PT/EN

A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O IX Encontro Anual da AIM irá decorrer de 13 a 16 de maio de 2019, na Universidade de Santiago de Compostela - Faculdade de Geografia e História. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
[Saber mais] [Inscrever-se na AIM]


NOTÍCIAS

Lecturer in Film Studies Post, University of St Andrews



We are seeking to appoint a Lecturer in Film Studies to join our
department and contribute to a vibrant environment of research,
teaching, and public engagement at the University of St Andrews. The
successful candidate should demonstrate: evidence of outstanding
research that complements departmental strengths; a commitment to
excellence in teaching; the ability to take on significant
administrative roles; and the initiative, innovation, and range to
support the department in public engagement and student activities.

This role involves producing excellent research, convening and teaching
a range of modules at the undergraduate and masters levels, supervising
both undergraduate and postgraduate students, and contributing to the
administration of teaching, research, and public engagement in the
department.

To make informal enquiries about this position, please contact Head of
Department, Dr. Leshu Torchin (lt40@st-andrews.ac.uk
<mailto:lt40@st-andrews.ac.uk>) or Dr Tom Rice (twtr@st-andrews.ac.uk
<mailto:twtr@st-andrews.ac.uk>).

Applications are particularly welcome from women, who are
under-represented in Arts posts at the University. You can find out
more about Equality & Diversity at https://www.st-andrews.ac.uk/hr/edi/.

The University is committed to equality for all, demonstrated through
our working on diversity awards (ECU Athena SWAN/Race Charters; Carer
Positive; LGBT Charter; and Stonewall). More details can be found at
http://www.st-andrews.ac.uk/hr/edi/diversityawards/.

*Please Quote Reference: AC1086MR
*Closing Date: 14 December 2018
*Further Particulars: AC1086MR FPs.doc
<https://www.vacancies.st-andrews.ac.uk//ViewAttachment.aspx?enc=jmxpV+AcVus8i/wvT3FZXrrCOvCUGNWd9uca/tGZrAIdL9OeArDW9KG9vguv9fLknJPkuvYcSYqwH82MAkEIAH6Yjf18yHTjfZ7Bh9ho1Pes5AVzUrQg/eZKZlIx3OAL>
*

School of Philosophical, Anthropological and Film Studies
Salary: £40,792 - £50,132 per annum
Start Date: 1 August 2019, or as soon as possible thereafter

https://www.vacancies.st-andrews.ac.uk/Vacancies/I/6080/0/203663/889/lecturer-in-film-studies-ac1086mr
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CFP: Gender and digital media: Friend or foe in times of change


Special issue: Social Science Computer Review


Edited by:
Shelley Boulianne, MacEwan University
Karolina Koc-Michalska, Audencia Business School
Thierry Vedel, SciencesPo Paris


Deadline for the manuscripts January 15, 2019
Desk rejection January 30, 2019
Accepted manuscripts published as online first ~ August 2019


Call for papers

Gender and digital media: Friend or foe in times of change
Special issue: Social Science Computer Review
Edited by:
Shelley Boulianne, MacEwan University
Karolina Koc-Michalska, Audencia Business School
Thierry Vedel, SciencesPo Paris

Time’s Person the Year (2017) was the Silence Breakers. The award recognizes efforts across
the globe to raise gender issues including those related to sexual  violence. This movement
aligns with other movements challenging the ways in which women's voices are silenced or
dismissed, as represented by the rise in discussions about mansplaining.
This special issue will highlight the role of digital media in these movements as well as
more generally the relationship between gender and digital media. Sometimes digital media enables, other times it limits or impedes. For  example, #metoo raises awareness of sexual violence, but using the hashtag makes people  vulnerable to further victimization from trolls. Pointing out incidents of mansplaining can help raise awareness of this issue, but is social media able to support reasoned discussion that can inform social change? Is the online sphere able to support a complex discussion about (gender, race, class, sexuality-based) inequality in our society and do those discourses yield
practical solutions to this problem? Social media affordances can enable large scale mobilization, which may help the women’s movement as well as counter-movements, such as the men’s rights
movement. While digital media can help produce large, diffuse networks, does it produce the
strong ties required to sustain a movement? Tweeting at a protest event helps cultivate one’s
civic identity, but it also enables government and police surveillance of these events. How are
feminist organizations and groups responding to the challenges and opportunities
presented by digital media?
We encourage a broad range of papers covering digital media’s advantages and disadvantages along two main research dimensions:

- Gendered political uses of digital media, such as:

o Women's use of digital media for civic or political purposes
o Gendered discourses in political and social environments
o Changing repertoires for online activism
o Gender dynamics of trolling (perpetrators, targets)
o Gender and digital inequality (skills, capital-enhancing uses) across
the globe

- Gendered organizations and social movements, such as:

o Studies of #metoo and similar movements across the globe
o Role of social media in protest events, such as the Women’s March
o Adoption or rejection of the digital tools by movements seeking gender
equality
o The challenges of creating and cultivating an online collective
identity that
balances similarity and diversity
o Interactions between gender-oriented movements and their counter-movements
and states


We invite submissions from research conducted across the globe. We encourage qualitative, quantitative and mixed methods approaches. Cross-national and
longitudinal studies are especially welcome. As per Social Science Computer Review guidelines,
all manuscripts must be empirical (must include data).

Manuscripts should be a maximum of 8,000 words (all included).
All manuscript will go through a double-blind peer review process.

Important dates:
Deadline for the manuscripts January 15, 2019
Desk rejection January 30, 2019

Accepted manuscripts published as online first ~ August 2019
The manuscript and all additional documents should be send to:
sscr.gender@gmail.com
All questions about the special issue should be directed to this email
address, not to SSCR.

Author/s must submit in one email:
1. Manuscript in Word .doc or .docx format (all items as one file
ordered as follows: title,
abstract, keyword list, body, references, and endnotes (if any), tables,
then figures).

2. Permission form:
http://faculty.chass.ncsu.edu/garson/SSCORE/SSCR_Copyright_Form.pdf
The lead author must fill out, sign, and email a pdf file of the
original form. Scanning the signed forms to pdf and emailing is optional if digitally signing is
impossible at your location, but this will slow processing. Please do this not waiting for
final peer review as it expedites handling if the paper is accepted. For multiple-author papers,
the lead author may sign for all authors.

3. Information Form:
http://faculty.chass.ncsu.edu/garson/sscore/Author%20Form.pdf
4. Title page with brief Author(s) Biographical Note with email address
5. Statement about data availability (it may refer to the website where
the anonymized data are available; a statement that the data are available from an author at
a given email address; or another method for accessing the data).

Please consult the SSCR guidelines below concerning formatting of the paper. Without it we are not
able to start the peer-review process.
Quick style guide:
http://faculty.chass.ncsu.edu/garson/SSCORE/SAGE%20Quick%20Ref%20for%20SSCR.pdf
Style guide: http://faculty.chass.ncsu.edu/garson/SSCORE/sage_guide_2011.pdf


The points below, some of which you may have met, are for your reference.
1. The abstract should contain study conclusions in as much detail as
consistent with abstract brevity,
not just name study topics.
2. Send a final copy, without markup. Do not have the title page or
author bios in separate files. We
do anonymization on our end. Do not have a running header, but do have
page numbers. Do not
have line numbering. Do not send in "read only" format.
3. APA style references (see the guide, above). In the body, cite
references by name (e.g.,(Smith,
2016)). The reference list should be alphabetical by last name and
should not be numbered.
4. Endnotes for comments only, not citations. No footnotes at all.
5. All tables and figures must be on separate pages at the end, numbered
and with captions. In the
text, all tables and figures must be referred to and all must have
call-outs (" [Figure 1 about
here]"). Have call-outs in the body (“[Figure 1 about here]”). Do not
embed figures and tables in
the body.
6. We can support online supplements and appendices. These are printed
only in the online version.
Send the supplement in one file (.zip if necessary, but with the zip
file containing only the online
supplement file or files) under the filename beginning with the lead
author name, such as
“Smith_Online_Supplement.docx”. Then in the body of the article, enter
text such as “see
Appendix B [located in the Online Supplement to this article]”. Material
in online supplements
does not count toward the word count for the manuscript.
The main article should be readable in its own right, with the reader
having the option to consult
more information in the supplement if desired. The essential tables and
figures should remain in
the main article, with callouts in the body and then appearing on
separate pages at the end with
captions. These essential tables and figures should be marked with
callouts like "[Insert Table 1
about here]".
Non-essential figures and tables, along with other supplementary
material, should be in the
online supplement file. In the body of the main article, they should not
have call-outs. Rather there
should be some reference to the additional material in the online
supplement. For example, "For
the breakdown of the sample by demographic group, see Table S2 in the
online supplement
accompanying this article." Then in the online supplement, have a Table
S2 marked as such, with
caption.
7. Everything must be double-spaced, even references, except tables are
not double-spaced.
8. Do not use columns or any other special formatting.
9. Use 12 point font (this is needed for page count purposes).
Manuscripts over 50 pp. are usually
required to be shortened.
10. Left justify only.
11. Please cite articles from the Social Science Computer Review where
appropriate. You can search
at this page: http://faculty.chass.ncsu.edu/garson/sscore/contents.htm
12. Do use page numbering.
13. In the "Author Information" section, each author must include his or
her email address.
14. Replication and critique is at the heart of social science. You must
have a note citing where the
data may be obtained. We do not publish papers based on proprietary,
classified, or otherwise
unavailable data. If absolutely necessary, the availability date may be
as much as one year in the
future, dating from the date of your original manuscript submission.
Data availability information
should be in a short "Data Availability" section following the "Author
Information" section.
The data availability statement may refer to the url of an archive
through which the
anonymized data are available; a statement that the data are available
from an author at a given
email address; or that the data are available for use under controlled
conditions by applying to a
board/department/committee whose charge includes making data available
for replication; or that
the data may be purchased at a non-prohibitive price from a third party,
whose contact information
is given. Replication includes any statistical exploration of variables
in the model or dataset, not
limited to approaches taken by the author, and may involve publication
of findings. There is no
point to replication kept secret from the scholarly community.
The relatively new NSF policy is our lead in this matter. That policy
states "Investigators are
expected to share with other researchers, at no more than incremental
cost and within a reasonable
time, the primary data, samples, physical collections and other
supporting materials created or
gathered in the course of work under NSF grants. Grantees are expected
to encourage and
facilitate such sharing." (https://www.nsf.gov/bfa/dias/policy/dmp.jsp).
By extension, it is the
responsibility of researchers and review boards to comply with this
policy. Though your work may
not be NSF-funded, we believe this should be a general principle in
support of the scientific
process. The alternative, ultimately, would not be having no data
availability statement but rather a
statement from SSCR that the data are unavailable for replication and
consequently findings based
on inference from the data should be viewed as unverifiable.
15. If not specified in the body, there must be "Software Availability"
section detailing with some
specificity what software was used to arrive at reported results and
where it may be obtained. In
the case of author-originated code (e.g., in R, Stata, SAS), we welcome
an appendix or online
supplement containing the code. This appendix may be designated for
online publication only,
particularly if length is an issue.
16. We MUST have the permission forms and author information forms as
noted above. Send these in
immediately, not waiting for the final manuscript. Submission of signed
forms does not constitute
acceptance but does expedite manuscripts if accepted.
Helpful Links
• Manuscript guidelines:
https://us.sagepub.com/en-us/nam/manuscript-submission-guidelines
(note SSCR policy may override general Sage policy; for instance, we do
not accept LaTeX
submissions)
• Prior publication: https://us.sagepub.com/en-us/nam/prior-publication
• English language editing services: http://languageservices.sagepub.com/en/
• Online supplements:
https://us.sagepub.com/en-us/nam/supplementary-files-on-sage-journalssj-
guidelines-for-authors

• Open Access: https://us.sagepub.com/en-us/nam/open-access-at-sage
• Open Access II: https://us.sagepub.com/en-us/nam/author-information
• Open Access III: https://us.sagepub.com/en-us/nam/faqs
• Publishing policies: https://us.sagepub.com/en-us/nam/publishing-policies

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CFP: Cars and screens: cinematic automobilities. A special issue of Film Studies.




Cars and screens: cinematic automobilities

A special issue of Film Studies

Co-edited by Elizabeth Parke and Will Straw

Scholarship on the relationship of film to “automobility” has traced the
historical and technological interweaving of film and cars. Much of this
work has focused on American cultural inflections of these two
technologies, from the genre of the road movie through those films
documenting southern California hot rod subcultures. In the years since
volumes like /Autopia/(Peter Wollen and Joe Kerr, 2002), /Crash/(Karen
Beckman, 2010), and /Zoomscape /(Mitchell Schwarzer, 2004) explored
analogies between automobility and the experience of cinema, the growth
of in-car display screens, dash scams and other technologies has
rendered that relationship more complex. So, too, has the use of
personal screens in automobiles, the rise of driver-less and
rider-sharing automobiles and a growing tendency to view the automobile
as a challenge to doctrines of the pedestrian city. Elsewhere, in chic
European films like /Un homme et une femme/(1966) or the opening
sequence of /The Italian Job/(1969) the elegance of the modern
automobile and picturesque character of European landscapes have fueled
exercises of stylistic cinematic bravura. Cinema and cars (and their
attendant infrastructures, e.g., roads, bridges, gas stations, parking
lots) have shaped our built urban environments, forming a symbiotic
dyad, with the history of each marked by innovations that influence the
other, leaping back and forth from screen to road. Both cars and films
have changed our relationship to visuality, inflecting the ways we
perceive the world, move through space and time, and in turn, experience
(or expect to experience) distance and duration.

This special issue of /Film Studies/seeks to expand on the existing
scholarship on film and automobility. We invite articles that explore,
in a theoretical sense, the historical relationship of the automobile to
cinema. We hope, as well, to expand the geographical and temporal frame
through which this relationship might be understood, with articles
exploring cinematic automobility from transnational perspectives or in
non-Western contexts and proposals that consider this phenomenon in
relation to a variety of audiovisual formats and vehicle types. Topics,
for a 6000-8000 word essay to be delivered by 1 February 2019, may
include (but are not limited to):

- business relationships between cars and film (e.g., studios’ ownership
of car parks and petrol stations)

- car company industrial films and investments in filmmaking

- car-film aesthetic challenges and solutions (e.g., shooting in moving
cars; auto-mobile production techniques)

- ‘smaller screen realities’ which form part of the automobile
experience: e.g., the small mobile screens of smartphones, built-in car
interfaces, backup cameras, and dashcams

- case studies of car-film relationships that involve specific vehicle
types (e.g., passenger cars, specific car models/brands, buses, taxis,
motorcycles, mopeds, ride-sharing vehicles or autonomous cars)

- case studies of specific films, genre formats or cycles that hinge on
motor vehicles

The editors will be contributing an introduction essay to the special
issue outlining the major themes and research questions brought to light
by the contributors.

Please send abstracts (250-300 words) by 15 November 2018 to Elizabeth
Parke elizabeth.parke@utoronto.ca <mailto:elizabeth.parke@utoronto.ca>
and Will Straw william.straw@mcgill.ca
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CFP: Experimental and Expanded Animation: Current Perspectives & New Directions



Proposals are invited for an interdisciplinary one-day conference with
an evening reception, screening and exhibition.
At the University for the Creative Arts, Farnham, Surrey, UK.
Conference date: Wednesday, February 13th 2019.

THEME
With their recent volume: Experimental and Expanded Animation: Current
Perspectives & New Directions, Hamlyn and Smith aimed to reach further
into understandings of what experimental animation is, and has been,
since Robert Russett and Cecile Starr defined it in 1976. This
conference aims to further focus our project and to develop findings
from the publication through more immediate methods of open dialogue
and/or film practice. The prompts listed below have been condensed from
themes emerging in the volume. However we welcome proposals that respond
to these areas and also those that pursue other lines of enquiry. A
range of disciplinary approaches is encouraged and the conference aims
to include papers from practitioners, practitioner/scholars and
scholars. As well as traditional 20 min papers we encourage alternative
methods for sharing ideas and materials through, for example, performed
presentations, artistic works, mini-workshops and lightning talks.
PROMPTS
Craft/ materiality
Transparency of process and use of materials has been central to
experimental/ materialist film practice and theory. To what extent has
the homogenization of media today prompted a rise in more recent craft
theory? How do Marxist materialist theories relate to post-human and new
materialist discourse and in which ways do these more recent
methodologies impact upon our understandings of experimental expanded
animation?
Feminism/women in experimental animation
It’s understood that the privacy of animation production conditions
facilitates exploration into issues relating to feminism. Female
animators today are translating concerns, such as the domestic,
sexuality and the body, into large scale, expanded and performed
animation. Does such work, installed in spaces beyond the
gallery/cinema, and in which the female animator is visible on stage,
impact upon expression of the female experience, or has this become less
crucial to articulate, and how does feminist theory offer insights into
this area?
Industry/ independent
Critically reworked commercial animation is occurring today within the
purview of experimental film. Outwardly appearing as traditional
cartoons, how does this material sit within a field that has tended to
emphasise the auteur and has avoided the graphic, the narrative and the
popular?
Inter-disciplinary
Increasingly we see interdisciplinary approaches employed to analyse
animation, including for example post-humanist scholarship; aesthetics;
phenomenology; feminism and critical theory. To what extent do these
methods cast light on animated texts, or do they detract from
fundamental questions concerning form and the medium?

Medium/ context
Media including photography, dance, and performance for example have
been central to animation since vaudeville, and then through the
expanded cinema of the 60s. How is experimental animation advanced
through media ‘impurity’, and to what extent are theories such as
inter-mediality, which suggests that individual qualities of distinct
media are enhanced through their interlocking, of value?
Perception/reception
Animation that is articulated beyond the single screen could be said to
emphasise a perceptual and phenomenological engagement. Flicker for
example, is located in the physiology of the viewer, while animated
installation demands a mobile spectator. Both modes of spectatorship
are contingent and situated in the present of their apprehension. How
is animation in the expanded field continuing to elicit new modes of
spectatorship?

Representation/ technologies 3D-CG and internet animation has the
capacity to invent and manipulate the extant world in myriad ways. How
is CG being used in the context of experimental expanded animated film?
Utopia/ ecology Gene Youngblood hailed expanded cinema as reflecting a
utopian expansion of both consciousness and technology. Today much
experimental expanded animation, made through contracted means of found
or old materials, can be regarded as a response to resources made scarce
through either forced obsolescence, unsustainable practice and/or as a
creative resistance to media acceleration. How does the trend toward a
careful ecology of materials impact on experimental animation languages?
SUBMISSION
Please submit an abstract (up to 500 words), 3–5 bibliographical
sources, 3-5 keywords as well as a short bio by 15th of November 2018
to: vsmith9@ucreative.ac.uk with the subject heading: ‘Experimental
Animation Conference’. The selected abstracts for the conference will be
announced by late November 2018.
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CFP: British Women Documentary Filmmakers 1930-1955



Proposals are invited for a one-day symposium to be held at the London
School of Economics on 5th April 2019.

As the work of filmmakers including Jill Craigie, Kay Mander and Marion
Grierson testify, women have played a significant part in the early
decades of British documentary and informational film-making. Women were
a vital part of the war effort and this was apparent in the films made
by the Ministry of Information as well as newsreels, documentaries and
dramas. Women also worked behind the camera as directors, editors and
scriptwriters on instructional and propaganda films.Yet much early
British documentary history on Grierson and the Documentary Movement
tends to elide the ways in which non-canonical works engage differently
with questions of the nation, gender, class and identity and the ways in
which form and content are linked to context of production.

This one-day symposium seeks to deepen understanding of women’s creative
presence in British documentary film-making. Papers may explore
individual films and filmmakers, as well as the industrial, social and
historical contexts in which they worked. While WWII has been
foregrounded in accounts of women’s participation in British film
production, the day will consider a longer historical period including
the innovations in documentary of the 1930s and the changing industry of
the post-war period.

Topics and questions might include:

·Women working within informational film-making

·New approaches to women and non-fiction film-making in wartime and/or
post-war period

·How do emerging accounts of women’s role in the industry reshape
standard accounts of documentary?

·What can individual careers tell us about the obstacles and
opportunities faced by women in the sector at different times within the
period?

·Does the study of women’s participation in film problematize dominant
conceptions of ‘talent’, creativity and authorship?

·The impact of distribution and reception on historical awareness of
films by women

·How can wider histories of women’s work during World War inform studies
of women’s labour in film?

·Feminist film historiographies and documentary film-making

·Emerging methodologies for constructing women’s film histories

*Please email abstracts of 300-500 words, 3-5 keywords and up to 5 key
references to: gender@lse.ac.uk <mailto:gender@lse.ac.uk> Deadline for
submissions is 17.00 on 1 November 2018.

Please note:

·The abstract should be in word format as an attachment with your
Surname and Initials as the file name and please make sure you put BWDF
in the subject line.

·Please also include a 100 word bio.

·Please include your NAME, EMAIL ADRESS AND INSTIUTION (if any) on the
proposal/abstract itself.

·Any queries please contact: Kate Steward k.steward@lse.ac.uk
<mailto:k.steward@lse.ac.uk>

We will respond to submissions by 30th November 2018.

The symposium is funded by the Arts and Humanities Research Council

as part of the project, /Jill Craigie: Film Pioneer,/ led by Lizzie
Thynne (PI, University of Sussex) with Yvonne Tasker (Co-I, University
of East Anglia) and Sadie Wearing (Co-I, LSE). We anticipate producing a
journal issue from selected papers.
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CFP: Brevity and the short form in serial television



Short Circuit: Brevity and the short form in serial television

As critics, creators and academics alike herald the new “Golden Age”
of television, the accent has increasingly been placed on the excess
inherent in the form, the temptation to “binge-watch” a single fiction
over several hours, or the proliferation of narratives and storylines in
American television’s “endless present” (which, unlike its British
equivalent, is not traditionally designed to end at any specific point). 

Melissa Ames (Time in Television Narrative: Exploring Temporality in
Twenty-First-Century Programming, 2012) reminds us however that time is
at the very center of the television narrative, and that television
differs from its cinematic equivalent notably by its incremental
approach to storytelling –alternately playing with and combining
duration and brevity. Thus, in this publication, we would like to come
back to what originally distinguishes TV series from films, i.e. their
specific connection to shortness. We will be examining television as a
short form, insisting on the structure implicit in the television
episode, be it the traditional forms (30 or 60 minutes), or the
increasing popularity of webseries that feature microepisodes (of 2-10
minutes), like The Lizzie Bennet Diaries, Frankenstein, MD, Carmilla, or
Kings of Con and Con Man.

We will attempt to examine this balance  between short episodes and long 
duration, as well as the association of
episode length with genre – traditionally, hour-long series have been
dramatic, and half-hour series comic. (All the webseries with
microepisodes mentioned here are comedies.) Further investigation into
the serial nature of these webisodes might examine other, often dramatic
series, rooted in transmedia and multiplatform storytelling, notably
those like The Walking Dead’s webseries, intended to complete the larger
narrative. Looking at the format of the series themselves, from
miniseries (a form that has become popular beyond British television) to
short-lived series (some of which have become cult despite – or because
of – their cancellation), we will interrogate the notion of brevity in
the specific context of the television narrative and ponder on the lures
and constraints of the short, or relatively short, series. 

Finally, the tendency towards summary in the televised short form will also be 
broached, whether it is in the authorized content of the series (the
credits or the “previously on” sequences) or the fan-made videos on line
(like “5 seasons of LOST in 8 minutes”; “Best of” videos showcasing the
viewers’ preferred jokes, insults, love scenes, etc.; alternate credits,
or indeed vidding). The publication thus hopes to emphasize television’s
brevity, in all its forms (and all its platforms), and its relation to
serial storytelling.

Articles on case studies are also welcome.

The articles will be selected with a view to submitting the collected
volume for consideration to Edinburgh UP. 5000-word articles (Times New
Roman, 12 font, double-spaced, MLA style) should be sent to Sylvaine
Bataille (sylvaine.brennetot@univ-rouen.fr), Florence Cabaret
(florence.cabaret@gmail.com) and Shannon Wells-Lassagne
(Shannon.Wells-Lassagne@u-bourgogne.fr) by January 15th 2019.

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DOC On-line: Chamada de artigos para Edição Especial: Revolução Cubana e documentário - 60 anos




DOC On-line 
Edição Especial: Revolução Cubana e documentário – 60 anos

Editores:

Ignacio Del Valle Dávila
Universidade Federal da Integração Latino-americana

Mariana Villaça
Universidade Federal de São Paulo


Em 2019 a Revolução Cubana completa 60 anos, bem como o Instituto Cubano del Arte e Indústria Cinematográficos (ICAIC), o primeiro organismo cultural criado pelo novo governo, que elegeu o cinema documental como uma de suas prioridades no campo da política cultural. Desde então um sem número de documentários foram produzidos sobre Cuba, dentro da Ilha ou fora dela, sobre os mais diversos temas políticos, sociais e culturais. Esse vasto acervo se ramifica em edições do famoso cinejornal Noticiero ICAIC Latinoamericano (1960-1990), dirigido por Santiago Álvarez; curtas didáticos destinados à formação da cidadania por meio do cinema; material “instrucional” militar; reportagens especiais sobre guerras; longas entrevistas; ensaios poéticos de Sarita Gómez e Nicolás Guillén Landrián; registros de discursos e cerimônias oficiais; além de olhares estrangeiros sobre Cuba – de Agnès Varda, Chris Marker, Joris Ivens, Roman Karmen, entre outros. Tão variados quanto os suportes, formatos e estéticas empregados também são os tons e percepções que revestem essas produções, algumas de caráter celebrativo, propagandístico, passional; outras irônicas, indignadas, ambíguas.

A edição especial da DOC On-line intitulada “Revolução Cubana e documentário – 60 anos” tem o objetivo de reunir trabalhos voltados à analise da produção documental dedicada à Cuba pós-1959, em toda sua pluralidade, mas focando principalmente três eixos: 1. A articulação entre experimentação estética e a veiculação de discursos políticos revolucionários. 2. As diferentes fases da política cultural cubana orientada à produção documental. 3. Os olhares resultantes das circulações transnacionais, intercâmbios, transferências culturais e percepções de Cuba presentes em obras documentais ou nas trajetórias de realizadores.

A edição “Revolução Cubana e documentário – 60 anos” terá as seguintes secções:
Artigos (nº máximo de 45.000 caracteres)
Análise e crítica de filmes (nº máximo de 20.000 caracteres)
Entrevista (nº máximo de 45.000 caracteres)
Traduções (a cargo dos editores)
Leituras (recensão crítica de livros) (nº máximo de 20.000 caracteres)



Prazo: 15 de março de 2019.
Notificação de aceitação: 15 de junho de 2019.

Os trabalhos devem ser enviados diretamente aos Editores convidados da DOC On-line:

Ignacio Del Valle Dávila, Mariana Villaça: especial.rev.cubana@gmail.com



Os trabalhos devem ser inéditos e as normas de publicação são as seguintes: http://ojs.labcom-ifp.ubi.pt/index.php/doc/about/submissions#authorGuidelines

A edição especial da DOC On-line intitulada “Revolução Cubana e documentário – 60 anos” será lançada em 1 de outubro de 2019.

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PhD Studies (in Film Studies) at the University of Macau, starting Spring 2019



APPLICATION CALL FOR PHD STUDIES @ THE UNIVERSITY OF MACAU (UM), MACAU
SAR, CHINA (Academic Year 2018/2019)

The Department of English, Faculty of Arts and Humanities, UM has
onefundedopening for its PhD in Literary Studies (English), beginning
Spring 2019.

The applicant should have:

• A MA degree from a reputable university (preferably in Film Studies or
related areas).

• Solid evidence of high English language proficiency.

• A viable research project.

The successful applicant will receive a monthly doctoral stipend of MOP
12,500 (or approximately USD 1,550) for up to 3 years, with annual
review. Renewals beyond the first and subsequent years are subject to
demonstration of satisfactory progress.

During the study period, the successful applicant will be required to
take up residence in Macao and take up auxillary duties as the
supervisor’s Research/Teaching Assistant. Generous conference travel
support is provided, usually one per academic year, for PhD students to
present their research work internationally.

Applications should be submitted on-line via the UM Graduate School
(https://www.umac.mo/grs/en/). Please consult the instructions,
expectations and requirements, including admission and eligibility
criteria, which are spelled in English and in Chinese.

Application deadline: end-September 2018 (absolute).
Prospective supervisor: Dr. Tan See Kam, Associate Professor of Film
Studies (https://fah.umac.mo/staff/staff-english/tan-see-kam/).

tsktan@umac.mo
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CFP: REVISTA DE HISTÓRIA DA ARTE 15 - SEX AND CENSORSHIP IN ART


How have social inhibitions and taboos been addressed by art throughout history? And today, in a climate marked by neoliberalism, and by such phenomena as the “hyper-sexualisation” of culture or the “pornification” of art itself, how are the limits of the permissible, of the “decent”, and of freedom of expression being considered? Within the framework of so-called Western civilization, these issues summon up the battles waged around tensions between art, eroticism and pornography. Intensifying as the twentieth century progressed, such tensions reveal how the limits of what is socially permitted have been tied to sexual explicitness and erotic representation.

It is in this context that a re-reading of “decency” and of obscenity standards has arisen, propelled by a renewed historiographical focus on the relationship between art and sexuality, focused on such controversial themes as censorship, prohibition and taboo. On the one hand, the decline of colonial power and the collapse of the Eastern bloc have released a considerable amount of fresh archival material that helps shed new light on the relationship between state control and artistic production. On the other, the phenomenon of globalisation, which allays institutional constraints and the limits imposed by national state policies, has triggered innovative debate about the very definition of censorship. The traditional perspective, according to which control of artistic production is perceived as ‘a state of exception’, is challenged by what has since been termed as “new censorship”.

This topic takes on redoubled importance in the wake of a recent wave of censorship acts on works of art and exhibits. Perpetrated by museums, the press, and social networks (especially Facebook and YouTube), this type of incident has increased, spreading to numerous forms of expression. From cinema to photography to painting, the impulse to supress has left no artform untouched and has ignited widespread debate in the public sphere. Positions are generally polarised between the safeguarding freedom of expression, and the values ​​of “decency”, “discretion” and the protection of the image of women and children against sexual objectification and exploitation. It is in this context that a few important voices warn of the dangers of a “neoconservative” puritanical climate that reactivates “surveillance” and “control” systems, directly affecting artistic production in its capacity as a positive transgressive agent. Concerns are raised with respect to freedom of expression and sexual liberty rights attained by the decisive struggles, and reflecting the bold claims, of feminist and LGBT movements.

We seek to understand how censorship of eroticism and of explicit sexuality has influenced the creation, circulation, exhibition, and interpretation of works of art in different contexts and geographies, and, in turn, how it is shaped by a wide-range of forces comprising political control, forms of institutionalisation, acts of transgression and multiple social-historical events.

Topics of interest include, but are not limited to, the following:
Self-censorship;
The depiction of explicit sexual themes in visual arts, cinema, performance art, music and literature;
The conflicts arising from centuries of repression and the demonising of sex and sensuality;
The nude as a form of transgression;
Disciplining the artist, the artwork and exhibition;
Political and religious influences on censorship;
Examples of artists persecuted for obscenity;
Censored “sexual” sculpture in the public space and in the space of the museum;
Vandalism against nudity and sexuality in art;
The laws of censorship and self-censorship: court cases, community standards and “family values”;
Intimidation and pressure from lobbying groups;
Obscenity court cases brought against artists and artworks;
Examples of overt state censorship;
The tension between commitment to freedom of imagination and expression, and the disruptive power of provocative and controversial art;
How and in what circumstances can a work of art be apprehended as degrading and as direct insult to religious belief?
Art as censorship versus art as contestation;
The “pornographic” in the public domain;
Art as a pretext for pornography;
Pioneering feminist artists who played a crucial role in creating the “sex positive” attitudes that permeate the mainstream media today;
The constant battle against Facebook’s “no-nudity” politics.



Research Proposals are welcome until 30 November 2018.
Proposals should be sent in MS Word to sexandcensorshipinart@gmail.com (max 500-word, including the title and 4 keywords), followed by author’s name, affiliation, contact details, and a short biographical note (200 words).

Authors will be notified in January 2019.

The closing date for submission of full articles is 15 March 2019. These will be subjected to double-blind peer review and should follow the RHA editorial guidelines.

Accepted language: English



Editors:

Bruno Marques is a postdoctoral research fellow at IHA, Universidade NOVA de Lisboa. Marques teaches in the Department of Art History (FCSH-UNL). His work focuses on the intersection of art, censorship and sex.

Érica Faleiro Rodrigues is a filmmaker and researcher at Birkbeck College, University of London. Faleiro Rodrigues’s current work addresses the dynamics between gender, film, politics, revolution and censorship.

Miguel Mesquita Duarte (PhD) is a member of IHA, Universidade NOVA de Lisboa. Mesquita Duarte’s work concentrates on such themes as archival art, the politics of memory, counter-narrativity, social and political censorship and voyeurism.
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CfP: Studies in South Asian Film and Media



For the full call, click here >> https://bitly.com/

<https://www.intellectbooks.co.uk/journals/view-Journal,id=156/view,page=0/>

Aims & Scope:

Studies in South Asian Film and Media (SAFM) is committed to looking at
the media and cinemas of the Indian subcontinent in their social,
political, economic, historical, and increasingly globalized and
diasporic contexts. The journal will evaluate these topics in relation
to class, caste, gender, race, sexuality, and ideology.

The last few decades have witnessed South Asian cinema and media
emerging as significant areas of academic inquiry. The journal is
dedicated to building a space for a critical and interdisciplinary
engagement with issues, themes and realities of cinema and media theory.
The scope of the journal will incorporate the concerns of scholars,
students, activists and media practitioners.

In this era of global communication, when the all-pervasive presence of
media is no more in question, an intense debate concerning its
political, ideological, and cultural impact has led to a highly complex
and rapidly evolving field of inquiry.

We invite contributions from scholars, researchers and practitioners of
South Asian film and media. Possible areas include but are not limited to:

* Film and Media as social history.
* Feminist analysis and theory in film/media studies and practice
* Class, caste, and sexuality: The politics of subalterneity and
marginalization in film/media studies.
* Contemporary media/ documentary and the public sphere. Interviews
with documentary film makers.
* Global media consumer culture and labor in the cultural industries.
* News, citizenship, democracy, and the neo-liberal restructuring of
media industry.
* Nationalism and Regional cinema in the context of neo-liberalism.
* Globalization/Diaspora/ South Asian representation.
* Cinema and the other arts.
* Contemporary arts practices, cinema, and visual culture.

Submission:

Articles should be between 6,000 – 8,000 words in length. Please note
that articles should be original and not be under consideration by any
other publication.

SAFM also welcomes shorter pieces that are either creative or
analytical, (between 1,000 – 4,000 words), as well as visual material.

All initial enquires should be sent to the editors ataaj.safm@gmail.com
<mailto:aaj.safm@gmail.com>

Deadline:

No set deadline due to being open call

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CFP: Sexuality and Borders, Department of Media, Culture, and Communication - NYU



Sexuality and Borders

Symposium, 4-5 April 2019
Department of Media, Culture, and Communication, New York University, NYC

In her path-breaking work Borderlands/La Frontera (1987), Gloria E.
Anzaldúa parsed out the relationship between heteronormativity and the
stretching of the border into various borderlands, subjectivities, and
temporalities. In the context of ongoing migration and the
intensification of border regimes, this formative thesis on the
relationship between borders and sexuality needs renewed attention and
consideration. How do sexuality and borders intersect? What role does
sexuality play in the production, maintenance, and disruption of
contemporary border regimes? How do borders as features of racial
capitalism multiply inequalities via sexuality and, conversely, how is
sexuality mediated through racialized border regimes? While people
continue to move across borders, sexuality becomes a dominant frame
through which such movement is attempted to be captured, framed, and
contained. At the same time, the border becomes understood, organized,
and contested through sexuality and
sexual discourse.

In response to these phenomena, this symposium conceptualizes sexuality
as a method of bordering and thinks sexuality beyond identity towards
its multifarious entanglements with contemporary border regimes. From
moral panics about migrant sexuality, the pornotropic gaze of
surveillance technologies, to media discourses about reproduction and
contagion, sexuality can be said to play a key role in how borders are
policed and managed. At the same time, intimacy, desire, and sexuality
have become rallying points in challenging borders as seen in queer
activism against deportations, critiques of homonationalism and
imaginations of different sexual futures and political horizons.
Bringing together scholars from a variety of disciplinary and regional
contexts, this symposium aims to show how sexuality matters for the
study of and struggles around borders.

*Topics include but are not limited to*
● Intimacy of border control, touch, and the haptic
● Sexual transmission, deviancy, and national health
● Family, state and, national reproduction
● Sexual panics and the intensification of border regimes
● Trans perspectives on gendered and sexualised border regimes
● Sexual violence, detention, and state violence
● Sex work, discourses of trafficking, and migrant sex work activism
● Digital borders, pornography, mediation
● Homonationalism(s)
● Technologies of border control and sexuality
● Surveillance, voyeurism, pornotropics
● Entanglement of anti-migrant and anti-queer/feminist politics
● Virality, sexuality, and contagion across borders
● Queer of colour critique and critical migration studies
● Affect, desire, and queer/no border futurities
● Biopolitical borders, demography, and population
● Queer temporalities, archives, and histories of migration
● LGBTQ refugees and migrants
● Queer and feminist activism around/against borders

Sexuality and Borders is a two day symposium hosted and funded by New
York University’s Department of Media, Culture, and Communication. It is
co-sponsored by NYU’s Center for the Study of Gender and Sexuality, the
DFG-funded research training group “Minor Cosmopolitanisms” (University
of Potsdam, Germany) and is supported by LSE’s Department of Gender Studies.

*Keynotes*
● Radha Hegde (Professor of Media, Culture, and Communication, NYU)
● Miriam Ticktin (Associate Professor of Anthropology, New School for
Social Research)
● Alyosxa Tudor (Lecturer in Gender Studies, SOAS University of London)

*Applications
Please send proposals for papers (no longer than 350 words) and a short
bio (150 words) by November 1st, 2018 to
*sexualityandborders@tutanota.com*
<mailto:sexualityandborders@tutanota.com>. As an interdisciplinary
symposium, we encourage applications that engage a variety of
theoretical and methodological approaches and focus on different
geopolitical contexts. We aim to enable discussions across academic,
artistic and activist debates and also welcome applications from
participants outside the academy.

*Organizing team
● Michelle Pfeifer (NYU, Department of Media, Culture, and Communication)
● Billy Holzberg (London School of Economics, Department of Gender Studies)
● Anouk Madörin (University of Potsdam, RTG Minor Cosmopolitanisms)

For updates and more information see
*https://sexualityandborders.wordpress.com/*
<https://sexualityandborders.wordpress.com/>
For questions please contact *sexualityandborders@tutanota.com*
<mailto:sexualityandborders@tutanota.com>
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CFP: Female Agency and Subjectivity in Film and Television

Organized by: Istanbul Bilgi University, Faculty of Communication,
Department of Film and Television

April 11-13, 2019
İstanbul, Turkey

Abstract Submission Deadline: December 1, 2018
Venue: santral Istanbul Eski Silahtarağa Elektrik Santralı Kazım
Karabekir Cad. No: 2/13 34060 Eyüp İstanbul, Turkey

Confirmed Keynote Speakers:

* Jackie Stacey (Manchester University, Centre for Interdisciplinary
Research in Arts and Languages)
* Alisa Lebow (University of Sussex, Film Studies)
* Kate İnce (University of Birmingham, French Film and Gender Studies

The conference aims to explore new configurations of female agency
and subjectivity in film and television to develop new strategies
for subverting patriarchal narratives. To this end, it explores the
aesthetic, theoretical and ideological implications of research on
women and cinema to re-visit the notion of female empowerment and
subject formation processes both in the narrative structure and in
the cinema and television industry itself.

Historically, the politics and the forms of researching women and /
in film and television have drawn upon several theoretical
frameworks that focus on male gaze, female agency, women’s
authorship, and so on. In search for a political and an aesthetic
response to gender inequality in film and television, the conference
aims to explore the stakes of feminist critique in this field. We
are particularly interested in new ways of understanding the
individuation, agency and subjectivity of women.

The conference invites papers and panel proposals in a broad range
of issues that are integral to feminism (sex, body, violence,
representation, reproduction, etc.) and cinema. Possible topics
include, yet not limited to:

* the stakes of feminist critique in film studies
* female agency in narration
* women in the production and exhibition processes of film
* female gaze
* feminist auteurs
* the female stereotypes in films
* women, biotechnology and cinema
* cinema and genetic imaginaries
* gender and genre
* gender and television culture
* women and non-fiction
* gender, the national and the transnational in film and television

Please submit an abstract (up to 500 words), 3–5 bibliographical
sources, 3-5 keywords as well as a short CV by 1st of December 2018
to the program committee (ftvconference@bilgi.edu.tr
<mailto:ftvconference@bilgi.edu.tr>). The selected abstracts for the
conference will be announced by the 15^th of December 2018.

Selection Committee

* Dr. Alica Lebow (University of Sussex, Film Studies)
* Prof. Anneke Smelik (Radboud University of Nijmegen, Cultural Studies)
* Prof. Aslı Tunç (İstanbul Bilgi University, Media and Communication)
* Dr. Ayşegül Kesirli Unur (İstanbul Bilgi University, Film and
Television)
* Prof. Berrin Yanıkkaya (Auckland University of Technology,
Communication Studies)
* Dr. Ebru Çiğdem Thwaites Diken (İstanbul Bilgi University, Film and
Television)
* Prof. Feride Çiçekoğlu (İstanbul Bilgi University, Film and Television)

Contact person: Nilüfer Neslihan Arslan
E-mail: ftvconference@bilgi.edu.tr <mailto:ftvconference@bilgi.edu.tr>
Website: https://ftvconference.bilgi.edu.tr/
<https://ftvconference.bilgi.edu.tr/>

Istanbul Bilgi University - Female Agency and Subjectivity in Film
and Television <https://ftvconference.bilgi.edu.tr/>
ftvconference.bilgi.edu.tr
Istanbul Bilgi University - Female Agency and Subjectivity in Film
and Television
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CFP: Udine - filmforum conference 2019 - "Moving Pictures, Living Machines"



Moving Pictures, Living Machines

Automation, Animation and the Imitation of Life in Cinema and Media


FilmForum 2019. XXVI Udine International Film Studies Conference –
March 21th  – 23th, Gorizia (Italy)


At the end of 2017, computer scientist Andrew Yan-Tak Ng labelled
Artificial Intelligence as “the new electricity” (and with it, he
referred more broadly to automation, robotics, computer vision, big data
collection and analysis, etc.). AI becomes, then, the core engine of a
forthcoming revolution in many industrial, socio-cultural, scientific
and educational realms. On the one hand, this “provocative” reference
aims to include these new assets within a complex social, technological
and industrial framework, on the other hand, it aims to defuse those
dangerous arguments concerning misoneism and technophobia. Moreover,
this sensationalist metaphor could represent a paradoxical starting
point for our conference: it underscores that every historical research
concerning technology must pinpoint (first of all) the “conditions of
possibilities” of a media technological network, and that even
linear/evolutionist perspective could inspire unusual and brand new
excavations.

Thus, the 2019 Udine/Gorizia International Film Studies Conference will
investigate the interrelationships between automation, representation
and “viewing/listening dispositives” from early to late
modernity/postmodernity. In doing this, we would draw on the “1900
episteme” (which is the main feature of the “technical society that come
into being in the 17th century and became the flourishing industrial
society of 19th century”) and the tripartition spectator (or
user)-machine-representation” (Albera and Tortajada, 2010). More
precisely, we aim to stress the function of automatism in long-term
dynamics of dispossession, integration, training, disorientation,
deprivation, proletarization, and rejection of the human being/“subject”
as a creator/producer and as a consumer/viewer/listener: how do these
dispositives imitate human faculties? And how do they imitate the world
that surrounds us? How do they imitate life?

Not by chance, with the rise of an emerging “machine agency” and a new
“subject of history” (Anders, 1980) between the 17th and 21th Century,
“technologies took over”: automated cultural activities and daily
routines “were increasingly imagined as living entities” (Parikka,
2010). For being capable of recording movement over time, the cinema and
the media double the world that surrounds human beings.

Concerning these issues, since the late 19th century cinema played of
course a key role. As Jackey Stacey and Lucy Suchman explained:
“cinema’s history of bringing things to life lies in this twofold
manifestation of automata on the screen. As both the instantiation of
the foundational drive behind the medium and the condensation of its
animating capacity” (2012: 15). Drawing on the cultural series that
binds cinema to the realm of automatic technologies of
animated/enlivened images (“living” machines producing “lively”
representations), we would like to focus on its crossing points: from
mechanization to electronification and from electronification to
digitization. Analysing these crossing points, we would like to stress
three distinct but strictly intertwined areas of inquiry:


*Automation and machinery:* i.e. the ways in which the machine is
“brought to life” (with a specific focus on pre-cinematic automata;
mechanical optical toys; automatic cameras; automatic recording systems;
the inner mechanics and components of cinematic machines; video signal
transmission etc.). How did the different techniques of making an
apparatus move and “operate by itself” change our understanding of the
technical media? How do “machine-animism” and the subjectification of
non-human organisms relate to the different stages in the history of
automata? Do the capabilities of recording media of “seeing and hearing
for us” create a new form of ‘non-human’ subjectivity? Can the material
encounter with media-technological apparatuses from the past enrich our
knowledge about the cultural logics behind automation? Drawing on Edgar
Morin’s /The Cinema, or The Imaginary Man/ (1956; 2005) and Jentsch’s
theories, how can we pinpoint the uncanny power of viewing and listening
dispositives to re-produce human perceptual qualities?


*Automation and representation:* i.e. the ways in which machines
automatically produce optical representations/the ways in which
automatic machines are discursively and visually represented. In the
former sense, starting from the notions of /bildakts/, visual agency,
the mutual relationships between /tableaux vivants/ and automatic
procedures of inscription (as described by Horst Bredekamp [2010]), we
can reconstruct the ways in which schemata and mechanized actions have
historically informed the production of images and visual
representations. The relation between image and movement, which lies at
the core of any cine-apparatus, can be applied to different modes of
automated viewing, from animation (moving panoramas; mechanized
dioramas; filmstrips/“/le film fixe/”; film/video loops; GIF etc.) to
“vision-in-motion” (self-moving cameras; mobile screens; portable screen
media; drones; surveillance camera; gait analysis devices; medical,
automotive, military devices, etc.) and visual/cinematic representations
generated by AI.

Concerning the discursive and visual representation, we aim to foster a
reflection on how cinema, visual arts and audiovisual media have
referred to their own “machine-driven” nature by staging metaphorical
self-representation (visual contents and films about AI, automotive
systems, cyborgs, robotics, machine-driven bodies and systems etc.) and
producing replicas, hyperrealism effects, etc. Moreover, we aim to focus
on the production of a wide discursive corpus on screen and in other
enunciation spaces, which contributes to inform the collective
imagination on “living machines” and “haunted media”.

*Automation and users:* i.e. the ways in which automatic labour
reconfigures the agency of the user (the spectator’s “innervation”; the
changes in the projectionist’s and technicians’ work; the notion of
“media gesture” and the user’s technological expertise; the “new
spectators” for contents created by algorithms; the automatic
recommendation systems used by digital streaming platforms; automation
for data/metadata management, etc.). How do we change our
media-competences and how do we interact with the machines whenever a
new automated technology is introduced? Does the mechanization of human
life imply a reverse process of “humanization of the machine”, whereby
technological apparatuses are reframed by anthropocentric criteria? How
do the hopes and threats of a “fully-automated society” re-address the
dichotomy between the human and the machine, giving way to the
discursive regimes of ‘technophobia’ and ‘technophilia’? Which are the
political/institutional entailments of automation regarding film and
media archives? Can we critically reassess the deep implications brought
by automation to the preservation of the cultural heritage by taking
under serious scrutiny the visualization tools we are used to operate
with (e.g. film restoration and film materials visual atlases)? Finally,
how does the adoption of automatic tools and algorithms challenge the
role of human creativity in the narrative processes and practices?


*We encourage contributions addressing any of these areas or the
interrelationships occurring between them. We invite you to send us
proposals for papers or panels. Proposals should not exceed one page in
length.

*Please make sure to attach a short CV (10 lines max). The deadline for
their submission is October, 25th 2018.

*A registration fee (160 euros) will be applied. Moreover travel costs
(tickets, etc.) will not be refunded. On the other hand, we will
partially cover the costs of your accommodation (2 nights in the best
accommodation solutions available). Special rates are available for
additional nights. For more information, please contact us at
udineconference@gmail.com <mailto:udineconference@gmail.com>.


*info: https://filmforumfestival.it

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CFP: Interactive Animation and Video Games (Anifest 2019)



Interactive Animation and Video Games
Friday 8th March 2019
Canterbury Christ Church University, Augustine House, Room AH3.31

A one-day research symposium hosted by Canterbury Christ Church
University that will take place as part of Canterbury Anifest 2019

Conference organisers:Joanna Samuel (Canterbury Christ Church
University)and Dr Christopher Holliday (King’s College London)

Keynote speaker: Professor Aylish Wood (University of Kent)

As definitions of animation expand to encompass a wide range of
image-making technologies and multimedia practices, the question of
interactivity has supported recent critical excursions into the medium’s
digital present as much as its potential future. The increasing
popularity of virtual and augmented realities speaks to the growing
prominence of interactive engagements between spectator and animated
artefact. Whether superimposing computer-generated images onto the real
world or simulating entirely digital realms, the collapse of real and
fictional animated spaces has promised new kinds of immersive virtual
experience. The educational potential of state-of-the-art augmented
reality displays in museums and art galleries has extended the project
of such “interactive animation” even further. Visitors are able to
navigate virtual reality, interact with 3-D scans of curated objects and
explore innovative digital spaces as part of increasingly immersive
learning experiences. Yet within these emergent traditions of
animation’s many participatory modes, the vicariousness of the medium’s
‘interactivity’ might also be traced back through histories of moving
images to earlier animated media. Among animation’s broad interactive
identity, video games have remained a particularly popular form of
interactive entertainment since the 1970s, with a wealth of more recent
scholarly publications focused on the video game medium that theorize
its complex interactive (often goal-oriented) narratives and
three-dimensional digital environments through which players must
progress. The interactive nature of video games bridges elements of
design with player-character objectives, changing the traditionally
passive spectator/viewer into agents that interact directly with the
game world. “Interactive animation” is ultimately an expansive field of
study, one that offers rich potential for thinking about both the
methods and histories of animated communication, intervention and
visualisation.

This one-day interdisciplinary symposium invites proposals from
academics and practitioners for twenty-minute papers, 5-minute
micro-talks or video essays that explore the themes of interactive
animation and video games. Topics include, but are not limited to:

* Digital art installations, public displays and co-creative spaces
(museums, galleries)
* Virtual puppetry and live performance
* Interactive hardware (head-mounted equipment, digital displays,
smartphones, tablets, game controllers)
* VR and augmented reality systems
* Artificial intelligence (AI) engines
* Embodiment and phenomenological encounters
* Software studies
* Animation studies and questions of interactivity
* Histories of new media, digital animation and computer graphics
* Video game theory and scholarship
* Gaming practice
* Cyberworlds, open worlds and world-building
* Video gameplay, full motion video (FMV) and cut/event scenes
* Video game design and style
* Video game studios, series and franchises
* Intersections between video games and other art forms (cinema,
painting, sculpture)
* ‘Interactive’ fan cultures
* Interactivity and reception studies

Speakers are invited to submit a *250-word abstract* and *short
biography* to Joanna Samuel (joanna.samuel@canterbury.ac.uk) and
Christopher Holliday (christopher.holliday@kcl.ac.uk). The deadline for
proposals is Friday 16th November 2018. Please do get in touch if
you wish to discuss possible topics or have any questions regarding the
symposium.

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Call for Book Chapters: European Cinema in the 21st Century: Discourses, Directions and Genres


We are in the process of finalising our edited collection /European
Cinema in the 21^st Century/ as outlined below, and have identified some
additional topics on which we now wish to seek submissions. The
collection is intended for a – currently under-served – undergraduate
and early postgraduate market.

These topics are:

· Diasporic/hybrid identity in British filmmaking

· Popular German comedy in the 2000s

· The economics of European film production and their influence
on style/form

We would appreciate abstracts and author biographies by the 10th of
September, with full chapters (max 7000 words) to follow before 30th
October 2018.
We are currently finalizing contract and submission
details with leading academic publisher Palgrave Macmillan, and look
forward to reading your 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 21^st 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 transversal approach 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.


*Requirements

We invite contributions for chapters of 7,000 words focusing exclusively
on European films released in the 21st 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:
ingrid.lewis@dkit.ie <mailto:ingrid.lewis@dkit.ie> and
laura.canning@falmouth.ac.uk <mailto:laura.canning@falmouth.ac.uk>



*Co-editors

*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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CFP: NECSUS Spring 2019 Emotions


Guest edited by Jens Eder (Film University Babelsberg Konrad Wolf),
Julian Hanich (University of Groningen), and Jane Stadler (Swinburne
University)

For more than two decades emotions have been a major topic of discussion
and contention in film and media studies. From cognitive theories and
phenomenology to affect studies, many different approaches have been
suggested, many books written, and many insights won. However, some
crucial questions have barely been discussed. This special section
#Emotions takes stock and seeks to advance the field in new directions.
We suggest a /conceptual/, a /contextual/, an /ethical/, a /political/,
and a /media-comparative/ expansion, thus showing the urgency of
thinking further about the interconnection between contemporary media
and the emotions of their audiences.

We are primarily interested in contributions that focus on emotions that
are actually felt by viewers, readers, gamers, users, or prosumers, and
not emotions represented in media, for instance by way of characters. We
are also looking for thick descriptions of emotional experiences and
well-chosen examples of how it feels to undergo a specific emotion in
concrete media engagements and environments. Moreover, we are interested
in the specific dynamics of situated, collective emotional experiences
of different kinds and groups of viewers and users.

*Contributions may focus on but are not restricted to the following
topics:

* Conceptual clarifications: What distinguishes emotions from affects,
moods, feelings, desires, and other cognitive and embodied responses to
media texts, technologies, and experiences?

* Unnamed emotions: Which emotions do we experience when we engage with
films, television series, or computer games, and which of them do not
have a name (yet)? Do some societies and cultures have names for
emotional experiences which others lack (e.g. /rasa, Schadenfreude,
ijirashi/)?

* Collective emotions: When, why, and in what media contexts do we
experience collective emotions? What does it mean to share an emotion
when engaged with a film, a television series, a computer game etc.? Can
this have moral or political effects?

* Emotions and media specificity: How do media differ in their
potentials and strategies of eliciting emotions? For instance, how do
social media or virtual reality experiences steer user emotions? What
are the emotional characteristics of different algorithms, applications,
and platforms on the internet and what affective labor is involved? What
can video games do that films cannot, and vice versa?

* Emotions of different audiences: How and why do the emotions of media
users, of social groups, political factions, or cultural spheres differ?
How can it be explained, for instance, that one and the same tweet or
video triggers glee in one part of the audience and outrage in another part?

* Emotions and attention economies: How do changing economies of
attention (for instance, in the context of new media or ‘hybrid media
systems’ as described by Andrew Chadwick) impact on viewer/user emotions?

* Affective algorithms, emotional AI, and emotion capture: How do
digital and sensory media capture and process user emotional responses?
What forms of emotion capture are emerging, for instance, in virtual
assistants, fitness trackers, software for emotion recognition, or
sentiment analysis? What are their political, legal, cultural, and moral
implications?

* Emotions, media, and ethics: How are emotions of media audiences and
users connected to moral questions and ethical issues? When and how, for
instance, do media manipulate emotions? Can insights from affective
computing and critical perspectives on algorithmic culture help us to
understand the ethics of new media and the emotions they elicit?

* Emotions, rhetoric, and persuasion: How are emotions used for
persuasive purposes in the media? Which are the most important forms of
emotional persuasion?

* Emotions, media, and politics/the political: How do different kinds of
media elicit political emotions like outrage, fear, hate, pride, or
hope? How do they construct power relations by triggering those and
other emotions? How do they block empathy or compassion?

*/ We invite authors to submit an abstract of 300 words plus 3-5
bibliographic references and a short biography of 100 words by 15
September 2018
. Please make sure your attachment file name is formatted
with your last name and your abstract title. Abstracts should be sent
directly to the NECSUS editorial board at the following
address:g.decuir@aup.nl <mailto:g.decuir@aup.nl>. On the basis of
selected abstracts, authors will be invited to submit full manuscripts
of 5-7,000 words by15 February 2019, which will subsequently go through
a double-blind peer review process. /*

**

*References:

Bellour, R. Le corps du cinéma: hypnoses, émotions, animalités.
Paris: POL/Trafic, 2009.
Eder, J. ‘Collateral Emotions: Political Web Videos and Divergent
Audience Responses’ in Cognitive theory and documentary film, edited by
C. Brylla and M. Kramer. London: Palgrave Macmillan, 2018.
Hanich, J. The audience effect: On the collective cinema experience.
Edinburgh: Edinburgh University Press, 2018.
Laine, T. Feeling cinema: Emotional dynamics in film studies. New York:
Continuum, 2013.
McStay, A. Emotional AI: The rise of empathic media. Thousand Oaks:
Sage, 2018.
Ngai, S. Ugly feelings. Cambridge: Harvard University Press, 2007.
Plantinga, C. Screen stories. Oxford: Oxford University Press, 2018.
Sampson, T., Maddison, S., and Ellis, D (eds). Affect and social media:
Emotion, mediation, anxiety and contagion. Lanham: Rowman & Littlefield,
2018.
Sinnerbrink, R. Cinematic ethics: Exploring ethical experience through
film. London: Routledge, 2016.
Smith, M. Film, art, and the third culture: A naturalized aesthetics of
film. Oxford: Oxford University Press, 2017.
Stadler, J. Pulling focus: Intersubjective experience, narrative film,
and ethics. New York: Continuum, 2008.

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CFP: Action Cinema Now

International conference, 12-14 April 2019, Reading and London UK

Keynote speakers:

Professor Mary Beltrán, Professor Chris Holmlund

Professor Gina Marchetti, Professor Yvonne Tasker

At a moment when the relationship between popular culture, politics and
society is again being sharply debated, action cinema as a dominant form
of mass cultural production demands to be re-examined, as does the
critical writing that has documented that form. Action films pose
pressing questions about the extent to which a popular form can develop
appropriate responses to the ethical dimensions of representation and
marginalisation, particularly in a wider context of global
multi-platform circulation. At the same time, they remain key sites of
technological and aesthetic innovation and market negotiation shaped by
complex local and global economic and cultural drivers.

This conference seeks to bring together scholars from a range of
disciplines in a cross-continental, intercultural, intermedial and
interdisciplinary examination of this wide-ranging form. To analyse
action cinema in its heterogeneity, and in particular to skew away from
traditional foci of action scholarship (such as the white cis-gendered
male hero), the conference will be organised around four thematic areas:
(1) regional exchange, (2) aesthetics, (3) performance, and (4) industry.

We invite 20-minute papers that consider action cinema in terms of its
genre boundaries and outreach, its forms and affect, and its
significance within wider fields of representation in contemporary
audiovisual culture.

Please submit your 500 word abstract, 5 bibliographic references, and
brief bio, by 5pm UK time on 28 September 2018, to
l.v.purse@reading.ac.uk <mailto:l.v.purse@reading.ac.uk>.

We anticipate issuing acceptance notices on 31 October 2018. An
anthology is planned following the conference.

We look forward to hearing from you.

Conference organisers:

Dr Lisa Purse, University of Reading, l.v.purse@reading.ac.uk

Professor Yvonne Tasker, University of East Anglia, Y.Tasker@uea.ac.uk

Professor Emerita Chris Holmlund, University of Tennessee-Knoxville,
cholmlun@utk.edu <mailto:cholmlun@utk.edu>
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CFP: Looking into the Upside Down: Investigating Stranger Things


One Day Symposium at the School of Media and Communication, University
of Leeds

Confirmed Keynote Speakers:

Professor Matt Hills, University of Huddersfield

Dr Sorcha Ní Fhlainn, Manchester Metropolitan University


Friday 14th December, 2018


Heavily inspired by science fiction, horror and ‘coming of age’
narratives from the 1980s, Netflix’s /Stranger Things /(2016-)//follows
the supernatural adventures of four young teenage boys; Mike (Finn
Wolfhard), Will (Noah Schnapp), Lucas (Caleb McLaughlin) and Dustin
(Gaten Matarazzo). The boys come across a girl with telekinetic powers,
named Eleven (Millie Bobby Brown), who has escaped from the government
run Hawkins Laboratory. They reveal the dark intentions of the lab, its
scientists and the existence of an alternative dimension of monsters
they nickname the Upside Down. The show is one of Netflix’s most
successful ventures into original programming and has garnered both
popular and critical acclaim. This conference seeks to explore /Stranger
Things/’//wider significance within the canon of cult television. Cult
narratives are often associated with “empathetic audience identification
with subversive characters” (Kinkade and Katovich 1992: 194),
“trans-genericism” (Ross and Stein 2008: 8), and the inclusion of what
Hills has termed a “hyper-diegesis” or “a vast and detailed narrative
space, only a fraction of which is ever directly seen or encountered
within the text” (2002: 137).

Kevin J. Whetmore Jr.’s recently published edited collection primarily
focuses on /Stranger Things/’ first season and covers such topics as
contextualisation, gender and intertextuality but largely omits a
consideration of the show’s position as a cult television narrative
(2018). /Stranger Things/ excessively references cult media texts and by
doing so, has developed a cult fan following through its use of a vast
“intertextual network” (Jenkins 1992: 40). This is also evidenced
through the show’s extensive foray into merchandising, presence at
fan-based conferences such as Comic-Con and Paleyfest and its recent
invitation to be a part of the immersive ‘Halloween Horror Nights’
experience at Universal Studios theme parks.

/Stranger Things/also exemplifies a recent trend of 1980s nostalgia
within popular cult media products. The narrative of the show mirrors
that of J.J. Abrams’ ode to Spielberg in /Super 8/ (2011), shares many
similarities with Stephen King’s /It/ (1986; Carranza, 2018) and both
/Stranger Things /and the Marvel franchise release /Guardians of the
Galaxy /(2014) boast soundtracks of 1970s/1980s pop and rock hits.
Butler has suggested that /Stranger Things/’//depiction of this decade
reveals “the terrifying similarities between the 1980s and now; speaking
to the present as much as the past” (2017: 196).

This conference aims to bring together scholars working on /Stranger
Things/with a view to publishing an edited volume as part of I.B.
Tauris/Bloomsbury’s ‘Investigating Cult Television’ series in late 2019.
Paper topics (for 20-minute presentations) might include but are not
limited to:-

·The mediation of 1980s nostalgia

·Contextuality – Reaganism/Trumpism

·The rise of popular cult narratives in the 1980s

·Postmodern entertainment, complex serial narratives and cult television

·Representations of gender, adolescence, family and/or authority

·Cult characters and their followings (Barb, Bob Newby, Eleven, Steve
Harrington)__

·Generic hybridity in /Stranger Things/ and other similar cult films and
TV.__

·Music within /Stranger Things/ and its promotional material__

·Trans-medial narratives/online fan engagement__

·Fan experience (merchandise/theme park attractions)__

Please submit proposals of around 300 words, along with a short
biographical note (100 words) to Dr Tracey Mollet
(T.L.Mollet@leeds.ac.uk <mailto:T.L.Mollet@leeds.ac.uk>) by Friday
14th September 2018.


Applicants will be notified of the outcome by Friday 21st September 2018.
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CFP: Mapping Spaces, Sounding Places: Geographies of Sound in Audiovisual Media




Sound design, film music and music editing in general exert a primary function in conveying senses of space and place in audiovisual media. Strategies for connoting space and place in film sound and music vary with cinematic practices across history and according to transnational patterns of negotiation between global and local modes of production. At the same time audiovisual communication, when rich in local connotations, allows insights into specific socio-historical contexts and the documentation of human geographies.

This conference aims to bring together scholars interested in mapping geographies of music and sound practices in audiovisual media (e.g. film, television, video games, interactive art). We invite fresh perspectives on film music and sound that are willing to embrace aspects ranging from individual approaches to space and place to collective geographies, also considering industrial trends and intermedia connections. Cultural, ethnographic, historical, analytical, data-driven and aesthetic approaches are welcome, as well as research on industrial and commercial practices.

Invited speakers:


David J. Bodenhamer, Professor of History and Director of the Polis Center (Indiana University – Purdue University Indianapolis, USA)

Kevin J. Donnelly, Professor of Film and Film Music (University of Southampton, UK)

The conference will also be comprised of a roundtable aiming at gathering artistic and practice-based research projects. The roundtable will be curated by Miriam De Rosa(Senior Lecturer, School of Media and Performing Arts, Coventry University, UK) and will tackle topics such as sound art and placemaking, mapping and navigating space through sound/aural artistic practice, audiovisual media and acousmatic music, VR, AR, interactive screen and sound media.

We encourage papers addressing research questions that may include:

- how places, locations and environments are sonically represented in audiovisual media and characterized by specific musical genres, timbres, vocal inflections, soundscapes etc.;
- how scripts, treatments, screenplays etc., as well as musical drafts and other textual sources of filmmaking, pre-determine or affect the soundscape of films, television series and video games;
- how sound and music concur to define the boundaries between real, simulated and virtual spaces in films, television series and video games, and how ideas of reality and simulation are linked to the notions of immediacy and authenticity;
- how spatial configurations of sound formats in the audiovisual domain impact the audience’s experience of virtual and fictional spaces;
- how sites devoted to audiovisual consumption (e.g. movie theaters, public and private venues, mobile settings etc.) affect strategies of sound organization in audiovisual media (attention may be called to the architecture of screening venues or the viewers/listeners’ relation to the presentation space);

- how the mapping of archives, sound documents and oral histories sheds light on local audiovisual practices in connection with global trends as well as with contiguous media practices (e.g. phonography/discography, radio, new media etc.);
- how the study of sound in audiovisual communication can offer descriptors for the complex representation of space (e.g. in the “thick mapping” or in the emerging field of Qualitative Spatial Representation) or receive input from the latter, for instance by linking specific locations to cultural connotations, production facilities, social systems etc.

We invite proposals for individual papers, pre-constituted panels and poster presentations. Please submit an abstract of no more than 300 words (plus a 200 words presentation for panel proposals) and a short biography (max. 250 words) to geographiesofsound2019@gmail.com



Conference date and venue: 19-22 March 2019
Department of Musicology and Cultural Heritage, University of Pavia (Cremona)

Abstract proposal due by 10 September 2018 Notification of acceptance: by 31 October 2018

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CFP: 40 Years of Alien



40 years of Alien

An academic symposium hosted by

The Centre for Film, Television and Screen Studies

Bangor University, UK

Friday 24 May 2019

Alien has left an indelible mark on popular culture. Conceived
primarily to cash in on the popularity of science-fiction films in the
late 1970s, directed by a person known for making adverts (Ridley Scott)
and starring an unknown actor in the lead role (Sigourney Weaver), it
transcended its humble origins to frighten and disturb audiences on its
initial release. Its success has led to three direct sequels, two
prequels, one ‘mashup’ franchise, a series of comic books, graphic
novels, novelisations and games, and has an enormous and devoted
fanbase. For forty years, /Alien/ (and its progeny) has animated debate
and discussion among critics and academics from a wide variety of
disciplines and methodological perspectives.


Hosted by the Centre for Film, Television and Screen Studies at Bangor
University, this symposium proposes to bring together scholars from
diverse disciplinary backgrounds to explore /Alien/ forty years since
its release, debate its legacy and consider its position within visual
culture.


We also hope to include contributions from Colin Arthur and Roger
Dicken, both of whom worked on the make-up and special effects for the film.


We welcome contributions from any perspective such as (but not limited
to) the following:

* /Alien /– origins, influences, production, aesthetics, publicity,
reception, afterlife
* Sequels, prequels and mashups: /Aliens, Alien 3/, /Alien:
Resurrection, Prometheus, Alien: Covenant, Alien vs Predator, Alien
vs Predator: Requiem/
* The /Alien /Transmedia Universe: games, comic books, graphic novels,
novelisations
* Sigourney Weaver: star, producer, auteur?
* Ripley as feminist icon: the gender politics of the /Alien /universe
* /Alien/ and motherhood
* /Alien/ and race, ethnicity and otherness
* HR Giger and The Art of /Alien/
* /Alien /and psychoanalysis
* A Haunted House in Space: /Alien /as Gothic horror
* /Alien/ and science-fiction
* /Alien/,//fandom and ‘cult’
* ‘The perfect organism’: /Alien/ and evolutionary biology
* /Alien/ and neoliberalism, post-industrialism and the rise of
multinational corporations
* /Alien/ and artificial intelligence, cybernetic organisms, and the
post-human

Please send 300-word abstracts and a short biographical note to Dr
Gregory Frame (g.frame@bangor.ac.uk <mailto:g.frame@bangor.ac.uk>) by 1
January 2019.



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CFP: Humanities Special Issue Media Feminisms



Humanities Journal Special Edition: Media Feminisms / Feminism’s Media:
(Re)Framing Media Feminist Theory

The aim of this special edition of the Humanities is to (re)evaluate,
(re)articulate and/or (re)introduce broad feminist viewpoints in
contemporary media theory – with both ‘media’ and ‘theory’ broadly and
interdisciplinarily conceptualised.

Whilst the meticulous contemporary work in feminist media studies
reflects a wide variety of theoretical viewpoints and makes use of an
even wider variety of methodological tools, it is the editors’ view that
the compulsory anchoring of contemporary feminist theory to existing
socio-economic, political and, most importantly, disciplinary
constraints prevents us from freeing up critical work in the field to
address the challenges that are yet to come.

Therefore, we invite colleagues working in media, literature,
philosophy, politics, history, sociology, gender studies and related
fields, to submit imaginative proposals that would articulate broad
theoretical positions capable of framing feminism(s) and feminist media
theory in the twenty-first century – or, indeed, question the very need
for such ‘framing’. We also invite work that produces critical research
through practice.

Though we do not wish to limit the scope of contributions, we envision
submissions broaching feminism through the following themes: 
- Class consciousness Representation
- New materialisms Policy and/or the political economy of the media
- Aesthetics Visualisation
- Mobilities
- Sexuality
- Transnationalism
- Race and/or ethnonationalism
- Age: discrimination and/or intergenerational activism

Abstracts should not exceed 400 words, and they should articulate a
clear theoretical framework and proposed bibliography (the latter not
included in the abstract word-limit).

Completed contributions should not exceed 10,000 words (including notes
and bibliography). For in-text referencing and bibliography please see
the journal’s preferred style here:
http://www.mdpi.com/journal/humanities/instructions

Deadlines: Abstracts: 31 January 2019Completed essays (those accepted): 30 June 2019

Please email your abstracts to: MediaFeminisms@brighton.ac.uk FAO: the
guest editors: 
Dr Theodore Koulouris (School of Media, University of
Brighton)
Dr Patricia Prieto Blanco (School of Media, University of Brighton)
Dr Olu Jenzen (School of Media, University of Brighton)

See also the journal’s dedicated webpage:
http://www.mdpi.com/journal/humanities/special_issues/media_feminism NB.
The editors guarantee that there are no APCs payable by the authors.

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CFP: New approaches to silent film historiography: technology, spectatorship and the archive


NEW APPROACHES TO SILENT FILM HISTORIOGRAPHY: TECHNOLOGY, SPECTATORSHIP AND THE ARCHIVE

University of Leeds (UK)

18th - 19th September 2018

Keynote Speakers:

Dr Lawrence Napper (King’s College London). Title: History, lies and the digital archive.

Kieron Webb _(British Film Institute). Title: The Open Road to the Pleasure Garden: silent film restoration in the digital intermediate age

Abstract:
In the years following the death of silent cinema and the rise of the
talkies in the early 1930s, there was a supreme lack of interest in
silent film preservation and restoration. Due largely to this lack of
care and, in many cases, deliberate destruction of silent films, the
Library of Congress estimates that about 75% of all silent films are now
lost forever. Many of the silent films that managed to survive in
archives and private collections are incomplete or suffered significant
damage and decay. During the 1980s, owing largely to the launch and
success of home cinema and the establishment of silent film forums and
events (e.g. Pordenone Silent Film Festival), a renewed interest in
silent film developed. More recently, high quality digital restoration
technology has given archives and independent silent film restorers new
opportunities to compensate for substantial filmic losses. In addition
to this, HD home media silent film releases, and internet platforms such
as YouTube, have made numerous silent films readily available to the
public. Although these current developments have arguably improved the
aesthetic qualities of many silent films and made them far more
accessible to the public, they have also raised controversial questions
surrounding the safeguarding of the filmmakers’ artistic intent, the
contextualisation and historical reliability of film experiences, and
the sustainability of digital preservation, amongst other issues. This
conference will analyse the impact of recent technological and
institutional developments on the study, experience, and restoration of
silent films and discuss sustainable ways forward.

Potential topics could include, but are not limited to:

* New narrative or technical analyses of specific silent film
restorations (case studies)
* Silent film restoration ethics (e.g. preserving silent filmmakers’
artistic intent)
* Digitisation, curatorship and reliability of historical evidence
* Silent film experiences, digital archive accessibility and film
scholarship
* Silent cinema journalistic writing (past and/or present)
* Theatrical presentation and distribution of silent cinema (past
and/or present)
* Home cinema, the internet and silent cinema audiences
* Silent film and sustainable analogue and digital preservation
* Silent film copyright
*

Submission Requirements:
Send 200-300 word abstracts with three key words on topics related to
the conference’s focus to* silentfilmhist@gmail.com*

We welcome abstract submissions from postgraduate researchers, film
scholars, film preservationists, and curators.

Deadline for Submission: 10th August 2018
Contact Person/Email: Laurence Carr: silentfilmhist@gmail.com
<mailto:Carr/silentfilmhist@gmail.com>

BOOK ANNOUNCEMENT: We are delighted to announce that we plan to
publish a selection of the best papers in an edited collection and are
currently seeking a publisher. Please submit an abstract for the
conference if you would like to be considered for both the event and the
edited collection.

FREE TO ATTEND

SMALL PGR TRAVEL BURSARIES AVAILABLE (LIMITED NUMBER)


Useful Links:

* Our 2018 silent film conference website:
https://silentfilmhist2018.wordpress.com
<https://silentfilmhist2018.wordpress.com/>

* The 2017 Audiovisual Heritage Meeting website, containing the names
and project titles of all speakers:

http://media.leeds.ac.uk/events/audiovisual-heritage-and-academic-research-at-the-university-of-leeds/


The event is a collaboration between the University of Leeds’ School of
Languages, Cultures, and Societies, the Universities of York and
Sheffield, and the Audiovisual Heritage Meeting. The conference is
generously funded by the Arts & Humanities Research Council and White
Rose College of the Arts & Humanities._

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Film as Film Today: On the Criticism and Theory of V. F. Perkins - Symposium



General registration is now open for limited places at the two-day
symposium 
Film as Film Today: On the Criticism and Theory of V. F. Perkins
<https://warwick.ac.uk/fac/arts/film/news/eventsarchive/filmasfilmtoday/>

which is taking place at the University of Warwick on the 4th and 5th of September 2018.

The keynote speakers are Adrian Martin, Laura Mulvey, and George Toles;
a full provisional programme for the two days can be found here
<https://warwick.ac.uk/fac/arts/film/news/eventsarchive/filmasfilmtoday/film_as_film_today_2018_draft_programme.pdf>.

Victor Perkins (1936-2016) was a foundational figure in the history of
British film education, a pioneering theorist of the medium, and among
the most insightful and eloquent writers on the art of film. His
historical significance for the fields of film criticism and film study
is uncontested. However, while Perkins’ work – particularly the seminal
/Film as Film/ (1972) – still influences certain strands of scholarship,
his contemporary relevance for critics, theorists, and students is
presently underappreciated. This symposium is dedicated to revaluating
Perkins’ critical methods and arguments by exploring their continued
utility for those studying film, television, audiovisual media, and
aesthetics today.

**

You can register for the symposium here
<https://warwick.ac.uk/fac/arts/film/news/eventsarchive/filmasfilmtoday/register/>.
The registration fee is £55 for unsalaried/pensioned delegates and £105
for salaried. The deadline for registration is *24th August*, but –
since numbers must remain limited – we do encourage you to register
sooner if possible.

Once you have registered, you will be directed to another page
<https://kxregistration.warwick.ac.uk/Registration/Welcome.aspx?e=962044035344B3FA4A8892F49DE93B06>,
where you can book on-campus accommodation and/or attendance at the
conference dinner. The deadline for booking either accommodation or
dinner is *12th August.*

There are single rooms available on campus for the 3 and/or 4 September,
costing £75 for one night or £135 for two nights, breakfast
included.Spaces on the night before the symposium (Monday) are limited,
so do book ASAP to be guaranteed a campus room. If you miss out on
on-campus rooms (and/or you also require accommodation for the Wednesday
night), please see the list of hotels in the vicinity here
<https://warwick.ac.uk/fac/arts/film/news/eventsarchive/filmasfilmtoday/accommodation_in_coventry_and_kenilworth.pdf>,
or search via UK hotel sites.

The conference dinner will take place on campus on Tuesday 4^th
September (in the Chancellor's Suite at Rootes Social
<https://www.google.co.uk/maps/place/Rootes+Social+Building,+6+University+Rd,+Coventry+CV4+7EZ/data=!4m2!3m1!1s0x48774acf5a75268f:0xcc8ba84c8fc1e5c4?sa=X&ved=0ahUKEwjk2PfN2OXbAhWK1hQKHWfjD10Q8gEIJzAA>);
it will be a 3 course set menu and costs £45.30.

The symposium takes place on the main University of Warwick
<https://warwick.ac.uk/> campus, in the Humanities building. You can
find the Humanities building on Google Maps here
<https://www.google.com/maps/place/Humanities+Building,+Coventry+CV4+7AL/@52.3819264,-1.5628642,17z/data=!3m1!4b1!4m5!3m4!1s0x48774ac55cf28001:0x545d30dd59d1b230!8m2!3d52.3818773!4d-1.5607596>;
see also an interactive campus map here
<https://warwick.ac.uk/about/visiting/maps/interactive/>. Registration
on the Tuesday will be at the Humanities Porter’s Lodge, 10.30-11am. The
final day’s programme on the Wednesday will finish at 6.30pm.

We anticipate that this symposium will play a key role in reassessing
the value and relevance of Perkins’ work for film criticism and theory
today, and defining its continued impact in the future. Confirmed
speakers include: John Gibbs; Andrew Klevan; Adrian Martin (keynote);
Laura Mulvey (keynote); Murray Pomerance; Douglas Pye; Robert B. Ray;
William Rothman; Sarah Street; and George Toles (keynote).


If you have any further questions, please do be in touch at
VFPerkinsconference@warwick.ac.uk
<mailto:VFPerkinsconference@warwick.ac.uk>.

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CfP: International Conference of Film and Media Studies "From Spectacle to Entertainment"



From Spectacle to Entertainment:
Cinema, Media and Modes of Engagement from Modernity to the Present

XXIV International Film Studies Conference
Roma Tre University – Department of Philosophy, Communication and
Performing Arts
Rome, November 22-23, 2018

Confirmed Keynote Speakers:
Thomas Elsaesser (The University of Amsterdam), Tom Gunning (The
University of Chicago)

DEADLINE: September 2, 2018
Over the course of the twentieth century, film style and consumption has
been investigated in relation to both live performance practices and
pre-cinematic visual devices. In particular, film scholars have
focused on the ways cinema has re-mediated elements of the nineteenth
century culture of spectacle; how film has complemented these elements
with technological innovations; how it has relocated them within new
visual regimes; and how cinema has represented an essential point of
conjunction between the developments of popular entertainment and the
dynamics of modernity.

The notion of attraction, for example, has allowed the debate in film
studies to outline different modes of negotiation between spectacular
and narrative regimes, between spectators and modes of
representation, and between popular and bourgeois culture. Overall,
cinema has contributed enormously to the configuration of modern
subjectivity. At the same time, theoretical investigation has also dealt
with the relationship between film spectatorship and metamorphoses in
modern subjectivity. Notions such as that of visual pleasure, for
example, have remapped the discussion of cinematic spectacle onto issues
ofengagement, subjectivity and corporeality, as well as cultural,
political and economical dynamics.

Recently, the discipline of media studies seems inclined to move beyond
the notion of spectacle and towards the study of the entertainment
practices pervading the present mediascape. Many scholars
have reflected, for example, on technological transformations: on their
connections to trans-media storytelling; on the way they shape the
imaginaries of globalization; and on their influence on the politics and
practices of creative industries. Crucial to the analysis of current
Hollywood trends is, for example, the notion of total entertainment, as
it accounts for both the expansive environments of entertainment created
by global media conglomerates and the new immersive modes of engagement.

How can the scholarship on film as spectacle – and in particular its
historical, theoretical, and methodological heritage – help us today in
understanding our post-cinematic, post-media culture? How is the complex
nexus of technologies, visual regimes, cultures of spectacle and forms
of subjectivity rearticulated in current entertainment practices? The
XXIV International Film Studies Conference at Roma Tre focuses on these
issues in relation to the more established areas of debate – early
cinema, ‘classical’, and post-classical Hollywood – as well as in
connection to different modes, devices, historical and geographical
scenarios.

The conference considers film as a crucial point of convergence between
late nineteenth century spectacular culture and contemporary
entertainment practices, but the areas of investigation are evidently
not limited to cinema. Below are some topics and issues that participant
could address from a historical and/or theoretical perspective, as well
as starting from specific case studies:

• The notions of ‘spectacle’ and ‘entertainment’
• Spectacle and modern urban subjectivity
• The relationships between devices, screens and forms of subjectivity
• Archaeologies of immersivity: panoramic formats, 3D, stereophonic
sound, etc.
• Melodrama as a narrative and spectacular regime
• The functions of epic and fantasy, and their exploitation
• Post-classical cinema, new blockbusters and cross-media storytelling
• Modes of the spectacular in everyday spaces (shopping malls,
department stores, theme parks, urban screens, etc.)
• The scenic space, from cinema to immersive media: the role of image
and sound
• The migration of cinematic imaginaries and narrative modes in new
media contexts
• From pleasure to play: new emotional regimes and gamification
• Stardom as spectacular practice
• Live performance and post-digital scenarios

The proposals are to be sent to the following email address:
roma3conference@uniroma3.it
Please include a title, an abstract (max. 250 words), 3-5 keywords, a
short biography, and contact information for the author(s).

Abstract deadline: September 2, 2018. Notification of acceptance:
September 7, 2018.

Presentations will be 20 minutes long. Languages of the conference are
English and Italian.

Organizers: Enrico Carocci, Ilaria De Pascalis, Veronica Pravadelli
(Department of Philosophy, Communication and Performing Arts – Roma Tre
University)

Conference fee (speakers): 40,00 EUR

*Website: <http://roma3conference.wixsite.com/filmmediaspectacle>*
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CfE: Avant-garde and Popular Forms between Music and Visual Media. Cinema & Cie Spring 2019



Avant-garde and Popular forms between Music and Visual Media.
Intermedial and Transhistorical investigations
Cinema&Cie International Film Studies Journal.
Special issue n. 33,
Spring 2019
edited by Simone Dotto, Francois Muillot, Maria Teresa Soldani.

deadline for submission: September 15, 2018
In 1987, Simon Frith and Howard Horne’s/Art into Pop/questioned the rise
of British Post-War popular music within the context of art schools,
employing cross-terms such as “rock bohemians” and “pop situationists”.
The authors focused on the 1970s and the aftermath of punk, finding a
close relation between popular music forms and art forms in the contexts
of several British cities as well as in New York City. More recently,
Simon Reynolds traced the genealogy of an “artistic bias” in popular
music back to the post-punk period of the late 1970s, when “art ideas
affected actual musical practices” (2009: 365) due to the influence of
not musically trained artists coming from the NYC experimental scene
such as Yoko Ono and Brian Eno.

So far, scholarly investigations on the intersections between popular
music and culture and avant-garde arts have been mostly limited to the
social cultural milieu of only two decades (1960s/1970s) and two
countries (U.S.A./U.K.). Essay such as Bernard Gendron’s/Between
Montmartre and the Mudd Club/(2002) and Sytze Seenstra’s/We are the
noise between the stations/(2003) constitute two notable exceptions
through their reframing of the American punk scene and of David Byrne’s
work through a diachronical comparison with French modernism and
conceptual romanticism, respectively. They do not only reassess the
collapse of hierarchical distinction between the social function played
by high arts and mass culture with the advent of late
modernity/postmodernity, but also take into serious consideration the
relationships between different media domains.

Drawing on a similar methodological approach, this special issue
of/Cinéma&Cie/aims to address the context made up of works of art in
music, film and video by tracing the ongoing exchange between
avant-garde and popular forms from trans-historical and intermedial
perspectives. We are interested, for instance, in how art groups as the
No Wave in NYC between 1970s and 1980s represented a ‘turn’ in cinema,
media, and performing arts through their connection to the East Village
art scene and by working contemporaneously with several media and art
forms. Mainly inspired by fellow musicians, No Wave created mixed
media-productions blending performance, music, film, and video. Its
originality stemmed out its concern with the presence of the TV in daily
life, the rise of the videoclip form, the codes of film genres, and the
symbols of pop/rock disseminated in mass media that functioned as a
fertile common ground of popular culture. Such independent art projects
have transformed traditional forms of film, TV format, and music into
performative acts taking the form of fictional films, TV shows, or
pop-rock songs.

We invite theoretical comparisons as well as analyses of case studies
that challenge the limits of such strategies, forms, and contents shared
by avant-garde and popular form. In other words, this special issue aims
to analyze recurring “motifs” among aesthetic formats, artistic
practices, production strategies, cultural uses, and theoretical
understandings of visual and sound media that took place in different
times and within different cultural contexts. How is this relation
between avant-garde and popular forms articulated today in past and
present cinema, popular music, and video examples? Which case studies
make such a relation emblematic?

Article proposals may involve (but are not limited to) the following topics:

– examples of intersections of avant-garde and popular music and visual
media aesthetics in the 1970s/80s/90s period;

– the relation between avant-garde and popular forms in specific fiction
films or videoclips;

– the influence of avant-garde music within fiction films and, vice
versa, the presence of popular music genres within avant-garde films,
using distinct case studies;

– analyses of production strategies blending both traditional and
disruptive strategies, avant-garde and popular forms, experimental and
established forms (e.g. the song, the fictional film, the videoclip).
These analyses could specify the nature of such a relation (e.g. is it a
dialectic, a tribute to, a critique?) and the aims of such strategies;

– the hidden and intervolved relations between avant-garde and popular
media artistic practices: in which ways do they inform each other? Is it
a reciprocal relationship?

– tools and strategies adopted in the audiovisual storytelling to
represent or self-represent avant-garde musicians (e.g. how does a
documentary visual form articulate the representation of an avant-garde
phenomenon? In such audiovisual works, which is the relation between
avant-garde musicians and a codified documentary storytelling?);

– the uses and misuses of specific technologies and media to map
possible continuities and similitaries between avant-garde and popular
cultural contexts;

– the historical and theoretical tension between live and mediated
performance in avant-garde and popular contexts, plus their implications
on the actual preservation and historicization of the artworks (e.g. are
our documental mediated sources limiting or affecting our historical
awareness of these artistic phenomena in any sense?);

– the convergence between popular music and video (e.g. videoclip,
mono-channel video) and their interaction in “performative” contexts
(e.g. multi-channels installations, live visuals), as well as how these
case studies are influenced by avant-garde forms and practices;

– how this relation may be revisited and articulated today in the
post-medial panorama.

*Submission details*

Please send your abstract (300–500 words in English + bibliographical
references) and a short biographical note to submissions@cinemaetcie.net
<mailto:submissions@cinemaetcie.net> by*September 15, 2018*.

All notifications of acceptance will be emailed no later than *September
30, 2018*. If accepted, 5,000/6,000-word essays will then be required
for peer review by *December 1, 2018*.

For further information, please
visit:http://www.cinemaetcie.net/2018/07/16/cfe33/
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