sources and a 150-word author biography due.
*August 20, 2018: *Chapters (6,000 words) following the aforementioned structured due. Please follow the Chicago Manual style with standard British spelling. No footnotes or endnotes.
*September 30, 2018: *Contributions returned to authors for revisions (if necessary)**
*November 30, 2018:*Final manuscript submitted to press
*April 30, 2019:*Publication
*Dr Ingrid Lewis*
Assistant Lecturer in Film and Theatre Studies at**Dundalk Institute of Technology, Ireland
Latest monograph: /Women in European Holocaust Films: Perpetrators, Victims and Resisters/ (Palgrave Macmillan, 2017)
*Dr Laura Canning*
Lecturer in Film and Television, School of Film & Television, Falmouth University, United Kingdom.**

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PhD Studentships: University of Stirling

Scottish Graduate School for Arts & Humanities: AHRC-funded PhD Studentship Competition/Scottish Graduate School of Social Science: ESRC-funded PhD Studentship Competition & PhD Study in Communications, Media & Culture at the University of Stirling, 2018*

Communications, Media & Culture at the University of Stirling is pleased to invite applications for PhD studentships through its involvement with the ESRC and AHRC Doctoral Training Partnerships, Scotland.

We welcome applications across our areas of expertise in media, communications, journalism, film and television studies and particularly encourage applications which speak to the following areas of research strength:

Digital media and society

Critical theories of the media

Creative economies (geography, labour, policy)

Political economy of media, information and communication

Political communications

Public relations

Sport and/in media

Journalism and the representation of politics

Journalism and discourse

Big data journalism


International journalism

Feminist and queer film, television and media studies

Film & TV history

Film & TV genres

Phenomenological approaches to film

Archival research

Film practice

University of Stirling is home to the Archives of filmmakers Norman McLaren, Lindsay Anderson and John Grierson (including material relating to Ruby and Marion Grierson), as well as to the archives of the Musicians’ Union and Commonwealth Games Scotland. We additionally welcome applications making use of these unique collections.

For further information on how to apply for the ESRC studentships please contact Professor Richard Haynes (ESRC Pathway Representative) For further information on the AHRC studentships please contact Professor Karen Boyle

Potential applicants are also strongly encouraged to contact Dr Sarah Neely Divisional PhD Co-ordinator discuss their ideas before application. The deadline for applications to be received by the University is 5pm on Thursday 21^st December and details about the application process can be found at: <>
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Funded PhDs in Film Studies: University of Surrey

Please see the below links for information about PhD studentships in Film Studies in the School of Literature and Languages at the University of Surrey. There are two avenues of potential funding: the AHRC TECHNE Doctoral Training Partnership and Faculty studentships. Please note that the deadline for TECHNE applications is *11th December *and that prior to that applicants should make contact with their prospective supervisor. We particularly welcome applications in the following areas:

* Animation
* Documentary
* French Cinema
* Contemporary British Cinema
* German Cinema
* Austrian Cinema
* Industry Studies
* Music and Cinema
* Film and environmentalism (inc. nuclear issues)
* Cognitive Film Theory
* Multi-modal approaches to film analysis

Potential supervisors include Bella Honess Roe <>, Helen Hughes <>, Phil Powrie <>, Maria Poulaki <>

TECHNE information:
Faculty studentships:
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CFP: Lights, camera, learning: teaching with the moving image

Lights, camera, learning: teaching with the moving image

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

Thursday 19 – Friday 20 April 2018

Birkbeck, University of London, 43 Gordon Square, London WC1H 0PD*

Download CFP as PDF <>

To mark our seventieth anniversary in 2018, Learning on Screen together with Birkbeck, University of London is pleased to announce a two-day conference exploring the history of teaching and learning with the moving image.

Formal education in many contexts increasingly relies on screen-based media, and there are active debates about the appropriate uses and efficacy of many forms of digital applications for learning. But it can be argued that current practice lacks a historical understanding of practices for learning with screens that stretch back at least to the interwar period. And while in the United States researchers have begun to investigate productively the uses of film and television in schools and similar institutions, its production contexts and reception (as is evidenced by the collections /Useful Cinema/ (2011) and /Learning with the Lights Off/ (2012)), such research in Britain remains comparatively underdeveloped.

Lights, camera, learning aims to bring together film and television historians with those engaged with the history of educational practice and policy and with practitioners past and present, to explore how film and television with explicit educational aims has been argued for, produced, funded, distributed, shown, received, discussed and understood over the past century in Britain.

*The conference will address in particular three strands of this history:*

* Production, content and technologies of screen-based educational media
* Classroom practice and pedagogies for the reception and use of film
and television
* Policy debates and determinations about the place and value of
moving image media in formal education

Proposals for 20-minute panel papers are invited covering all aspects of the histories of teaching and learning in schools, universities and other institutions with and from moving image media, including:

* The history of pedagogical practice with moving image media within
formal education
* Development and dissemination of techniques for using moving images
in education
* Understandings of the educational value of moving images
* Religious and social concerns about the use of films in education
* Government initiatives supporting the promotion and production of
moving images for education
* Founding of the BUFC in 1948, and the subsequent development of
BUFVC and Learning on Screen, together with its activities, services
and publications
* The role of the British Film Institute in developing educational
moving image media
* The production of 16mm films for educational use, including the work
of individual producers and production companies
* Television production for schools, and the development of schools
broadcasts by the BBC and ITV companies
* Case studies of the creation and use of specific films and
television productions
* Media production after 1969 by the Open University, its
dissemination and use
* Distribution services for moving image media to education
* The acquisition, use and maintenance of projectors, television sets
and video recorders in institutions
* Reception studies of educational moving image media
* Integration of moving images with the curriculum
* Production and dissemination of moving images by teachers and students
* Legislation governing moving image media in schools, colleges and
* Changing attitudes to permissions and copyright including the
establishment of the ERA licence
* Guides for the use of film and television in classrooms
* Critical writing and theory about the use of moving image media in

Submissions in the form of 300-word abstracts accompanied by a one-paragraph CV are invited by 30 November 2017

Please send submissions and queries to <>

Invitations to speakers will be issued by 31 December 2017

/Lights, camera, learning is convened by Mike Allen (Birkbeck, University of London), Professor John Ellis (Royal Holloway, University of London), Dr Emma Sandon (Birkbeck, University of London) and John Wyver (University of Westminster)/

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XI Jornadas Cinema em Português | 9-11 de Maio de 2018
Ao longo da última década, o cinema português - a sua história e estética - tem sido uma preocupação central dos cursos de licenciatura e mestrado em Cinema da UBI, contribuindo para uma reflexão sobre o passado, o presente e o futuro da prática cinematográfica entre nós.
As Jornadas de Cinema em Português, cuja primeira edição data de 2008, têm como enfoque a discussão de cinematografias de territórios onde o português é língua oficial ou dominante, procurando integrar estas obras como um exemplo das novas dinâmicas artísticas, culturais e sócio-económicas que têm marcado os anos mais recentes.
Para além da natural importância para os alunos e investigadores de Cinema da UBI, as Jornadas de Cinema em Português têm-se consolidado, nacional e internacionalmente, como um fórum privilegiado e reconhecido de debate sobre problemáticas actuais que reúnem investigadores de diversas áreas científicas.
Reafirmando o seu próprio histórico, a décima primeira edição das Jornadas de Cinema em Português pretende trazer a debate problemáticas actuais e pertinentes para a reflexão sobre os cinemas dos diversos países que falam em português, procurando reunir esforços para ensaiar hipóteses de leitura conjunta e complementar.

Prazo para submissão de propostas até 15 de Dezembro de 2017.
Toda a informação em
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CFP: Cross Generational Relationships and Cinema

Cross Generational Relationships and Cinema

Edited by Joel Gwynne and Niall Richardson

Between the era of classical Hollywood and contemporary cinema, depictions of cross generational relationships have shifted dramatically. While such relationships have historically operated within the framework of heteronormativity and romantic love, and have usually explored cross generational relationships in the context of older men/younger women, contemporary depictions have expanded to focus also on taboo configurations of love between older women/younger men, and cross generational LGBT coupledom. Contemporary depictions have sought to complicate not only heteronormativity in cross generational relationships, but also navigate the differences between socially acceptable/transgressive love and desire. This collection seeks to address the changing values and attitudes of cross generational relationships, which can be broadly defined toinclude sexual, romantic, and unrequited love. Films which depict such relationships – while relatively uncommon – are notable for having been produced over the past 50 years with highly different consequences and outcomes for the lovers involved, reflecting vastly changing social mores. Such films include /Lolita/ (1952 and 1997), /Sabrina/ (1954 and 1995), /All T//hat Heaven Allows/(1955) /Gigi/ (1958), /Guess Who’s Coming to Dinner/ (1967), /Harold and Maude/ (1971), /Manhattan/ (1979), /Circle of Two/ (1980), /Great Balls of Fire/ (1989), /Poison Ivy/ (1992), /The Crush/ (1993), /Gods and Monsters/ (1998), /Ghost World/ (2001), /Something’s Gotta Give/ (2003) /The Mother/ (2003), /Mysterious Skin/ (2004), /Venus/ (2006), /Notes on a Scandal/ (2006), /Elegy/ (2008), Beginners (2010), /Adore/ (2013) and /Gerontophilia/ (2013). This collection will focus on a diverse range of national contexts given the paucity of scholarship produced on this topic, and therefore seeks chapters which focus on films from Anglo-America (both mainstream and independent cinema), in addition to chapters on European and World cinema.

This collections seeks abstracts of 300 words for November 30th 2017 for chapters of 6,000 words, due 1^st September 2018 sent to both<>and <mailto:%4e.%44.%52%69%63%68%61%72%64%73%6f%6e@%73%75%73%73%65%78.%61%63.%75%6b>. The editors aim to publish the collection before the next REF exercise in November 2020.

Joel Gwynne is Associate Professor of English and Cultural Studies at Nanyang Technological University, Singapore.

Niall Richardson is Senior Lecturer of Media and Film at the University of Sussex, UK.

National Institute of Education (Singapore)
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Call for Papers: The Arts of Documentary

Extended deadline until November 25th, 2017
March 3- 7 2018, Gorizia (Italy)
FilmForum MAGIS Spring School - Cinema and Contemporary Arts section

Starting from the growing concerns about what is “truth” and what comes after it, the Cinema and Contemporary Arts Section takes its cue from the reflection recently launched by Erika Balsom and Hila Peleg in their edited volume /Documentary Across Disciplines/ (2016), in order to investigate the very complex definition of the documentary image in documentary practice.

In 2001 the artist and theorist Hito Steyerl has defined the documentary mode as something always doubtful: according to the German artist, the uncertainty of the documentary is a lack that shall not be hidden since it constitutes its core quality. Is it possible to define what a documentary really is? Don’t we constantly challenge the way we document something just with the mere act of describing it?

Addressing the general topic of the XVI MAGIS International Film Studies Spring School on the existing interrelationships between media, politics, and representations (see the whole call for paper here < <>>), the Cinema and Contemporary Arts section invite scholars and students to explore how the interrelationships between media, politics, and images articulate the reality in a time of global tension, within a framework where contemporary documentary practices are already characterized by a substantially flowing nature. Moreover, we encourage reflections on the problematic streaming of contemporary documentary practice across different media and disciplines, in order to put in evidence the shift between spaces and time in contemporary documentary experiences.

With these premises, we encourage papers that deal with (but are not restricted to) the following topics:

– The use of historical “documents” and/or audiovisual “documentary” items in an exhibition context;

– The relationship between documentary and contemporary arts;

– The use of “documentary images” in a contemporary art context;

– The new politics of documentary;

– Spatial montage in relation with documentary practices;

– The relation between true and false in documentary filmmaking

We invite you to send us proposals for papers or panels at / <> .The deadline for their submission is *November, 25th 2017.*

Proposals should not exceed one page in length. Please make sure to attach a short CV (10 lines max). A registration fee (€ 150) will be applied. For more information, please contact us at / <> < <>>/./
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CFP Shadow Cinema: Historical and Production Context of Unmade Films

Shadow Cinema: The Historical and Production Context of Unmade Films

Please email abstracts, as well as a bio of no more than 100 words to both <> and <> by December 8th 2017.

Unmade films are a burgeoning area of scholarly inquiry. The rise of the film archive, from the Michael Klinger Papers and Hammer Archive, to the John Boorman Papers and Stanley Kubrick Archive, all have unearthed a treasure trove of abandoned or halted projects, left unmade for a range of industrial, cultural and political contexts. This also extends to unreleased cinema, those projects that were abandoned in pre-production, cut short in production, or simply never distributed, or removed from circulation.

Reconstructions and case studies of these hidden histories of the “shadow” cinema allow us to begin to understand the way in which directors, producers, writers, and film studios operate and the economic and industrial frameworks they work within. From Kubrick’s Napoleon – the greatest movie never made – to the array of failures or development nightmares by the likes of Terry Gilliam, Alfred Hitchcock, Martin Scorsese, Hammer Studios, and more beside.

Dan North’s edited collection /Sights Unseen…, /as well as Harry Waldman’s /Scenes Unseen… /both make the case for unmade films consideration within the wider field of academia, but are specific in their subjects, with North focusing exclusively on Britain, and Waldman on a small selection of filmmakers. This collection aims to survey this new area of empirical study across transnational borders, and make a case for the importance of the unmade, unseen, and unknown history of cinema.

Abstracts of no more than 250 words are invited on this topic to form the proposal for Shadow Cinema, an edited collection that noted academic publishers have expressed interest in. Topics may include, but are by no means limited, to the following:

- Unmade silent films
- Unmade classical Hollywood
- Abandoned or halted studio projects
- Director case studies (Examples of directors attached to significant unmade projects include Francis Ford Coppola, Terry Gilliam, Sergio Leone, Lynne Ramsey, Martin Scorsese, Steven Spielberg, Jocelyn Moorhouse)
- Female directors / writers (as Shelley Cobb writes, ‘contemporary women filmmakers may very well disappear or end up under film history’s radar if we don’t write those histories now’. Case studies of unmade films by women filmmakers are often not considered, in favour of dominant male names such as Hitchcock)
- International case studies / international cinema (projects such as the Chinese /Empires of the Deep/, still unreleased after almost a decade in post-production and with a budget close to $150 million)
- Unmade / unreleased franchise films
- Films that their creators / star attempt to keep hidden (Leonardo DiCaprio and the case of /Don Plum/)
- Abandoned Adaptations
- Legendary projects (Clair Noto’s /The Tourist/; Stanley Kubrick’s /Napoleon/; Orson Welles’ adaptation of /Heart of Darkness/)
- Abandoned collaborations between studios / directors / actors / writers etc (Stan Lee and Alain Resnais, for instance)
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CFP: Sound-Tracking Melbourne Symposium, 15-16 June 2018

Following the successful /Screening Melbourne/Symposium 

<> in February 2017, the Melbourne Screen Studies Group <> now seeks to solicit new abstracts for the Sound-Tracking Melbourne Symposium that will take place on 15-16 June 2018.

While it is recognized that screen media form the connective tissue of Melbourne’s artistic and cultural life, the importance of sound to the way the moving image is brought to life, is relatively less well acknowledged. The /Sound-Tracking Melbourne Symposium / not only intends//to give due critical and creative weight to the interlocking dimensions of sound design found in Melbourne screen culture, but to address the lack of sustained scholarship on the ways in which the city and its environs are imagined and brought to life on screen through particular ‘tracking’ soundscapes, from music videos to audiovisual art installations, and from film and TV to games and documentary. /Sound-Tracking Melbourne /is both a recognition of the importance of sound to moving image culture and an intervention – asking delegates to hear and see sound in newly important ways.The symposium will do this through delegate presentations, panel discussions, industry events, and performance-screenings.

We invite critical and/or creative abstracts, including non-traditional research presentations, for individual 20-minute papers, or pre-constituted panels of 3 x 20-minute papers, on any topic or theme related to the relationship between screen and sound in Melbourne. Industry and medium specific presentations are welcome, as well as those that adopt a broader view of Melbourne’s screen-sound cultures and which make comparisons with national and international case studies.

Possible topics include, but are not limited to the following areas:

* The Melbourne sound-vernacular on screen – accent, tone and pitch
* ‘Sound-tracking’ gender, ethnicity, class, and sexuality – hearing
and (not) seeing identity
* Melbourne’s music-image music scene
* Documenting Melbourne life through the sound-image
* Melbourne’s music video culture
* Melbourne’s installation art and video work: sounding experimental
* Sounding the everyday in documentary filmmaking
* Locations and settings: the ‘sound-track’ of place and space
* Melbourne film soundtracks
* Indigenous soundings in Melbourne screen culture
* Melbourne’s local news: ‘sound-tracking’ news in the cities and regions
* Film and television genre soundings. Melbourne as an audio-visual genre.
* Migration, home and exile: the sights and sounds of Melbourne’s
* YouTube Melbourne
* Historicising ‘sound-tracking’ or the ‘sound-track’ in Melbourne
screen culture
* Technologies and interfaces of ‘sounding’ Melbourne on screen:
analogue, digital, post-human
* Exhibiting sound in Melbourne screen culture – exploring the
acoustics of ‘venue’
* Composing scores for Melbourne-based film and television
* The art of ‘sound-tracking’ Melbourne
* Gaming sound in a Melbourne context
* Games and cities: sounding Melbourne as an apocalypse
* Starring the Melbourne sound
*Deadline for individual and panel abstracts: _5 February 2018_*__


Individual Abstracts: 250 words, plus a 50-word biography. /Please indicate if a postgraduate student/.

Pre-constituted Panels: 150-word overview, plus 3x 250 word abstracts, and 3x 50-word biography, plus name of lead contact.

Delegates will be notified of decisions by: 5 March 2018

We will award a small bursary for the best PhD abstract submitted (also notified on 5 March)

Please direct all abstracts and any enquiries to: <>


On behalf of the organisation committee

David Chesworth

Toija Cinque

Adrian Danks

Glen Donnar

Claire Perkins

Sean Redmond

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3 Lectureships at Lincoln School of Film and Media

The University of Lincoln is advertising three posts in the School of Film and Media. We hope to appoint in time for the successful candidates to start at the beginning of next term.

Please follow the links below for further information and feel free to share with any potential applicants.

*Lecturer in Film and Television / Media*

*Lecturer in Sound for Film and Television*

*Lecturer in Script and Screenwriting (PT)*
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Vacancy: Professor of Cross-media Culture Faculty of Humanities - Department of Media Studies, Amsterdam

10 oktober 2017
€5,334 to €7,766 gross per month

20 november 2017Functieomvang
38 hours per week

The Faculty of Humanities provides education and conducts research with a strongly international profile in a large number of disciplines in the field of language, history, and culture. Located in the heart of Amsterdam, the Faculty maintains close ties with many cultural institutions in the capital city. Almost 1,000 employees are affiliated with the Faculty, which has about 8,000 students. The Faculty of Humanities consists of eight departments.

Job description

Media and Culture encompasses film studies, cross-media culture as well as global media studies.

Together these scholarly fields and programs offer a comprehensive and critical analysis with both theoretical and practice-based modes of inquiry concerned with audio-visual culture as well as online and digital culture both in the Netherlands and internationally.

For the study of media and culture there are two main entry points. The first is the study of the culture of media, including practices of production, programming formats and media aesthetics. The culture of production is studied alongside that of consumption, especially engagement and agency of the spectator, viewer, user and navigator. Media production and consumption are continually changing and challenged with the advent of new media, where there are new mobile screens, media formats, users and cultures of commodification and control. The second entry point is the study of media in culture, from the contents of cinema, domestic and urban screens, to the software and apps on mobile devices and tablets. In the shift from informational to social media, online culture is increasingly shaping sociality through public displays of connection and taste.

More specifically, media and culture takes up questions surrounding the cultural origins and effects of media, drawing on traditions ranging from media archaeology and genealogy to cultural studies, political economy and critical theory. Media theory, in all its medium-specific diversity remains central as do media research techniques widely applied across the curricula. Substantively, Film studies engages with the transformative shifts in both the materiality as well as the screening of cinema. Cross-media culture addresses the radical transformation of popular media, including television, in the age of mobility, second screens, participatory culture, and global distribution. Global media studies provides means by which film, television and new media may be compared across cultures and borders, and inquires into how the study of media allows us to access the dynamics of globalisation.

The Media and Culture team consists of four professors: next to the chair of Cross-media culture, there are chairs in Film Studies, Digital Heritage and Globalisation. The other team in the department is Media and Information, containing chairs in Journalism, New Media and digital culture, Archival studies, Cultural information studies and Computational and Digital Humanities.

Contemporary social and cultural practices – from personal friendships to political election campaigns, from education to commercial forms of entertainment – are shaped by a matrix of different media and by the continuous transformation of media forms and media technologies. While TV – with its reality shows, spectacular live events, and transmissions of global catastrophes as well as its continuing offer of imported and home-made fiction series and characteristic forms of storytelling, – is still of major importance, its impact changes as it is augmented and partly replaced by social media, mobile phones, and ‘second screens’. Therefore it is paramount to understand the specific aesthetic, social, political and economic dynamics of different media and the way in which content and user practices travel across these media, provoking new connections and modifications.

The professorship for Cross Media Culture is expected to stimulate and develop approaches from different disciplines, ranging from cultural studies to critical theory and from political economy to production studies. The professor is furthermore expected to actively participate in academic and public debates on the on-going transformation of media culture. The knowledge of the history and continuing relevance of film, radio and television will be the starting point to map the conceptual, social, and cultural changes that come with digital, mobile and social media.

The Chair in Cross-media culture is expected to cover, both in teaching and research, several of the following topics:

the transformation of critical media theory in the context of institutional and technological changes in media landscapes (e.g. discussions around creativity, materialism, ecology, convergence);
the changing role of media institutions, new forms of mediated politics, and the growing importance of social media, continual technological shifts in content production, circulation and transformation;
the changing relationship between modes of media production, media aesthetics, and user practices.

The professor is expected to contribute to interdisciplinary collaboration with the film and new media sections of the Media Studies department, to expanding teaching and research links with public partners (such as EYE, Beeld en Geluid, Stedelijk Museum, City of Amsterdam), to expanding opportunities for students in practice-based learning and to developing new research and teaching initiatives.
Teaching and research

The professor in cross-media culture is expected to play an important role in both BA and MA teaching as well as PhD supervision, in particular in the television and cross-media culture track. In terms of research, this position has closest affinity with the Amsterdam School for Cultural Analysis (ASCA) and the National Research School for Media Studies (RMeS), and, pending on the profile of the candidate, the Amsterdam Centre for Globalisation Studies (ACGS).

Candidates for the position are expected to meet the following requirements:

a PhD in media studies or a related field;

an excellent international reputation in the field of media studies;
an excellent academic publication record;
an experienced and enthusiastic teacher on all levels of academic training;
experience in developing new teaching programs;
experience with collaborative projects;
a proven track record of acquiring external research funding;
experience in the supervision of PhD-tracks;
an extensive national and international network with other academic and cultural institutions;
the ability to contribute to knowledge exchange in public as well as academic settings;
the ability to establish productive connections with other academic disciplines within as well as outside the department;
proven excellent management and leadership qualities.

All foreign employees appointed at the Faculty of Humanities are expected to have a good command of both written and spoken Dutch within two years.

Please also check the document Information about chairs at the Faculty of Humanities.
Further information

For further details, interested parties should contact:

mr. Hotze Mulder, secretary of the selection committee
T: +31 (0)20 525 3066
Prof. Rens Bod, chair of the committee
T: +31 (0)20 525 4946


The appointment will be permanent. The gross salary will normally conform to professorial scale 2, between €5,334 and €7,766 gross per month (€74,441 to €108,382 per annum, including 8% holiday pay and an 8,3% end of year payment) on a full-time basis in accordance with the Collective Labour Agreement (CAO) for Dutch Universities. In certain cases, however, different terms of employment may be offered.
Job application

Candidates are invited to submit a letter of application in Dutch or English no later than Monday, 20 November 2017, accompanied with a CV and a list of publications. The application should be addressed to The Dean of the Faculty of Humanities, Prof. Fred Weerman, Kloveniersburgwal 48, 1012 CX Amsterdam and may be sent in pdf-form by email to Hotze Mulder . Please indicate vacancy number 17-495 in the subject field.

Applications will be received by a selection committee headed by the chair of the department of Media Studies, Prof. Rens Bod. Following a procedure which may involve a formal leadership assessment and a public trial lecture, the committee will make its final recommendation to the Dean of the Faculty of Humanities. #LI-DNP

No agencies please
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CFP: Representation in Bollywood Cinema

Representation in Bollywood Cinema

Thursday 31st May 2018, School of Media, Birmingham City University, UK

India’s introduction of New Economic Policy (NEP) in 1991 contributed to a significant economic shift during the 1990s. This policy heralded a new era of globalisation and liberalisation which had repercussions for the film industry. Post-liberalisation, the arrival of satellite television, global media giants, exposure to international entertainment, and an ever increasing access to digital technologies has impacted on the type and content of films demanded, produced and released.

The impact of liberalisation has been profound and India’s entertainment industry has sought to keep pace with global trends, on the one hand, and define and sustain ‘Indian’ cultural values on the other. These processes are very much part of contemporary Indian society and consequently reflected in the creation of film too.

Birmingham City University is pleased to announce its /Representation in Bollywood/ sympoisum, a one-day workshop exploring a range of contemporary representations that have emerged since the context of post-1990s Bollywood cinema to the present moment.

Doctoral researchers and early career researchers are invited to submit proposals for papers addressing theories, methods, and analysis of representation in Bollywood cinema and related media industries around the following themes:

* Gender and Sexuality
* The Role of the Subaltern (e.g. Dalits on Screen)
* Historical Issues of Representation in Popular Cinema
* Whiteness
* Stars – Heroes and Heroines
* Family and Melodrama
* Religion and Culture
* Globalisation and Diaspora

Proposals for papers should include a title, abstract (250 words), author contact details, and a short bio (75 words) to be submitted to the conference organisers Vishal Chauhan and Alexandra Delaney at <>no later than Friday 15th December 2017. Please indicate your preferred theme(s) and up to four related keywords.

All authors will be contacted by the end of January.

It is envisaged that workshop presentations will be developed as a work in progress dossier for publication in the Taylor and Francis journal, /South Asian Popular Culture/.

Please contact Vishal ( <>) or Alexandra (<>) for further information.
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CFP - Symbiotic Cinema

24th SERCIA international conference

Symbiotic Cinema: Film and Other Media

6-8 September 2018, Sweden, Hosted by Linnaeus University Centre for Intermedial and Multimodal Studies, campus Växjö

The present Film and Television conference, calls for rationale and analysis that bears on cinema/television as**technical media and its characteristics. Proponents are invited to establish connections with other media, within English-speaking countries. Both theoretical and practical analysis of film and other media are accepted. Possible topics include but are not limited to the following:

* Definition of media, intermediality, intramediality.
* Mediation, remediation, transmediation processes.
* Narrative adaptation, cinematic /ekphrasis/.
* Media characteristics and/or essence.
* Pure and impure media/cinema.
* Cinema as a limited or superior medium.
* “Old”, new, and residual media.
* Digital cinema.
* Post-cinema.
* Hybridity and media borders.
* New perspectives on the history/archaeology of cinema and other media.
* The aesthetics of cinema and other media technologies.
* Cinema/television and art forms: new artistic languages.
* Cinema/television and society: social uses of media.
* Cinema/television and ideology: the politics of media.
* Cinema/television as communication.
* Immersive qualities and spectatorial adhesion.
* The invisible and the virtual.
* Different products, different spectators.

Keynote speakers:

François Jost – Sorbonne Nouvelle-Paris 3, France.

Lúcia Nagib – University of Reading, UK.

Miriam De Rosa – Coventry University, UK.


The language of the conference is English. Individual presentations must not exceed 20 minutes. Please send your proposal containing an abstract (500 words max.), 5 key-words, and a short bio (120 max.) until 15th February 2018 to the two followingemail addresses:<> and <> Upon acceptance, speakers will be required to become SERCIA members for 2017.

Conference fees: *600 SEK (65 €) for lecturers/professors/independent scholars; 300 SEK (35 €) for students/retired colleagues, which cover meals and other arrangements.

Contact: Fátima Chinita ( <>) and Eva Larsson ( <>).
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CFP: Documentary/Philosophy International Conference

DOCUSOPHIA: Documentary/Philosophy International Conference

May 22-24, 2018

Conference Venue:
The Steve Tisch School of Film and Television, Tel Aviv University

The Tel Aviv Cinematheque

Organizing Committee: Dr. Shai Biderman, Dr. Shmulik Duvdevani and Dr. Ohad Landesman (Tel Aviv University, The Steve Tisch School of Film and Television)

There is a century-old tradition of defining documentary in philosophical terms. Yet, this tradition seems to miss the most intelligible (yet, conspicuously evasive) aspect of documentary praxis: its conceptual entanglement with philosophy itself. This entanglement is oddly mirrored in Carl Plantinga’s characterization of the documentary as an “asserted veridical representation,” or in John Grierson’s famous depiction of documentary as “a creative treatment of actuality.” Such characterizations install the most adamants relations film has with the highly charged philosophical concepts of truth, reality and the real. These relations are at the heart of the documentary practice, and are essential to any working definition of documentary cinema.

Indeed, how do we think of the notion of documentary and of specific documentary films in philosophical terms? how do documentaries deal with philosophical issues? A recently published anthology edited by David LaRocca titled The Philosophy of Documentary Film: Image, Sound, Fiction, Truth(2016) testifies to the ever-growing connections, both scholarly and in practice, between the two disciplines. Prominent filmmakers such as Errol Morris, Terrence Malick (in his 2016 IMAX documentary Voyage of Time) as well as films like What the Bleep Do We Know?andIs The Man Who Is Tall Happy?are exploring philosophical, theological, scientific and abstract questions in a unique and unprecedented way.

Thus, such an engagement is especially timely and topical because of the pressing need to reconfigure the philosophical outputs of documentary’s new horizons as a developing practice. Characterized by unprecedented theatrical success and accelerated aesthetic evolution, documentaries today have been breaking new grounds, entertaining arguments based on uncertainties and incompleteness by prioritizing elements of subjectivity, fiction, and drama. In this second film-philosophy conference—devoted to the entangled relations between documentary and philosophy—we wish to consider the significant makeover that documentary studies has gone through lately to fit these changes, and further explore the significant place that philosophy may hold within contemporary documentary studies.

Considering how fiction and fact have been recently intertwined in non-fiction subgenres (e.g., the mockumentary, the drama-documentary or the ‘hybrid film’), it becomes essential to redefine what we now mean when we say “documentary films”, and to assess the nature of their truth claims. Following its recent spread into new virtual and social platforms and increased venture into the realm of television, philosophizing about documentary must invite us to rethink what defines it as a practice, a genre, a medium or a filmic strategy, and how this definition is always dynamic. When subjective authorial voices are assertively flaunted in video diaries, essay-films and performative documentaries, a new set of philosophical questions that relate to performance, ethics and authorship is in need of reconsideration.

The conference will also coincide with the 20th installment of DocAviv, the Tel Aviv International Documentary Film Festival, which will take place between 17-26 on May 2018. DocAviv has carefully carved its niche today as one of the leading documentary festivals worldwide, and it is the only festival in Israel dedicated in its entirety to documentary films. We are excited to participate with DocAviv next year and happy that our conference attendees will also be able to enjoy such an important celebration of documentary cinema.

We aim to bring together in our conference leading and emerging scholars and filmmakers to investigate together such issues and enhance ongoing dialogues both within documentary studies and philosophy individually and also between these discourses. We welcome a range of papers that might be conceptual, theoretical or practice-as-research in orientation.

We are interested in papers, for example, in the following broad areas:

1. New takes on the ontology of the cinematic image in the digital age.

2. Video essays and philosophizing about film through film.

3. The meeting between philosophy and poetry in documentary films in
general and essay films in particular.

4. Documentary in the age of film-philosophy: specific films (analysis
and theory) and filmmakers (documentarians).

5. Documentary, theory and/v.s. praxis.

6. The real and reality through philosophy (Cavell, Plato, etc.).

7. Documentary and epistemology.

8. Documentary-as-objective (Noël Carroll) vs. the dismissal of such an
approach (Brian Winston).

9. Ethical issues in the age of crowd-sourced and social networks

10. Documentaries on philosophy and philosophers.

11. Imposters and frauds: the status of documentary truth in the 21st

12. Theological debates dealing with religious subjects and faith in

13. Philosophical provocations on the elusive fiction/non-fiction divide.

14. Philosophical inquiries into fraud and deception in mockumentaries.

15. Phenomenology and documentary (e.g., cinema verite, experiential

16. The philosophical premises and goals of ethnography in documentary


Please send an abstract (up to 300 words in length, including the research objectives, theoretical framework and methodology) and a brief biography (100 words maximum), by December 15th, 2017 to <>. Each proposal must include title, name(s), affiliation, institutional address and email addresses of the author(s). Notification of acceptance/rejection of abstracts will be sent by February 1st, 2018.

Travel and accommodation costs will be covered by participants.
For further enquiries, please contact the organizers directly: Dr. Ohad Landesman ( <>); Dr. Shai Biderman ( <>); or Dr. Shmulik Duvdevani (<>).
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Call for Papers: The representation of death in modern society

Funes. Journal of Narratives and Social Sciences

Directors: Stefano Bory, Gianfranco Pecchinenda (University Federico II, Naples, Italy)

Call for Papers: The representation of death in modern society

The experience of death represents one of those few things every society must face, no matter what historical period. It has been defined as the most marginal situation, as it sits at the borders of every symbolic system, of every structure of significance that a community can possess, since it is not concretely knowable.

Therefore, every group as well as every individual who must face the end of human life, the loss and the elaboration of grief, also must question himself about the sense and the meanings of death to be able to face such big event.

Every epoch has its own generally consolidated ways to deal with the weight of death, through symbols, prevailing ideas and individual and collective more or less spread strategies. Analysing this symbolic and experiential repertory, the ways in which death is represented and perceived, even resistance and innovative ways, means to decipher different aspects of whole societies.
Death and its representations highlight, under the surface, different social issues connected, from religious phenomena to the stratification that dominant meanings can sustain, from social conflicts to the characteristics of everyday life, etc.

Therefore, it is possible to assert that death must be considered as one of those fundamental indicators to study the collective behaviour and as one of the central themes to analyse the imagery of an epoch, since from the transformations of the way to represent death it is possible to identify many cultural changes.

Technologies – most of all media – have had a relevant impact on the sense that everyone attributes to death and to its experience. If, according to many scholars, death in modern society has been characterised by a firm connection with privatization and individualisation, typical connotations of modernity, to the extent that we can talk about the segregation of the dying and the removal of the phenomenon from the public sphere and the rational analysis, it can be said that the development of technologies, especially media, has made death a public event, accessible and visible to all, producing new ways of representation, rituality, commemoration and narration.

We speak about death, but consequently we also speak about its inescapable corollary: the idea of immortality that in our times finds its most common expression in the cult of youth, in the valorisation of the body, in the idea of health and in the dominant aesthetic models. That is to say, phenomena revailing the fear of the old age, the fear of illnesses and of the end disclosed by the inescapable process of biological degeneration of the body and of physical pain. Starting from these issues, the articles, that can have a theoretical profile or present the results of empirical investigations, will have to reflect on the different ways through which the theme of death is represented, narrated and avoided, or on the experience and the meanings that are elaborated.

The proposals could concern the following themes, not exclusively, considering differrent approaches:

* Death and modernity
* Narrative practices and death experience
* Media, technologies and death
* Visibility and segregation, public death and private death
* Meanings, symbols, ideas about death and dying
* The body of the dying person
* Strategies of immortality
* Rituality, elaboration of grief and commemoration

Luca Bifulco, Antonio Cavicchia Scalamonti, Gianfranco Pecchinenda, Alessandra Santoro

The abstract (max 500 words) can be written in Italian or in English and sent at the email addresses: <> <> <>
The e-mail has to contain:
Name, Surname, Institue of provenience and academic position of the author;
Provisional title of the article;
Indication in the email Subject line: “Call: The representation of death in modern society”

Abstract deadline: 30 November 2017Results announced: 15 December 2017
Paper deadline: 20 March 2018
Referees’ decision: 30 April 2018
Final papers: 5 June 2018
Publication: July 2018
Accepted languages
English or Italian

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NECSUS Spring 2018: Resolution
NECSUS Spring 2018_#Resolution

guest edited by Francesco Casetti (Yale University) and Antonio Somaini (Université Sorbonne Nouvelle Paris 3)

One of the striking features of contemporary visual culture is the presence of a double, contrasting tendency. On the one hand a drive towards higher and higher degrees of definition and resolution of digital images, cameras, and screens, and on the other the wide circulation of images in low definition and resolution, images that are blurred, grainy, pixelated, and degraded in different ways. The first tendency – the rush towards higher definition – is promoted by marketing and advertising and is often associated with a whole ideology that weaves together values such as mimetic precision, sensory enhancement, immersive participation, and technological progress. The second one – the persistence of low definition – is often linked to a search for authenticity and to a need to explore the various aesthetic, visual, and temporal effects produced by different tools of image degradation such as grainy filters, pixelization effects, and glitch that are increasingly accessible to a wider public. How can we explain such a double tendency, which can be detected throughout the different domains of contemporary photography, cinema, visual arts, television series, and social media? What are its cultural meanings and its aesthetic, economic, epistemological, and political implications? How do the different degrees of definition of the images circulating across contemporary visual culture contribute to define and organise the /media environments/ in which our personal and social experience takes place?

More than 50 years ago, in his /Understanding Media: The Extensions of Man/ (1964), Marshall McLuhan placed the distinction between high and low definition at the center of his media theory. By studying the technical specificities and the perceptual reception of the messages produced by different media, McLuhan formulated the crucial distinction between ‘hot media’ and ‘cool/cold media’, whose various implications are discussed throughout his entire book. The few details provided by the ‘mosaic mesh of light and dark spots’ that characterises the low definition of the television image, for example, were considered by McLuhan to be the reason that explained the high degree of audience perceptual and emotional involvement, as well as the emblem of ‘a passion for depth involvement in every aspect of experience’ that he saw emerging in various cultural domains such as literature, music, the visual arts, the press, fashion, design, and politics.

Even though the validity of many of McLuhan’s analyses cannot be simply transferred from the visual and media culture of the 1960s to the current visual and media landscape, we believe that his core intuition is still valid. The different, constantly changing degrees of definition that can be found in visual, sound, and audiovisual media do not have just a purely technological and perceptual dimension but also a wide variety of cultural, economic, and political implications. In her 2009 /e-flux/ essay ‘In Defense of the Poor Image’, the German artist and theorist Hito Steyerl made a crucial contribution in this direction by studying the way in which the circulation of low-definition, highly compressed still and moving images brings to the fore the existence of a sort of ‘/lumpenproletariat/ in the class society of appearances’ that is in deep contrast with the polished and impeccable visual material promoted by marketing and industrial logics.

We believe that it is now time to further develop these insights in order to understand the multiple aesthetic, economic, epistemological, and political implications of high and low definition within contemporary visual culture and contemporary media environments. Indeed, the question of resolution not only differentiates the ways in which digital images appear on the various screens with which we interact during our daily lives; it also contributes to define the different regimes of ‘distribution of sensible’ (Rancière) elicited by media, and consequently the configuration of space in which media operate. In other words, the varying degrees of resolution of images may affect not only our perception of them but also the way in which we locate them. Hence the profound impact of resolution degrees on the textures and structures of various media environments: from the screens of our smartphones, tablets, and laptop computers to those of home theater installations, from IMAX to D3D projections, from immersive video installations to different types of VR gear.

For this special section in NECSUS we call for contributions that analyse the current cultural meanings and the various aesthetic, economic, epistemological, and political implications of high and low definition and resolution in a wide variety of visual and audiovisual media. The proposals can deal with one or more of the following issues:

# what are the values currently associated with high and low definition and resolution?

# how do high and low definition and resolution affect the circulation of visual and audiovisual contents through contemporary visual culture?

# how do high and low definition and resolution affect our perception of the temporal status and the historicity of different visual and audiovisual contents?

# how do high and low definition contribute to defining the textures and structures of media environments? How do they influence our experience of media environments?

# what is the cultural role played by the different degrees of definition and resolution that characterise visual and audiovisual formats (.jpg, .tiff, .mp4, .gif, etc.), with their different forms of lossy or lossless compression?

# the analysis of interesting cases of high and/or low definition and resolution in contemporary photography, cinema, visual arts, television, and social media

# aesthetic practices based on the choice of exploring high and/or low definition and resolution

# economic implications of high and/or low definition and resolution

# the cultural meanings of the filters commonly used on social media (Instagram, etc.)

# the cultural meanings and the aesthetic, ethical, and political implications of pixelisation

# the cultural meanings of datamoshing, glitch effects, and other forms of image degradation

We look forward to receiving abstracts of 300 words, 3-5 bibliographic references, and a short biography of 100 words by 1 November 2017 at the following address: <>. On the basis of selected abstracts, writers will be invited to submit full manuscripts (5,000-7,000 words, revised abstract, 4-5 keywords) which will subsequently go through a double-blind peer review process.

NECSUS also accepts abstract submissions on a rolling basis throughout the year for a wide variety of articles on a number of themes related to media studies but not necessarily connected to a special section topic, in addition to proposals for festival, exhibition, and book reviews, as well as audiovisual essays. Please note that we do not accept full manuscripts for consideration without an invitation. Access our submission guidelines at
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Eisenstein Symposium Prato 21-22 June 2018
Eisenstein for the Twenty-first Century

21-22 June 2018, Monash University Prato Centre, Italy

Marking the 120th anniversary of Sergei Eisenstein’s birth, this international symposium will examine the legacy of the revolutionary Russian director and film theorist and his continuing relevance to contemporary screen studies. Over the last two decades, our understanding of Eisenstein’s oeuvre and aimshas been reshaped by publications and translations of his previously unpublished major theoretical writings (/Metod, /Musei Kino, 2002; /Notes for a General History of Cinema/, Amsterdam University Press, 2016; /The Primal Phenomenon: Art/, Potemkin Press, 2017), while critical engagement with his creative work has been expanded through exhibitions of his drawings and unfinished film projects. New archival research has demonstrated the extent of Eisenstein’s interdisciplinary work and his informal networks of collaborations with artists and scholars from around the world.

This symposium, supported by the Australian Research Council and the Arts Faculty and School of Media, Film and Journalism at Monash University, offers scholars a forum in which to assess and chart new directions for research on Eisenstein’s heritage in the light of the current theoretical challenges and technological advances in film studies.

The symposium program will include: a round-table with Naum Kleiman (Moscow); keynote papers by Professor Ian Christie (London), Professor Joan Neuberger (Austin), Professor Antonio Somaini (Paris); and an audio-visual presentation by Adrian Martin and Cristina Álvarez López (Vilassar de Mar).

We invite proposals for papers and audio-visual presentations that explore Eisenstein’s work from any of the following perspectives:

- New publications and translations of Eisenstein’s texts
- New perspectives on Eisenstein’s films

-Eisenstein and the visual arts
-Eisenstein, philosophy and politics
-Eisenstein’s writings and media archaeology
-Eisenstein’s legacy and new approaches to montage
-Eisenstein, cinema and the brain: affect, cognition, embodied perception
-Gender and sexuality in Eisenstein’s writings, films and drawings
-Einstein’s theory-and-practice and intermediality
-Eisenstein, new media and the rise of the audio-visual essay
-Mythologizing Eisenstein: Eisenstein as a subject of biopics
-Eisenstein’s circle: formal and informal networks of collaborations

Please send an abstract of 200-250 words with a brief biographical note (150 words) to the symposium convenor, Dr. Julia Vassilieva ( <>), by the 1st of January, 2018.

Prato is close to several of Europe’s most significant cities and esteemed institutions – thirty minutes from Florence and the European University Institute in Fiesole, one hour from Bologna – home to Europe’s oldest university, two hours from Rome, and three hours from Milan. La Fondazione Cineteca di Bologna traditionally runs “Il Cinema Ritrovato” festival in the last week of June. For more information on Monash University Prato Centre please see:

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CFP Feminism, Media and the 1990s: Commentary and Criticism, Feminist Media Studies

Commentary and Criticism Call for Papers

Feminism, Media and the 1990s

This issue of Commentary and Criticism invites essay contributions specifically on any topic related to feminism, media and the 1990s. We are particularly interested in submissions from beyond North America and the UK.

The Commentary and Criticism section of /Feminist Media Studies/ aims to publish brief (~1000 words), timely responses to current issues in feminist media culture, for an international readership. Submissions may pose a provocation, describe work in progress, or propose areas for future study. We will also consider book and event reviews, as well as contributions that depart from traditional academic formats. We encourage all submissions to strategically mobilize critique to also offer a productive contribution to both feminist politics and media studies. Submissions must go beyond mere description in order to be considered for publication in Commentary and Criticism.

Please submit contributions by 15th November 2017, via email to Susan Berridge ( and Laura Portwood-Stacer ( Questions and expressions of interest can also be addressed to Drs. Berridge and Portwood-Stacer in advance of the deadline.

Email submissions directly to Susan Berridge and Laura Portwood-Stacer, as submissions for Commentary and Criticism will not be correctly processed if submitted through the main /Feminist Media Studies/ site.

Please be sure to follow the /Feminist Media Studies/ style guide, which can be found at the following link:

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CFP: Workshop Film Distribution, Exhibition and Consumption In The Second World War

FILM DISTRIBUTION, EXHIBITION AND CONSUMPTION IN THE SECOND WORLD WAR. A Workshop on Data Collection and Analysis, Computational Methods and the Opportunities for Comparative Research.

Organized by DICIS and IMS
KU Leuven, Belgium, 15 and 16 May 2018

Within the specific time frame of the Second World War, this workshop invites researchers who examine the operations of distribution, exhibition and consumption of cinema in belligerent and neutral countries. Following in the footsteps of ‘Cinema and the Swastika: The International Expansion of Third Reich Cinema’ (Vande Winkel & Welch, 2007, 2011 revised) and inscribing itself into the field of ‘New Cinema History’ (Maltby, Biltereyst & Meers, 2011), this workshop brings together researchers who are compiling and analysing empirical data about wartime film distribution, exhibition, reception in or across specific cinemas, cities, regions or countries. The workshop, organised by the Institute for Media Studies (IMS) and the Scientific Research Network on Digital Cinema Studies (DICIS), strives to stimulate collaboration among scholars and to explore new methodologies and new types of interdisciplinary investigation, taking full advantage of the impact of digitalization on historical research (digital humanities).

The aim of this workshop is:
- To compare ongoing or recently completed research on film distribution, exhibition and consumption/reception during World War II.
- To share individual experiences about the use of digital tools and sources such as digitized newspapers and journals; online databases related to film such as IMDB or; tools such as Nvivo for analysing transcribed oral history interviews; geographic information software such as GIS, or specifically designed databases, as well as traditional analogue source materials (newspaper archives, film posters, wartime documents, diaries, reference works) to retrieve empirical data, identify the films mentioned in historical sources and reconstruct the circulation of those films.
- To compare and interrogate specific research questions and methodologies
- To present and discuss the pros and cons of existing databases and methods to analyse.
- To think about ways to make computational databases 'talk to each other' (through data modelling and harmonization), allowing direct comparative research.
- To stimulate collaboration among scholars within, as well as outside the discipline of film studies, and to explore new methodologies and new types of collaborative investigation, taking full advantage of the impact of digitalization on historical research.

Papers may discuss topics such as:
- Film distribution networks or practices (local, national, international)
- Film exhibition (local, national, international)
- Film censorship (local, national, international)
- Film consumption/reception (local, national, international)
- The ways in which the ideological visions of the wartime belligerents translated into different approaches to film policy
- The practical implementation of wartime film policies
- The ways in which new research on distribution, exhibition and reception can help us learn how audiences reacted to wartime films
- The challenges of gathering and validating the quantitative information needed to analyse such topics
- Formulating hypotheses about the circulation of films in societies dominated by economic constraints and political coercion (censorship, restricted access to the international film market and/or bans on films from particular countries).
- Digital and analogue tools and sources used for that purpose.
- The consideration of best practice in formulating research questions and employing comparative tools and methodologies from an international/comparative perspective

Confirmed Keynote: ‘Wartime Geopolitics at the Movies: The 'European Cinema' of the Nazi New Order in Global Perspective ' by Benjamin Martin (Department of History of Science and Ideas, Uppsala University), author of ‘The Nazi-Fascist New Order for European Culture’ (Harvard University Press, 2016).

Thunnis van Oort (CREATE, University of Amsterdam) and Roel Vande Winkel (KU Leuven) will present the results of their recently conducted joint research in the introductory paper 'Comparative Potential. The Cinema Context Data Model and World War II: A Comparative Case Study into Film Exhibition in German-occupied Amsterdam (Netherlands) and Antwerp (Belgium)'.

The workshop welcomes participants working on countries in the Axis sphere of influence (Germany, Italy, Japan and the countries they occupied or befriended) as well as contributions on the Allies (USA, UK, USSR) and their sphere of influence. Research on film distribution, exhibition and consumption in neutral countries (where films from both spheres of influence met and competed) is particularly welcomed.

- Proposals for papers and/or hands-on presentations are now invited. Every paper/presentation should offer a reflection on the sources and methodologies employed. Please send abstracts of 300-500 words and a short biography to by December 18 and address any queries to the same email.
- After the workshop, you may be invited to submit a revised version of your paper for consideration in a special issue or edited volume to be organized by members of the committee.

Scientific committee:
Roel Vande Winkel (DICIS - KU Leuven), Pavel Skopal (DICIS - Masarykova univerzita) and Thunnis van Oort
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CfP Film Journal - Actors Behind the Camera

DEADLINE for proposals: Dec. 1 <http://airmail.calendar/2017-12-01%2012:00:00%20GMT>, 2017

“Actors are cattle” was Hitchcock’s provocative judgement in the famous series of talks that the filmmaker gave to François Truffaut (Jeffries).Truly enough, during the heyday of Classical Hollywood, actors were under contract, like any other cog in the wheel of production of the studio system. The prevailing star system put an end to the “multitasking” norm of the beginning of the movie industry and, in this context, the instances of actors who turned directors (Charles Laughton, Robert Montgomery, Ida Lupino) were all the more remarkable.However, the break-up of the studio system and the advent of independent cinema brought about a new order where a new generation of actors (Dennis Hopper, Paul Newman or Robert Redford among others) had more opportunities to try their luck behind the camera. Since the 1970s, the list of actors-turned-directors has increased dramatically and seems to have become a significant trend in recent years. The list keeps growing exponentially, moving from old-timers like Warren Beatty, Robert de Niro, Al Pacino, Dustin Hoffman, Robert Duvall, Diane Keaton, Angelica Huston or Tommy Lee Jones, to include actors who are also known for their political commitment like Tim Robbins, George Clooney, Jodie Foster, and film stars like Tom Hanks, Sylvester Stallone, Mel Gibson, Kevin Costner, Sean Penn, Michael Keaton, Ed Harris, Kevin Spacey, Ben Affleck, Andy Garcia, Edward Norton, Ethan Hawke, Natalie Portman, Angelica Jolie, James Franco, Joseph Gordon-Lewitt. Nor is the trend confined to the American film industry, as testified by the films of actors Peter Mullan, Gary Oldman, Tim Roth, Alan Rickman, Paddy Considine or Vanessa Redgrave in the UK, Sarah Polley or Don McKellar in Canada, Russell Crowe in Australia.While there has been a renewed interest in actorial studies after studies on the star system and stars’ biographies (James Naremore, Jacqueline Nacache, Christian Viviani, Christophe Damour, among others), this phenomenon has yet to be investigated. This issue of Film Journal aims at exploring this largely unchartered territory.

What drives an actor behind the camera? Is it just another star’s fanciful whim or an unconscious desire to get even with directors – and prove Hitchcock’s assertion wrong? Do actors nurture the presumptuous belief that their experience will make them better equipped to stage direct other actors or do their films’ aesthetics give more leeway to actors’ performances? In the case of actors-turned-directors that are also in front of the camera, how can one film oneself? Does it testify to the fantasized ideal of immediacy which Jacqueline Nacache points out,[1] <> obliterating signs of acting itself so as to equate playing and being? Or, on the contrary, is it a way to foreground the thespian quality of the actors, relating their actorial work to the prestigious stage (Al Pacino comes to mind)?

From Charles Laughton’s one-off masterpiece to the steady production of former actors who have become as well-known for their director’s works as for their acting career (John Cassavetes, Woody Allen, Clint Eastwood, Kenneth Branagh), actors’ films do certainly not constitute a genre of their own. Nonetheless, for all their variety, they seem to foreground some personal commitment, either in relation to an autobiographical experience or in an attempt to make a political or social statement. In this respect, one may wonder if actors’ films are not the perfect illustration of “auteur theory” that American film critic Andrew Sarris popularised from French film criticism, whereby a film is first and foremost the product of the director’s personal vision, a means of conveying his/her own worldview (Sarris, 1962).
The economic aspects of the matter may also be considered. Does the recent trend of actors-turned-directors convey a genuine emancipation from the profit-oriented, market-led constraints of a broadcasting environment that seems ever more prone to cash in on predictable formulaic franchises? Or is this rather the ultimate sign of the entertainment industry’s merchandising?

We invite submissions that will explore significant examples of films or collections of films by actors-turned-directors. The following list provides possible, albeit not exhaustive, topics for discussion:

* To what extent does this phenomenon contribute to renewing the
debate around theories of film authorship after it has been
discredited by structuralist and post-structuralist approaches?
* Is it possible to set up a typology – from the intimate and
autobiographical or self-reflexive stance (Paul Newman directing his
family, Sarah Polley etc.) to the spectacular overkill (Mel Gibson
for ex)?
* How do production contexts and distribution strategies impact an
actor’s decision to turn director? Do the opportunities offered by
television (HBO, Netflix, etc.) and Hollywood or independent studios
stimulate such career choices?
* How are the films received by the critics and the audience? Are they
received with more condescension or more severity than other
“ordinary” new-comers?
* How does it impact the collaborative nature of filmmaking?
* How do actors-turned-directors handle actor management? Are there
notable specificities in this regard?
* How does it impact their future career? How does filming oneself
affect an actor’s performance? Is an actor’s choice of roles or
acting modes altered after an experience as film director? Does a
director’s choice of film (and genre) relate to his/her acting career?
* Can factors of difference (age, gender, ethnicity, for example)
influence actors to turn director?

Proposals (250 words) and a short biography are to be sent by December 1st 2017 <http://airmail.calendar/2017-12-01%2012:00:00%20GMT> to <>, <>, and <>. Notification will be sent by mid-January. The deadline for completed articles is 1st September 2018 <http://airmail.calendar/2018-09-01%2012:00:00%20BST>.

Contributions should be sent together with a short biography of the author (max. 150 words) and an abstract (max. 200 words) and five keywords. For submissions, please consult and follow the norms for presentation indicated at Film Journal
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NECSUS general cfp

NECSUS accepts abstract submissions on a rolling basis throughout the year for a wide variety of articles on a number of themes related to media studies but not necessarily connected to a special section topic. These submissions will be considered for the Features section, which opens every journal issue. Articles in the Features section are full-length and subject to double-blind peer review. Please note that we do not accept full manuscripts for consideration without an invitation. Access our submission guidelines at

We are also accepting proposals on a rolling basis throughout the year for festival, exhibition, and book reviews, as well as audiovisual essays. Review articles are medium-length and not subject to peer review. No abstract submission is necessary when proposing review articles.

We look forward to receiving abstracts of 300 words, 3-5 bibliographic references, and a short biography of 100 words at the following address: On the basis of selected abstracts writers will be invited to submit full manuscripts (5,000-7,000 words, revised abstract, 4-5 keywords).

NECSUS is an international journal of media studies connected to NECS (European Network for Cinema and Media Studies) and published by Amsterdam University Press. The journal is multidisciplinary and strives to bring together the best work in the field of media studies across the humanities and social sciences. We aim to publish research that matters and that improves the understanding of media and culture inside and outside the academic community. NECSUS is a gold-level open access journal with no APCs for authors and no paywall for readers. Read more about the journal here:
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Call for Guest Editors - Feminist Media Studies Commentary & Criticism

The editors of Feminist Media Studies’ Commentary & Criticism section are seeking self-nominations from scholars to serve as a guest editor of the section for an upcoming issue in the journal, to be published sometime in 2018.

The Commentary & Criticism section of Feminist Media Studies features timely responses to current issues in feminist media culture, for an international readership. In each issue, the section features 3-5 brief (1000-2000 word) essays on a given theme. The guest editor will be responsible for proposing a theme, circulating a call for submissions, selecting the submitted essays to be developed for publication, and working with authors to bring the selected submissions up to the standards of publication in FMS. The guest editor may also write a substantive introductory essay if they choose. The turnaround time for the Commentary & Criticism section is typically 3 months, from posting of CFP to the issue going into production. The guest editor may work closely via email with the regular Commentary & Criticism co-editors (Susan Berridge and Laura Portwood-Stacer) throughout the process.

We are particularly interested in proposed themes that incorporate issues of race and ethnicity in their framing, and that show the potential to attract a diverse, transnational range of contributions. We will consider proposals from scholars working within the academy, alt-ac and post-ac scholars, precarious and independent scholars, and advanced graduate students. We will also consider proposals from two-person co-editing teams.

To nominate yourself as a guest editor, please send an email with the following information in the body of the email:
-A proposed theme for your guest-edited Commentary & Criticism collection
-A one-paragraph description of the theme that demonstrates its contemporary relevance to the field of feminist media studies and feminism/media culture at large
-A one-paragraph biography that details your qualifications to serve as guest editor, including your research and publication history relevant to the proposed theme

To receive full consideration, please direct your email to both Dr. Susan Berridge ( <>) and Dr. Laura Portwood-Stacer ( <>) by 1 November 2017. Questions and expressions of interest can also be addressed to Drs. Berridge and Portwood-Stacer in advance of the deadline.
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CFP: Transmedia Literacy International Conference (Barcelona)

Transmedia Literacy International Conference - March 22-24, 2018 
Universitat Pompeu Fabra - Barcelona

This event brings together a vibrant and global community of media and education researchers and innovators. The conference is organized as a part of the dissemination activities of the TRANSLITERACY H2020 action <>, a project that involves researchers from Europe, Latin America and Australia. Beyond the paper sessions and the keynotes the *Transmedia Literacy International Conference *will include workshops and short presentations by education innovation leaders. The main objective of the conference is to share research outputs and practices around the following topics:

* /Transmedia literacy/
* /Transmedia education/
* /Transmedia skills and informal learning strategies/
* /Media literacy/
* /Educommunication/
* /Student-generated contents/
* /Collaborative cultures and education/
* /Fan cultures and education/

Transmedia Literacy International Conference will be held at the Universitat Pompeu Fabra – Barcelona, and will feature a series of workshops for teachers as well as two days of paper sessions and a special event around Transmedia Literacy. Please, check our website for more details: <>


* *Proposals submission: October 31, 2017
* *Notifications: December 15, 2017


* With accepted proposals: *from December 15 to February 15, 2017*
* Other participants:* from February 16, 2017*

*Keynote speakers*

* *David Buckingham <> – University of
Loughborough (United Kingdom)*
* *Divina Frau-Meigs <> –* *Université
Sorbonne Nouvelle (France)*
* *Alejandro Piscitelli <>–
Universidad de Buenos Aires (Argentina)*
* Other keynote speakers will be confirmed as soon as possible.


The *Transmedia Literacy Conference* will accept the following formats:

* *Research Papers: *participants must send research papers
(*extension:* 6,000 -8,000 words) before October 31, 2017. The
*Transmedia Literacy International Conference *will accept proposals
tailored to the diverse forms of research in the field of transmedia
literacy, transmedia education, transmedia skills and informal
learning strategies, media literacy, educommunication,
student-generated contents, collaborative cultures and education,
and fan cultures and education.
o Paper parallel sessions will be held on March 22 (afternoon) and
March 23 (morning & afternoon).
o If you are interested in presenting a Research Paper, please
fill and *submit a proposal in English* (download the Paper

to the following email:
<>, clearly
indicating that is a Research Paper proposal in the subject.
Please send a MS Word file (.doc, or .docx); *do not send PDF
o Conference proceedings will only include selected abstracts.
*Authors are free to submit their full papers to other
o *Deadline: October 31, 2017.*

* *Innovative Educational Practices: *participants must send before
October 31, 2017 an extended abstract (*extension*: 1,200-1,500
words) describing a real educational experience in primary/secondary
schools involving transmedia storytelling, collaborative practices
in social media, student-generated contents o any other
educommunicational activity.
o Innovative educational practices sessions will be held on March
22 (afternoon) and March 23 (morning & afternoon).
o If you are interested in presenting an Innovative Educational
Practice, please fill and *submit a proposal in English
*(download the specific guidelines here

to the following email:
<>, clearly
indicating that is an Innovative Educational Practice proposal
in the subject. Please send a MS Word file (.doc, or .docx); *do
not send PDF documents.*
o *Deadline: October 31, 2017.*

* *Workshops: *the *Transmedia Literacy International Conference *will
accept a short number of *workshops oriented to high-school
teachers/professors.* The workshops should be designed for short
groups (no more than 20 people) and the duration should be 4 hours
(240 minutes including a break); they could explore different uses
and experiences around transmedia storytelling and collaborative
cultures in the classroom.
o Workshops will be held on March 23 (morning & afternoon) and,
eventually, on March 24 (morning).
o *Workshops can be in English, Spanish or Catalan (Los talleres
pueden ser en inglés, castellano o catalán / Els tallers poden
ser en anglès, castellà o català).*
+ *English*: If you are interested in organizing a Workshop,
please fill the following* Workshop proposal *(*extension*:
1,500-2,000 words) (download the specific guidelines here

and *submit *it to:
<>, clearly indicating
that is a Workshop proposal in the subject. Please send a MS
Word file (.doc, or .docx); *do not send PDF documents.*
+ *Castellano*: Si estás interesado en organizar un Taller,
por favor completa la siguiente *propuesta* (descargar la

(*extensión*: 1.500-2.000 palabras) y envíala a:
<>, indicando
claramente que es una propuesta de Taller. Por favor, envía
un archivo MS Word (.doc o .docx); *no envíes documentos PDF.*
+ *Catalán*: Si estàs interessat a organitzar un Taller, per
favor completa la següent *proposta* (descarregar la guia

(extensió: 1.500-2.000 paraules) i *envia-la* a:
<>, indicant clarament
que és una proposta de Taller. Per favor, envia un arxiu MS
Word (.doc o .docx); *no enviïs documents PDF.*
o *Deadline: October 31, 2017.*

*Important details*

* This conference is supported by the TRANSLITERACY Project / H2020
Research and Innovation Programme under Grant Agreement No.
645238.* The registration is free and includes coffee breaks.*
* Participants with accepted papers, innovative experiences or
workshops *will have priority for registration*. The registration
will then be opened to other participants.
* All conference rooms will be equipped with standard Wi-Fi broadband
service, PC, Power Point / Adobe PDF software, AV projection, sound,
and VGA adapters. We will not provide additional bandwidth capacity
or provide other special equipment.


*Scientific Committee*

* *Carlos A. Scolari* – Universitat Pompeu Fabra (Spain)
* *Elisenda Ardévol* –Universitat Oberta de Catalunya (Spain)
* *Rosalía Winocur* – Universidad de la República (Uruguay)
* *Gladys Ceretta* – Universidad de la República (Uruguay)
* *Sara Pereira* – Universidade do Minho (Portugal)
* *Raine Koskimaa* – University of Jyväskylä (Finland)
* *Rebecca Enyon* – Oxford Internet Institute (United Kingdom)
* *Simona Tirocchi* – Università degli Studi di Torino (Italy)
* *Carlos Barreneche* – Pontificia Universidad Javeriana (Colombia)
* *Gabriella Taddeo* – Istituto Nazionale Documentazione Innovazione
Ricerca Educativa (Italy)
* *Heather Horst* – University of Sidney (Australia)
* *Sarah Pink* – RMIT University (Australia)

*Organization Committee*

* *Carlos A. Scolari* – Universitat Pompeu Fabra
* *Maria-Jose Masanet* – Universitat Pompeu Fabra
* *Mar Guerrero-Pico* – Universitat Pompeu Fabra
* *María-José Establés* – Universitat Pompeu Fabra
* *Elisenda Ardèvol* – Universitat Oberta de Catalunya
* *Israel Márquez* – Universitat Oberta de Catalunya
* *Débora Lanzeni* – Universitat Oberta de Catalunya
* *Arnau Gifreu* – Universitat de Vic
* *Ruth Contreras* – Universitat de Vic


*Universitat Pompeu Fabra
*Campus of Communication – Poblenou
138 Roc Boronat Street, Barcelona (Spain).

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CFP: Special Issue of Celebrity Studies Journal

Where is the Star?: Special Issue of Celebrity Studies Journal 
(eds. Martin Shingler and Lindsay Sternberg)

The Celebrity Studies Journal is planning a special issue on film stars and stardom, co-edited by Martin Shingler and Lindsay Steenberg. This will explore the current state of celebrity studies and celebrity media culture by focussing specifically on the work of film stars within this arena.

Given accessible platforms such as Instagram and Twitter permitting new forms of celebrity and notoriety, to what extent do film stars remain integral to public perceptions of fame across the globe?

With contemporary transnational media culture in mind, this special issue aims to take stock of the concept of film stardom in relation to celebrity by asking the basic question, ‘where is the star?’

Essays of either 3500-4000 or 7000-8000 are sought that examine how film stars function as celebrities in various parts of the world and transnationally. This includes some studies of individual stars. Other essays might usefully consider theoretical and methodological approaches to film stardom for understanding and investigating how film stars operate within the wider arena of contemporary global celebrity.

If this is of interest to you, please submit an abstract of 250 words and a brief biographic statement to<>by November 3^rd 2017.

We will be in contact with prospective contributors in early December 2017.

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