A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VI Encontro Anual irá decorrer de 4 a 7 de maio de 2016, na Católica Porto. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
[Saber mais] [Inscrever-se na AIM]
I IntermIdia Conference/II Encontro Cinemídia 2016: ‘Towards an Intermedial History of Brazilian Cinema’
9 a 11 de Novembro de 2016, Universidade Federal de São Carlos, Brasil
Como parte do projeto “IntermIdia – Towards an Intemedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method”, financiado pela FAPESP-AHRC, e conduzido por pesquisadores da Universidade Federal de São Carlos (UFSCar) e da University of Reading (UoR), este congresso internacional propõe a discussão da intermidialidade enquanto método historiográfico aplicado ao cinema brasileiro.
O congresso é organizado pelo Grupo de Pesquisa Cinemídia, coordenado por pesquisadores da UFSCar vinculados ao projeto IntermIdia.
A exemplo de diversas outras cinematografias, o cinema brasileiro desde seu início vem combinando tradições artísticas e culturais extra-fílmicas, tanto locais quanto importadas, que resultam em uma original combinação estética. Artistas e atores provenientes do teatro, ópera, dança, música, pintura, circo, rádio e televisão imprimiram marcas singulares na produção cinematográfica do país, que podem ser observadas em práticas tais como: os prólogos cinematográficos do início do século XX, que aconteceram sobretudo no Rio de Janeiro mas também em São Paulo; as chanchadas produzidas em escala industrial no Rio de Janeiro entre os anos 1940 e 1960; a presença do rádio, do teatro e da literatura nas produções dos estúdios Maristela, Multifilmes e Vera Cruz em São Paulo na década de 1950; o cruzamento de mídias na produção artística ligada à Tropicália ao longo dos anos 1960-80; o fenômeno árido movie/mangue beat, combinando música, cinema e cultura popular no Recife na década de 1990; e a tendência contemporânea de filmes sobre música. O congresso irá propor que esses encontros intermidiáticos implicam na quebra de fronteiras entre tradições locais e importadas, cultura erudita e popular, práticas de vanguarda e comerciais, recepção ativa e passiva, formas narrativas “clássicas” e “modernas”, constituindo assim um espaço democrático por excelência para a expressão artística e social. Alé m disso, o congresso irá propor que a intermidialiade enquanto método oferece a vantagem de uma abordagem não-linear e não-hierárquica da história do cinema. Será sugerido que diferentes fases de uma cinematografia nacional podem ser concebidas enquanto momentos de criação comparáveis entre si e interrelacionados. Desta forma, procura-se oferecer um método mais produtivo do que esquemas teleológicos decorrentes de modelos baseados em evoluções cronológicas e na distinção clássico-moderno ou centro-periferia, que inevitavelmente conduzem ao privilégio de certas formas fílmicas sobre outras, dentro dos limites estreitos das características específicas do meio. O congresso irá enfocar todo o percurso temporal das atividades cinematográficas no Brasil, do período silencioso até a atualidade, destaca n do e comparando encontros intermidiáticos em diferentes momentos históricos e espaços geográficos, a fim de discutir o cinema em toda sua riqueza cultural e complexidade política.
Ian Christie (Birkbeck College, University of London)
João Luiz Vieira (Universidade Federal Fluminense)
Lúcia Nagib (University of Reading)
Martine Beugnet (Université Paris Diderot – Paris 7)
Chamada para trabalhos
Serão aceitas propostas para comunicações individuais (doutores e doutorandos), com tempo de apresentação de no máximo 20 minutos, e para exibição de pôsteres (mestres e mestrandos).
O congresso tem especial interesse em propostas que abordem os seguintes tópicos relacionados ao cinema brasileiro:
- Intermidialidade e historiografia;
- Encontros intermidiáticos e interculturais;
- Intermidialidade como hibridismo;
- Cruzamento de mídias em experiências regionais;
- Identidade e intermidialidade;
- Cinema dos primeiros tempos e intermidialidade;
- Multimidialidade nos cinemas novos e no Cinema Novo brasileiro;
- Cruzamento de fronteiras entre genre e gender;
- Estudos midiáticos comparando cinematografias regionais, nacionais e transnacionais.
Normas para submissão
As propostas deverão contemplar temas e abordagens relacionados aos objetivos do congresso, indicados acima. Serão aceitas propostas enviadas em inglês ou em português, desde que acompanhadas pela tradução em inglês.
As propostas deverão incluir Resumo (máximo de 300 palavras para comunicações individuais e 200 palavras para apresentação de pôsteres), título, 3 a 5 palavras-chave, minicurrículo (máximo de 150 palavras), e-mail e instituição de origem.
A submissão de proposta será realizada exclusivamente através do firstname.lastname@example.org, até a data limite de 21 de agosto de 2016. O mesmo e-mail poderá ser utilizado para obter maiores informações.
As propostas selecionadas serão divulgadas no início do mês de setembro.
Informações sobre taxas e processo de inscrição bem como sobre a programação do congresso serão divulgadas em breve no site do projeto IntermIdia: http://www.reading.ac.uk/intermidia/
As apresentações dos trabalhos deverão ser feitas de preferência em inglês, mas apresentações em português também serão aceitas.
Envio das propostas: 21 de agosto de 2016
Divulgação das propostas selecionadas: início de setembro de 2016
Realização do Congresso: 9 a 11 de novembro de 2016
Dr. Flávia Cesarino Costa (Universidade Federal de São Carlos)
Dr. Luciana Corrêa de Araújo (Universidade Federal de São Carlos)
Dr. Samuel Paiva (Universidade Federal de São Carlos)
Dr. Suzana Reck Miranda (Universidade Federal de São Carlos)
Dr. Margarida Adamatti (Universidade Federal de São Carlos)
Apoio: FAPESP, AHRC, Pró-Reitoria de Pós-Graduação (UFSCar), Pró-Reitoria de Pesquisa (UFSCar), Programa de Pós-Graduação em Imagem e Som (PPGIS/UFSCar), Departamento de Artes e Comunicação (DAC/UFSCar).
(info atualizada em 26/07/2016)
CfP: Revista Media & Jornalismo: Media e Diversidade
Coordenação da edição: F. Rui Cádima e Marisa Torres da Silva
Nº 31 – Vol. 17, Nº2 (a sair em Outubro de 2017
Os novos contextos da geopolítica e as sucessivas crises económicas e sociais deste mundo globalizado têm vindo a colocar mais em evidência, neste século XXI, fenómenos já existentes ou emergentes, mas em relação aos quais, em particular nos media, não se estará porventura a dar a melhor resposta.
A complexa crise dos refugiados, a falta de futuro para os jovens, a invisibilidade mediática das minorias e das suas culturas, o empobrecimento das classes médias nos países desenvolvidos, são apenas alguns dos aspetos que emergem como consequência direta das crises económicas e sociais desta época contemporânea que vivemos, constituindo-se assim numa preocupação acrescida dos investigadores, designadamente no que se refere à análise dos contextos, das representações e do discurso dos media face a estes mesmos fenómenos.
Investigar a diversidade no sistema de media significa começar por verificar se os meios de comunicação dão “voz” às comunidades a que se destinam, se é um sistema globalmente “inclusivo” das minorias e das mulheres, por exemplo, tanto no conteúdo, como no emprego, ou mesmo na propriedade. Um recente estudo sobre a BBC concluía precisamente que as “minorias étnicas, regionais, nacionais e baseadas na fé estão insatisfeitas com a sua visibilidade e representação na televisão de serviço público”. Se este é o panorama na BBC, nos media em geral não será certamente melhor.
De forma a permitir um mais alargado e aprofundado debate destas questões na academia e no espaço público em geral, a revista Media & Jornalismo lança uma “call” dedicada ao tema “Media e Diversidade”. Pretendemos, fundamentalmente, contribuições que trabalhem alguns dos tópicos que nos parecem ter uma especial relevância neste domínio, numa perspetiva lata e aberta, nomeadamente na interrelação dos seguintes âmbitos com o sistema e o discurso dos media:
Minorias e diversidade cultural, étnica, sexual, linguística;
Multiculturalismo, pluralidade das expressões e vozes, conteúdo intercultural;
As questões da juventude; exclusão/inclusão sociocultural, subculturas juvenis;
Género e discriminação;
Pessoas com necessidades especiais, idosos, experiências de envelhecimento; acessibilidade online/offline;
Diversidade de géneros/conteúdos; concentração e pluralismo;
Defesa do património e da herança cultural nacional/local. A chamada de trabalhos termina a 31 de Dezembro de 2016.
O número será publicado em Outubro de 2017.
As normas de submissão encontram-se aqui.
Os artigos deverão ser enviados para os coordenadores do número:
F. Rui Cádima – email@example.com
Marisa Torres da Silva - firstname.lastname@example.org
(info atualizada em 25/07/2016)
iGesto’17 - International Conference on Gesture and Multimodality
02.02.2017 – 03.02.2017
Faculty of Arts and Humanities, University of Porto
iGesto, an interdisciplinary association recently founded in Porto, Portugal, is organizing its first conference to promote scientific exchange and research in Gesture Studies in Southwestern Europe. All researchers and practitioners who are interested in the study of gesture and multimodality in interaction are invited to submit their proposals on any of the topics listed below.
About Gesture Studies
This conference aims to bring together different approaches to ‘gesture’, an umbrella designation for the different kinds of co-expressive movements in utterance production in face-to-face communication as well as for bodily movements expressing emotions, attitudes, and feelings, also in dance, music, performance, and the visual arts.
Gesture and other kinds of body movements or kinesic modalities are directly related to what is being said and to how something is being said, and are integrated in the utterance process, and have distinct functions at different interactional levels. The term ‘gesture’ is commonly used to refer to upper-limb excursions, although it is also applied to co-speech movements of other body parts, such as facial expressions, torso and gaze orientation, and head movements.
Hand gestures are directly intertwined with spoken words, with the speakers’ and hearers’ ideas and communicative intentions. The relation between these gestures and other body movements and speech, the way they participate in the generation of a message, as well as how their semiotics and structure are linked with forms of conceptualizations of different domains of the experienced world represent the main research object within the area of Gesture Studies. Most approaches to the relation between gesture, speech and thought agree upon the existence of a tight link between gesture and speech production as well as upon the importance of gesture in the language acquisition process.
In performing arts, gesture has been understood as an individual’s embodied experience and as expression of the thinking process, or as part of a semiotic body whose rhythm, energy, and presence on stage induce the observer to generate meaning through the act of perception. Conceived as embodied movements directly or metaphorically related to enacted meanings, gestures have been approached from cognitive and phenomenological perspectives.
In theatrical contemporary dance, for instance, the gestures used by choreographers to convey their ideas and instructions to dancers tend to be metaphorical translations of abstract concepts. Thus, in the artistic and creative domains, the study of the origins of multimodal metaphors involving gestures, body movements, speech, music, and scenic elements, finds fertile soil for future research.
Although studies in gesture and multimodality have multiplied at international level, especially since the creation of the International Society for Gesture Studies in 2002, research in this field is still in its infancy in the Iberian Peninsula. It is hoped that iGesto’17 will be a catalyst for the development of this field in our part of the world by promoting dialogue and exchange among students, researchers, practitioners, and any other interested party.
Gesture and speech in different social contexts
Gesture and cultural heritage
Gesture and speech in different languages and cultures
Gesture and interpersonal coordination: mimicry and synchrony
Gesture and embodiment of abstract concepts and dimensions
Gesture acquisition in adults and children
Gesture in deaf adults and children; home sign languages, home sign systems
Gesture in sign languages
Gesture in the context of language mediation
Gesture and bilingualism
Gesture in L2 learning and teaching. Gesture in artistic creation: dance, performance, music, chant, painting, sculpture, cinema, photography
Neural activity in gesture production and perception
Gesture, cognition and culture in performative arts
Intention and perception in performance
Gesture and Multimodality in human-computer interaction
Adam Kendon (Professor Emeritus)
Isabella Poggi (Univsersità RomaTre)
Lluís Payrató (Universitat de Barcelona)
Sotaro Kita (University of Warwick)
Ana Mineiro (Instituto de Ciências da Saúde/Universidade Católica Portuguesa)
Anabela Cruz-Santos (Centro de Investigação em Educação CIEd – Universidade do Minho)
Carla Montez Fernandes (Centro de Linguística da Universidade Nova de Lisboa, FCSH)
Daniel Tércio (Instituto de Etnomusicologia-Centro de Estudos em Música e Dança /Faculdade de Motricidade Humana, Universidade de Lisboa)
Elena Zagar Galvão (CLUP/Faculdade de Letras da Universidade do Porto)
Isabella Poggi (Univesità degli studi RomaTre, Dipartimento di Filosofia, Comunicazione e Spettacolo)
João Veloso (CLUP/Faculdade de Letras da Universidade do Porto)
Lluís Payrató Gimenez (Universitat de Barcelona, Departamento de Filologia Catalana)
Isabel Galhano Rodrigues (CLUP/Faculdade de Letras da Universidade do Porto)
Jorge Salgado Correia (Instituto de Etnomusicologia-Centro de Estudos em Música e Dança/Departamento de Comunicação e Arte da Universidade de Aveiro)
Stephan Jürgens (Centro de Linguística da Universidade Nova de Lisboa
Vito Evola (Centro de Linguística da Universidade Nova de Lisboa/FCSUNL)
iGesto – Investigação do Gesto
CLUP – Centro de Linguística da Universidade do Porto
FLUP – Faculdade de Letras da Universidade do Porto
15.08.2016 – deadline for abstract submission (max. 500 words)
15.08.2016 – deadline for poster proposals
30.09.2016 – Notification of acceptance
The abstracts and poster proposals should be sent as Word or PDF file attachments to the following e-mail address:
They should be anonymised for blind review. The email should clearly indicate the name(s) of the presenter(s), university affiliation and email address.
(info atualizada em 22/07/2016)
Novo número da Aniki; Dossiê temático "Outros Filmes"
O novo número da Aniki: Revista Portuguesa da Imagem em Movimento já está online em www.aim.org.pt/aniki! Este número inclui o dossiê temático intitulado “Outros filmes”, editado por Sofia Sampaio, Raquel Schefer e Thaís Blank com artigos de Nico de Klerk, Lila Silva Foster, Maíra Magalhães Bosi, Lúcia Ramos Monteiro, Ricardo Vieira Lisboa e María Florencia Luchetti. O dossiê é acompanhado por uma entrevista a Hernani Heffner, conservador-chefe da Cinemateca do Museu de Arte Moderna do Rio de Janeiro.
Este número inclui ainda um ensaio de Gustavo Ramos de Souza sobre o cinema de Ingmar Bergman e as habituais recensões de livros, conferências, exposições e festivais de cinema.
A chamada de artigos para as diversas secções da Aniki está aberta em permanência. Mais novidades, em breve, sobre a próxima chamada de artigos para o próximo dossiê temático.
(info atualizada em 22/07/2016)
Arquivos em Movimento - Seminário Internacional de Documentário de Arquivo
Estão abertas as inscrições para apresentação de trabalho de doutorandos e doutores no Seminário Internacional de Documentário de Arquivo, realizado pelo Núcleo de Audiovisual e Documentário do CPDOC/FGV, no Rio de Janeiro, entre os dias 24 e 25 de novembro.
As submissões de resumos vão até 4 de setembro.
Entre os dias 24 e 25 de novembro o Seminário Internacional de Documentário de Arquivo - Arquivos em Movimento será realizado na sede da FGV, no Rio de Janeiro. O seminário propõe uma reflexão acerca das diferentes práticas de incorporação de imagens pré-existentes dentro do campo da produção audiovisual de caráter documental. Interessa interrogar os gestos artísticos que conferem às imagens novos sentidos, as estratégias estéticas e narrativas empregadas na incorporação dessas imagens em obras documentais e os diferentes olhares portados ao longo do tempo.
O evento contará com palestra de abertura proferida pelo professor Vicente Sánchez-Biosca, da Universidade de Valência, e com três mesas constituídas por comunicações de doutorandos e doutores submetidas e aprovadas pela comissão do evento. As mesas serão comentadas pelos professores convidados Eduardo Morettin (ECA/USP), Mônica Almeida Kornis (CPDOC/FGV) e Vicente Sánchez-Biosca. Os trabalhos apresentados poderão ser posteriormente selecionados para serem convertidos em artigos publicados em e-book intitulado Arquivos em Movimento.
O seminário Arquivos em Movimento acontece dentro do âmbito do Projeto de Desenvolvimento do Núcleo de Audiovisual e Documentário do CPDOC, financiado pela Fundação Getulio Vargas, contando também com o apoio da FAPERJ. Desde 2006, o Núcleo desenvolve atividades com alunos e pesquisadores da Escola de Ciências Sociais da FGV, possibilitando a realização de diferentes projetos centrados no uso da linguagem audiovisual. Como parte do CPDOC, instituição detentora do mais significativo acervo de arquivos pessoais de homens públicos do país, o Núcleo está comprometido com o debate em torno da preservação, circulação e reutilização das imagens de arquivo e deseja, através do seminário, contribuir para fomentar esse campo de estudos. O evento conta ainda com a consultoria da professora Mônica Almeida Kornis (FGV), coordenadora do Laboratório de Estudos Audiovisuais (LEAV/CPDOC).
O seminário Arquivos em Movimento recebe propostas de comunicação de doutorandos ou doutores dos Programas de Pós-Graduação reconhecidos e credenciados pelo MEC, que se enquadrem na temática do evento.
Prazos e regras de submissão de comunicação:
Os interessados em submeter propostas de comunicação devem enviar um resumo de até 5.000 caracteres (com espaço) até o dia 4 de setembro de 2016 através do formulário disponível na página do evento.
Os nomes selecionados serão divulgados na mesma página até o dia 12 de setembro de 2016.
Após ter o resumo aprovado, os participantes terão até o dia 15 de novembro para enviar seus textos completos seguindo o modelo a ser disponibilizado na página do evento. O não envio implicará na desclassificação automática para a publicação no e-book Arquivos em Movimento, que apresentará os resultados do encontro. Os artigos selecionados para a publicação receberão um pró-labore no valor de R$ 900,00.
Comissão julgadora: Arbel Griner; Mônica Almeida Kornis; Patrícia Machado e Thais Blank
Para mais informações consultar a página: http://cpdoc.fgv.br/seminario-arquivos-em-movimento
(info atualizada em 22/07/2016)
Victoria University of Wellington: Lecturer in Film Position
Lecturer in Film
School of English, Film, Theatre, and Media Studies
The School of English, Film, Theatre and Media Studies at Victoria University invites applications for a permanent position for a Lecturer in Film, to begin in January 2017. The appointee will have the opportunity to contribute to a vibrant critical and creative program in Film at Victoria, and to other academic and creative communities in Wellington, New Zealand.
We welcome applications from people with expertise in any area of Film Studies, including film production. We would look favourably on candidates with expertise in the following areas: Asian cinema, Pacific cinema, animation, and the representation of gender, race and/or sexuality. The ability to teach large introductory courses is essential.
The successful candidate will have a PhD in Film Studies or closely related field, a record of scholarly productivity, and the capacity to teach a broad range of introductory and advanced Film Studies courses.
Applications should include a letter of interest addressing teaching and research goals and a curriculum vitae with the name of three referees. A writing sample, teaching evaluations, and a research plan will be required for the next phase of the process but can be submitted initially.
For further information on the position contact Associate Professor David O’Donnell, Head of School (email@example.com<mailto:firstname.lastname@example.org>)
Please complete the online application form and submit your CV and cover letter by attachment at
Applications close on 5 September 2016 NZ Time
(info atualizada em 21/07/2016)
CfP VIEW Journal Vol. 6, Issue 11 / Summer 2017 History of Private and Commercial Television in Europe
CfP VIEW Journal Vol. 6, Issue 11 / Summer 2017
History of Private and Commercial Television in Europe
The perception of the European television and media landscape has been traditionally shaped by the contrast and constant comparison with the American one: state-run stations or public service broadcasting in Europe vs. commercial networks in the US. However, in most European countries it took to the last third of the 20th century, until commercial TV got proper permission, or started its activities. As a result, to date, the structure is characterized by coexistence of public service and commercial stations (in a mixed system only later opened to pay and over-the-top operators).
The history of European televisions’ commercialization, however, is way less linear, and more interesting and complex. In many European countries there have been early attempts to launch some form of private television, on a local, national, or even supra-national basis. Some of the early attempts to plant private TV are short-lived or failed totally (for example FFG 1960 in Germany), others like the ITV-Network (UK) or RTL Télévision (Luxembourg) were able to establish themselves already during the 1950s on a regional level aside the major public-service providers. In Italy, after a debate already originating in the 1950s, there has since the 1970s been plenty of – initially illegal – locally focused broadcasters, leaving space in the following decade to national commercial networks. And media moguls, such as Silvio Berlusconi, started from their own country and later tried to enter other markets, with mixed results. Additionally, the public-service stations themselves are often subjects to the principles of commercialization: most of them inserted commercials from the early days in their programming and/or had to buy broadcasting rights (e.g. for feature films, or TV series, sitcoms and other formats) from international markets, thus establishing other kinds of competition. This even occurred at state-run television in Eastern Europe. It is clear, the process of television commercialization didn’t just start during the 1980s, but its implementation was from the very beginning, and followed very different paths in each European country. Moreover, the emergence of consumer societies in post-war Europe and the dissemination of private TV seems a deeply interwoven process.
This issue of VIEW seeks to deepen our understanding of how aspects of commercialization in TV shaped the media culture in Europe. We aim to offer a scholarly view on the history of institutions, political and economic interests, technical conditions, legal frameworks, professional cultures, programmes and their aesthetics, scheduling and advertising, aspects of reception and reactions in societies, related discourses, and backlash on public service TV. Transnational, comparative and entangled perspectives are preferred.
Case studies on specific stations/companies/countries in Europe
Historical cases of successful and/or failed attempts of establishing private TV
Different developments/models of commercial TV in Europe: legal and illegal, free-to-air and pay TV
Transnational circulation of ideas, professionals and formats in commercial television across Europe
Direct and indirect relationships between Europe and the US, as a successful model for commercial television and/or as a critic and debatable issue
Impact of commercialization on TV formats, genres, content, and television schedules and programme flows
Competition to and convergence with public service TV
Political and societal discourses related to justifying, supporting/contrasting and establishing commercial television
Commercial television production and distribution cultures
Commercial television consumption and reception practices
“Silent” commercialization through license- and programme-trade
History of television commercials
The influence of technical preconditions and developments
Commercial TV archives and their issues (availability, conservation, catalogue)
Privatisation of TV in Eastern Europe after 1990/91
Video and audio essays presenting primary sources (e.g. oral interviews, audio-visual material) or other ways of exploring commercial TV in Europe.
Deadline for abstracts(max. 500 words): September 12, 2016
Deadline for full papers(3 – 6,000 words): January 14, 2017
Contributions are encouraged from authors with different expertise and interests in media studies, television broadcasting, political economy of communication, media economics and media industries, audience studies, from researchers to television professionals, to archivists and preservationists. We welcome contributions in the form of articles and video essays.
Submissions should be sent both to the managing editor of the journal, Dana Mustafa via email@example.com <mailto:firstname.lastname@example.org> and the assistant managing editor, Rieke Böhling via email@example.com <mailto:firstname.lastname@example.org>.
For further information or questions about the issue, please contact the co-editors: Christoph Classen via email@example.com<mailto:firstname.lastname@example.org> (Centre for Contemporary History Potsdam/Germany), Sonja de Leeuw via J.S.deLeeuw@uu.nl<mailto:J.S.deLeeuw@uu.nl> (Utrecht University/NL), and Luca Barra via Luca.Barra@unicatt.it <mailto:Luca.Barra@unicatt.it>(Università Cattolica del Sacro Cuore, Milano/Italy).
See www.viewjournal.eu <http://www.viewjournal.eu> for current and previous issues. VIEW is proud to be an open access journal. All articles are made findable through the DOAJ and EBSCO databases.
About VIEW journal
VIEW is published by the Netherlands Institute for Sound and Vision in collaboration with Utrecht University, University of Luxembourg and Royal Holloway University of London. It is supported by the EUscreenXL project, the European Television History Network and the Netherlands Organization for Scientific Research.
(info atualizada em 20/07/2016)
Job opportunity: Lecturer in Digital Cultures at the University of Sydney
The University of Sydney is currently seeking a Lecturer in Digital Cultures. Visit sydney.edu.au/recruitment <http://sydney.edu.au/recruitment/> and search by the reference number for more information and to apply.
Lecturer in Digital Cultures <http://sydney.nga.net.au/cp/index.cfm?event=jobs.checkJobDetailsNewApplication&returnToEvent=jobs.processJobSearch&jobid=076A3177-A98B-43E3-BB41-A64000EFF8BA&CurATC=EXT&CurBID=949319bc-8898-4f11-ac4b-9db401358504&jobsListKey=27e07175-6d70-4582-9cab-5ae080ade87a&persistVariables=CurATC,CurBID,jobsListKey&lid=77009100008>
Faculty of Arts and Social Sciences
School of Literature, Art and Media
Reference no. 1165/0716
Exciting opportunity for a research-active scholar with expertise in teaching digital cultures
·Join a dynamic, engaged group of academics in a leading centre for teaching and research on communication and media
·Full-time continuing, remuneration package: $117,000 per annum, which includes leave loading and up to 17% super
The University of Sydney is Australia's first university and has an outstanding global reputation for academic and research excellence. It employs over 7600 permanent staff, supporting over 60,000 students.
The Faculty of Arts and Social Sciences offers one of the most comprehensive and diverse range of humanities and social science studies in the Asia-Pacific region and is regularly ranked in the top 20 faculties of its kind.
Founded in 2000, and based in The School of Literature, Art and Media <http://sydney.edu.au/arts/slam/>, The Department of Media and Communications (MECO) <http://sydney.edu.au/arts/media_communications/>is a leading centre for teaching, research, and public engagement in many areas, including transformations in communication and media, journalism studies, digital cultures and technologies, culture and media, communication and media policy, public, corporate and political communication, health communication, media history, screen studies, and media and politics.
MECO has established itself as an outstanding, collegial environment for innovative research with interdisciplinary links with a broad range of researchers. We make internationally significant contributions to understandings of media, communication, and digital cultures, which are now central to our social, economic, political, and cultural arrangements. We also have a strong track record of research collaborations and external grant success, in addition to excellent media production facilities, including television and radio studios, and support from a Digital Media Unit.
In this exciting lectureship opportunity you will:
·teach and develop curriculum for undergraduate and postgraduate courses in digital cultures, and related areas of communication and media
·publish regularly in journals of high ranking and other quality outlets, and pursue research grants
·supervise higher degree research students as well as honours and master’s dissertation students
·develop effective interdisciplinary collaborations within the University and with external stakeholders
·engage with the digital media and communications industry, professions, and interested publics
·contribute to academic administration.
To be the successful candidate you will need:
·a PhD in digital cultures, communications and media, or related field
·teaching experience at tertiary level in digital cultures
·proven expertise and knowledge, research ability and research potential in digital cultures
·evidence of your ability to undertake academic administrative responsibilities
·a demonstrated capacity for engagement in cultural and industry debates regarding digital media and digital cultures
·the ability to work in a collegial and effective manner with a broad range of colleagues, students and external stakeholders from diverse cultural and professional backgrounds.
You will join a vibrant and collegial department accommodated in recently refurbished office spaces with excellent teaching and research resources. You will have the opportunity to collaborate with world leaders in the field at such centres as the Sydney Democracy Network, Charles Perkins Centre, Government and International Relations, and International Security Studies as well as the South-East Asia Centre, the China Studies Centre and faculty-based researchers across a range of disciplines.
The University of Sydney offers flexible working hours, supportive staff networks and generous superannuation.
Closing date: 11:30pm 9 August 2016 (Sydney time)
The University is an equal opportunity employer committed to equity, diversity and social inclusion. Applications from equity target groups, including women and people with disabilities are encouraged. As the University of Sydney has established a scheme to increase the number of Aboriginal and Torres Strait Islander staff employed across the institution, applications from people of Aboriginal and Torres Strait Islander descent are also encouraged.
© The University of Sydney
The University reserves the right not to proceed with any appointment.
(info atualizada em 19/07/2016)
Call for Papers XXII International Conference of Cinema Studies
Contemporary Film and Media Aesthetics: Culture, Nature, and Technology in the 21st Century
Roma Tre University – Department of Philosophy, Media, and Performing Arts,
Rome, November 24th–25th, 2016
/Confirmed keynote speakers/:
Stella Bruzzi (University of Warwick), Torben Grodal (University of Copenhagen),
Steven Shaviro (Wayne State University)
Audiovisual media are the basis for most of our experiences today. In a postdigital and postmedia age, they are a crucial element constituting the environment in which we are immersed, act, and sense ourselves and others. Furthermore, it is through media that we expand our sensorial abilities and redefine our own identity. According to widespread opinion, contemporary audiovisual culture implies a deep reconfiguration of experience, and a resulting rethinking of the 20th century paradigms. Cinema, television, photography, videogames, media art, and the web – together with new interactive and immersive technologies – constantly permeate artistic and everyday spaces. They stimulate and mobilize our affective and sensorial spheres, and involve our consciousness on many different levels. Research about media experience is hence increasingly located at the crossroads of biology, technology, and culture.
Which are the main approaches deriving from the transformations in the contemporary audiovisual scenario? Film and media aesthetics has recently proposed new models to address the interactions of screens, minds, and bodies. The growth of new interdisciplinary research areas demonstrates a new sensibility, thus restoring the idea of aesthetics as a theory of sensory experience – an experience that is investigated from various different perspectives, from naturalism to culturalism, and inspired by both continental and analytic frameworks. However, the emergence of new media arts and forms induces the consideration of aesthetics as a philosophy of art, especially with respect to the many creative uses of new technologies. These two aspects are not mutually exclusive; rather, an exploration of their interactions can enrich both of them.
The 22nd International Conference of Film Studies addresses contemporary trends in media and film aesthetics. We invite scholars and researchers from any involved discipline to propose an abstract addressing one the following issues − but not limited to them. Each issue can be approached from a purely theoretical perspective, or through specific case studies.
• The interactions between mind and screen, and their impact on the sensorial and affective experience of the viewer.
• Medium-body relations, including the idea of the body as medium.
• The impact of film and media experience on agency, conscience, subjectivity, and identity.
• The social impact of media emotions, with particular reference to trauma studies.
• Film and media aesthetics and politics: the aesthetic sensorium.
• Applicative implications of theoretical models, with particular reference to gaming, education, and medicine.
• Analytic and continental aesthetics: contrast and compare.
• Interdisciplinary fields of research: from affect theory to sensory studies, from cognitive media theory to neuroaesthetics, and beyond.
• Beyond ocularcentrism: embodiment, hapticity, and synesthesia.
• Classical film aesthetics and its development in the 21st century.
• Film aesthetic and ontology: parallels and differences.
• 19th and 20th centuries’ visual culture in light of the contemporary media landscape.
• Art in the postmedia age, and the new creative forms.
Contributors can send their abstract (300-500 words, 3-5 keywords, 3-5 bibliographic references) to email@example.com<mailto:firstname.lastname@example.org>
Please include a brief biography of the author(s), together with the main contacts.
The abstract must be received by August 25th, 2016.
All notifications of acceptance will be sent no later than September 5th, 2016.
Presentations will last 20 minutes. The conference’s languages are English and Italian.
/Organizers/: Enrico Carocci, Ivelise Perniola
(Roma Tre University – Department of Philosophy, Media, and Performing Arts)
/Fee (speakers)/: €40.00
(info atualizada em 19/07/2016)
Vacancies in Media Practice at Sussex
The School of Media, Film and Music at the University of Sussex have two new full time posts for talented practitioners.
Teaching Fellow in Photography
Teaching Fellow in Filmmaking and Scriptwriting
Deadline 14 August. To start September 2016.
Senior Lecturer Filmmaking
Convenor of MA Filmmaking
University of Sussex
(info atualizada em 18/07/2016)
CFP: Radical Film Geographies (SCMS 2017)
Radical Film Geographies: Global Circulation of Noncommercial Film Practices
Society for Cinema and Media Studies Annual Conference (Chicago, March 22-26, 2017)
Deadline for submissions: August 10, 2016.
This panel aims to trace connections between two key moments of radicalization of international noncommercial film practices: the late interwar period (c. 1929-1939) and the “Long 1968” (c. 1968-1978). Both periods stand out as intense moments of social unrest, and revolutionary potential. They also saw extraordinary developments in the theory, practice, and international circulation of radical noncommercial film practices (e.g. amateur cinema, propaganda films, third cinema, militant paradigms). Interestingly, radical film practices in the Long 1968 often turned the gaze back to utopian and revolutionary noncommercial film projects from the 1920s-1930s. Such experiences trigger compelling anachronistic dialogues among both historical periods.
Our discussion is inspired by recent reevaluations of the relevance of noncommercial and nontheatrical film cultures (Acland and Wasson, Streible). At the same time, it echoes recent research (Eshun and Gray, Hagener, Salazkina) that accounts for the way film culture circulated internationally throughout the 20th century. Instead of merely looking at particular national contexts around the recurrent theme of commercial cinema, these contributions take into account how noncommercial film cultures circulated globally from very early on. In the process, they blended different political, aesthetic, and social approaches to the medium.
Following these scholarly developments, this panel explores unaccounted networks of radical noncommercial film culture from different international contexts. We particularly encourage comparative analyses between both revolutionary nodes (1920s-1930s/1960s-1970s) in noncommercial film theory, practice, and historiography. We are especially interested in papers that engage with overlooked geographies (e.g. Global South, peripheral Western countries, etc.) and noncommercial film genres neglected in traditional film history.
Possible paper topics might include but are not limited to the following:
* Radical film culture exchanges in the 1920s-1930s and/or the
* Dialogues in radical film history between the late interwar period
and the Long 1968 (i.e. revival of utopian and revolutionary
practices, new approaches to early film theory and practice).
* Overlooked nodes, circuits and transcultural exchanges in
international noncommercial film history (congresses, festivals,
journals, institutions, etc.).
* Global film circulation beyond the commercial screen.
* Translation of film theory in different geographical and historical
Please submit a 250-word abstract, 5 bibliographic sources (articles or books), and a brief bio (2-3 sentences) to both *Pablo La Parra-Pérez* email@example.com <mailto:firstname.lastname@example.org>and *Enrique Fibla-Gutiérrez* email@example.com <mailto:firstname.lastname@example.org>. Deadline: August 10, 2016.
The panel dovetails with a proposed special issue on ‘International Radical Film Culture Circulation’ that aims to fill this gap in scholarship. If you are interested in being considered, please indicate it and send an expanded 500 word abstract for the special issue and a CV. We will notify those who submitted abstracts for the volume of a decision by December 15, 2016. Articles will be due by April, 2017.
(info atualizada em 18/07/2016)
Job vacancy: University of Cape Town
The Centre for Film and Media Studies (CFMS) in the Faculty of Humanities at the University of Cape Town, South Africa wishes to appoint a suitable candidate to help develop the Centre’s teaching, production and research in digital and mobile media studies, as soon as possible.
·A relevant Master’s level qualification is a minimum requirement, while a PhD or significant progress to a PhD would be desirable
·Experience inteaching digital and/or mobile media production skills at undergraduate level
·Experience inteaching academic courses.
*The following will be advantageous:*
·Supervision of creative and research projects
·Industry experience in digital and mobile media production
·A record of creative practice in the field of mobile and digital media
·The ability to develop the Centre’s digital and mobile media curriculum and convene academic and creative courses in this area
·Active research interests in areas such as; digital and mobile media studies, data journalism, internet studies, virtual reality, gaming, ethics and regulation or social media as evidenced by conference attendance and/or publications and/or creative output
The successful candidate would:
·Be responsible for supporting web and mobile production across production streams
·Lecture on digital and social media in the Media and/or Film majors
·Convene production and academic courses
·Supervise student projects and dissertations
·Contribute to research outputs in the Centre
The annual cost of employment, including benefits, is R558 915.//
*To apply*, please e-mail the below documents in a *single* *pdf file* to Ms Lily Nombombo at email@example.com<mailto:firstname.lastname@example.org>:
-UCT Application Form (download at http://forms.uct.ac.za/hr201.doc)
-Cover letter, and
-Curriculum Vitae (CV)
Please ensure the title and reference number are indicated in the subject line.
An application which does not comply with the above requirements will be regarded as incomplete.**
Only shortlisted candidates will be contacted and may be required to undergo a competency test.
*Telephone:* 021 650 5689 *Website:* www.hr.uct.ac.za <http://www.hr.uct.ac.za>
*Reference number:* E16102 *Closing date: *1 August 2016
/UCT is committed to the pursuit of excellence, diversity and redress in achieving its equity targets. //Our Employment Equity Policy is available at http://www.uct.ac.za/downloads/uct.ac.za/about/policies/eepolicy.pdf. //For this post we seek particularly to attract Black South African candidates. ///
UCT reserves the right not to appoint.
Professor of Media Studies
Director: Centre for Film and Media Studies
University of Cape Town
Private Bag X3
(info atualizada em 15/07/2016)
'Small Screen Fiction', special issue of Paradoxa
Editors: Astrid Ensslin (University of Alberta, Canada); Paweł Frelik (Maria Curie-Sklodowska University, Lublin, Poland); Lisa Swanstrom (Florida-Atlantic University, Boca Raton, Florida, USA)
In the last few decades, digital technologies have dramatically reconfigured not only the circumstances of media production and dissemination, but also many of their cultural forms and conventions, including the roles of users, producers, authors, audiences, and readers. Arguably the most spectacular of these digital transformations have affected the large screens of cinema multiplexes and the increasingly large screens of home televisions, but other narrative forms have emerged on a smaller screens as well. Today, with growing frequency, narratives are experienced on the smaller screens of laptops, tablets, and even mobile phones. These narratives often involve direct reader/viewer/player interaction, enabling highly idiosyncratic, individualized and unique narrative experiences. Some of these fictions are merely digitized or wikified versions of texts previously available in the codex form—their digital conversion affects some of the ways in which readers engage with them, but the basic structures of these narratives remain unchanged. Some others, however, have been written and designed (these two words often blur) specifically for these small screens. Their functionalities and affordances are not replicable in any other medial form, nor do they demonstrate an allegiance to any single pre-existing art form.
Paradoxa seeks articles for a special issue devoted to “Small Screen Fictions.” Both in-depth analyses of individual texts and more general, theoretical discussions are invited. The genres and media of interest include but are not limited to:
• DVD novels, such as Steve Tomasula’s TOC (2009);
• literary-narrative video games and ludic, gamelike fictions whose principal interest is in offering innovative storytelling experiences, such as Dear Esther (2012) and Device6 (2013);
• twitter and blog texts, such as Jennifer Egan’s “Black Box” (2012);
• collectively written, locative online texts, particularly those breaking narrative linearity, such as Hundekopf (2007), The LA Flood Project (2013) and The Silent History (2013);
• interactive graphic novels, such as Nam Le’s The Boat (2014);
• genre-bending, dialogic hybrids, such as Blast Theory’s Karen (2015);
• neo-hypertextual fictions enabled by user-friendly authoring software such as Twine;
• physically distributed narratives that make use of small screen spaces, not merely to create and display fictions, but also to navigate, negotiate, and interact with real-world spaces through geo-caching or other means, such as Ingress (2013), Cartegram (2014), and Call of the Wild (2015).
Similarly, possible approaches to such screen texts include but are not limited to:
• the changing cultural patterns and expectations of engagement with narrative;
• the reality and illusions of linearity and non-linearity;
• the shifting nature of public and private spectatorship;
• the role of touch and tactility, as well as other human senses in experiencing narratives;
• the blurring of the verbal and the visual, of fact and fiction, of reading and writing, of natural and artificial;
• the economic, social, and political contexts of authorship and readership of such texts;
• the implications of such narrative experiences for the meaning(s) and perceptions of fiction, genre and literature.
Abstracts of 500 words should be submitted by 15 August 2016 to the editors: Astrid Ensslin < email@example.com>, Pawel Frelik < firstname.lastname@example.org> Lisa Swanstrom < email@example.com>. Authors of selected abstracts will be notified by 30 September 2016. Full drafts (6,000 to 8,000 words) will be due by 31 December 2016.
(info atualizada em 15/07/2016)
Various job openings at Savannah College of Art and Design (SCAD)
Featured job openings
Chair of Film and Television > https://scadjobs.scad.edu/postings/12936
Professor of Film and Television: Postproduction > https://scadjobs.scad.edu/postings/13555
Professor of Film and Television: Cinematography > https://scadjobs.scad.edu/postings/9160
Part-time Professor of Film and Television (adjunct) > https://scadjobs.scad.edu/postings/12415
Part-time Professor of Cinema Studies (adjunct) > https://scadjobs.scad.edu/postings/13749
Chair of Motion Media Design > https://scadjobs.scad.edu/postings/13658
Part-time Professor of Animation (eLearning) > https://scadjobs.scad.edu/postings/13740
(info atualizada em 14/07/2016)
Gender, politics and the media
Comunicazione Politica - COMPOL, the leading Italian academic journal in Political Communication, opens a call for article for a special issue about "Gender, politics and the media. Lessons learned and struggles for change twenty years after the Beijing Fourth World Conference on Women" (_deadline July 30)._
The full text of the call for proposals is available below or online on the journal website (click on the english flag on the top right of the page): https://www.mulino.it/riviste/issn/1594-6061
(info atualizada em 14/07/2016)
CfP: Communicating family memory: remembering in a changing media environment
Special issue of /Communications/; guest-edited by Christine Lohmeier, University of Bremen
Memory and media are closely interlinked areas of research: In fact, memory has always materialized through cultural artefacts, various objects and the mediation of images, words and signs. Furthermore, memory as a social construct has a strong collective dimension. Even individuals’ memories can be viewed and made sense of within the context of different collectivities and social formations such as the family, an ethnic community or a nation. Media are essential for these groups to communicate with each other and thereby constitute and negotiate identities, or make sense of the world – past, present and future included.
The proposed special issue of /Communications/ aims to solicit articles which consider remembering and forgetting within the contexts of families. Next to the nation and ethnic communities, families are classic memory communities. Families shape the individual’s understanding of personal and collective identities and belonging, as well as notions of exclusion. Moreover, families can provide an immediate personal access to the past (through older family members and previous generations) as well as the future (children and imagined future generations).
In times of “deep mediatization”, communication within families has undergone some tremendous changes: a higher number of communication devices are in use with an increasing number of functions and media and communication devices present in most areas of everyday life. At the same time the pace of innovation is increasing – both in terms of devices and gadgets available and in terms of services and platforms on offer. Through everyday practices like texting and emailing, more and more digital traces are produced creating a sense that these activities are stored somewhere and therefore not forgotten. Meanwhile, it is also apparent that the data produced through these activities are not in one’s own hands and the people who generate them do not have complete control over them.
Simultaneously, heightened mobility (be it for work or leisure purposes), migratory experiences and flight, as well as divorces and ruptures within families provide challenges as well as perhaps new opportunities for creating family memory.
Submissions can address but are not limited to the following topics:
◊ media and memory practices in families
◊ negotiating memory through communication practices and media use
◊ the family as a memory community in the context of or in relation to other memory communities
◊ communicative practices and remembering in different types of families (single-parent, LGBT parents, mixed-race families, multi-generational families, foster families)
◊ representation of family memory in media texts, exhibitions, museums
◊ families as (dys-)functional memory communities
◊ critical approaches that question/further develop the concept of family and family memory
◊ theorizing mediated family memory
◊ communication and family memory in times of crises, migration and flight
◊ media, memory, mnemonic practices of transnational families
◊ the significance of objects and mediated memories for families
◊ forgetting in families in times of deep mediatization
◊ power relations/struggles concerning memory and communication matters within families
◊ methodological questions and reflections concerning researching family communication and family memory
◊ situating communicative practices and family memory in the context of mass communication
*Formal requirements and time line*
For this special issue /Communications. The European Journal of Communication Research/ accepts full articles (manuscripts of up to 8,000 words with present original work) and research in brief (manuscripts of up to 4,000 words). For further details see http://www.communicationsonline.eu/node/7
In a first step, please submit an extended abstract of about (600 – 800 words), indicating if you would like to submit a full article or a manuscript for research in brief. In addition, please provide a short biographical note (of no more than 150 words) of contributing authors. A selection of the abstracts received will be invited to provide full submissions. These will be peer-reviewed (double-blinded).
Suggestions for the book review section are also welcome.
Please submit abstracts to firstname.lastname@example.org <mailto:email@example.com>and firstname.lastname@example.org<mailto:email@example.com>
Deadline for abstract submission: 30 August 2016
Notification: 15 September 2016
Deadline for submission of full manuscripts: 15 December 2016
Final deadline for revisions: 30 April 2017
(info atualizada em 13/07/2016)
Call for Submissions: Imaginations: Journal of Cross-Cultural Image Studies
/Imaginations / is a multilingual, open-access journal of international visual cultural studies. It is published twice yearly and is double-blind peer-reviewed. As a knowledge democracy project, /Imaginations /is free to submit to and free to read.
/Imaginations /est une revue plurilingue à accès libre sur les études visuelles. Publiée deux fois par an, notre revue dispose d’un comité de lecture par des pairs en double aveugle.
/Imaginations /currently has three open CFPs:
1. Marshall McLuhan and The Arts | Marshall McLuhan et les arts (Oct 15)
2. Critical Relationality: Indigenous and Queer Belonging Beyond Settler Sex & Nature (Aug 1)
3. The Mise-en-scène of a Decade: Visualizing the 70s (Aug 20)
General Call for Papers: http://imaginations.csj.ualberta.ca/?page_id=8695
Please submit and share widely!
Brent Ryan Bellamy, PhD
SSHRC Postdoctoral Fellow, Memorial University
Managing Editor, /Imaginations Journal <http://imaginations.csj.ualberta.ca/>/
academia.edu <http://ualberta.academia.edu/BrentBellamy> & brentryanbellamy.com <http://www.brentryanbellamy.com/>
(info atualizada em 13/07/2016)
Call for Chapters - 'A Companion to Screen Production'
A Companion to Screen Production
Edited by Craig Batty (RMIT), Marsha Berry (RMIT), Kath Dooley (Curtin), Bettina Frankham (UTS) and Susan Kerrigan (Newcastle)
The ASPERA research sub-committee invites expressions of interest for chapters for its planned edited collection, /A Companion to Screen Production/ (for the Wiley-Blackwell series). With a focus on creative practice research and connections between the academy and industry, the book aims to be an important addition to the student and scholarly market, guiding its readers through the various processes, practices and philosophies that underpin the production of a screen work.
The planned structure of the book, including core questions and areas of study, is as follows:
Conceptualizing the screen work: ideas, intentions, contexts
This section explores what it means to be a screen practitioner, and how ideas, intentions and contexts shape how a screen work is conceptualized from the outset – and then continually re-conceptualized throughout the life of its production. It will ask questions and provide examples of how screen practitioners have thought about their work pre-development.
Developing the screen work: collaboration, imagination, distillation
This section uses the lens of development to probe the screen work, highlighting the usual importance of spending time ‘in development’ in order to get the most out of a story idea. It will cover aspects such as research, script development and practices of collaboration, asking what ‘good’ development looks like and what the benefits are of doing it.
Realizing the screen work: practice, process, pragmatism
In this section, the practices, processes and pragmatic decisions of screen producers underpin an exploration of what it means to make for the screen. The chapters in this section delve into screen production at its very literal. Through a series of case studies drawn from practitioners working across a range of forms and genres, this section considers the aesthetics, creative practices, possibilities and limitations, enablers and disablers, rules and logistical boundaries of a screen work.
Exhibiting the screen work: places, spaces, ecologies
This section discusses what happens to a screen work once it is made, and how the ecologies of exhibition determine the places, spaces and people that become involved in this stage of screen production. It covers traditional and emerging areas of screen exhibition, from film festivals and cinemas, to online devices and digital participation.
With a multi-voiced and international focus, /co-written chapters are strongly encouraged/ – especially where they bring together practitioners and researchers from different cultures and geographical contexts. Potential contributors are also strongly encouraged to consider chapters that weave together critical ideas with creative practices, and/or robust pedagogical approaches to screen production.
Please e-mail a 250-word chapter outline plus 100-word biography(ies) _to the section editors listed below_, by end of day (Australia time) *Monday1^st August 2016*.
Part 1 – Marsha Berry (firstname.lastname@example.org <mailto:email@example.com>)
Part 2 – Kath Dooley (firstname.lastname@example.org <mailto:email@example.com>)
Part 3 – Susan Kerrigan (firstname.lastname@example.org <mailto:email@example.com>)
Part 4 – Bettina Frankham (firstname.lastname@example.org <mailto:email@example.com>)
For any general enquiries, please email firstname.lastname@example.org <mailto:email@example.com>
We look forward to hearing from you!
(info atualizada em 12/07/2016)
Professor of Media and Communication
Location: Leeds - Main Campus
Faculty/Service: Faculty of Performance, Visual Arts & Communications
School/Institute: School of Media and Communication
Grade: Grade 10
Closing Date: Friday 16 September 2016
Interview Date: To be confirmed
The School of Media and Communication at the University of Leeds is a highly ranked department with a vibrant research culture and a commitment to excellence in teaching. The School seeks to appoint a Professor of Media and Communication to join us. You will be a leader in the field of media and communication, with a strong record of research, and a clear indication of the ability to achieve internationally recognised standards of excellence in research, student education, and academic leadership. You will be a committed teacher and outstanding communicator able to contribute to teaching and administrative activities in media and communication. We welcome applications from candidates with expertise that will contribute to or complement our existing strengths in cultural production and media policy; international communication; journalism studies; political communication; and visual and digital cultures.
Preliminary enquiries about the post may be made to:
Professor Bethany Klein, Head of School
Telephone: +44 (0)113 343 6979
The salary, which is negotiable, will be within the Professorial range - minimum £60,512 p.a.
(info atualizada em 11/07/2016)
CFP: New Heart and New Spirit: Perspectives on the Modern Biblical Epic
The extreme profitability of Mel Gibson’s /The Passion of the Christ/ in 2004 came as a great surprise to the Hollywood establishment, particularly considering its failure to find production funding through a major studio. Since this time, the big-budget mainstream biblical epic, long thought dead in terms of widespread marketability, has become a viable Hollywood studio product with regards to seeking both profits and critical acclaim, as well as outlets for auteurist ‘passion projects’ such as Gibson’s film, Darren Aronofsky’s /Noah/ (2014), and Ridley Scott’s /Exodus: Gods and Kings/. With this year seeing two new fiction films featuring depictions of Jesus, the crucifixion, and resurrection [/Risen /(dir. Kevin Reynolds) and/Ben-Hur /(dir. Timur Bekmambetov)], academic consideration of the modern biblical epic is both timely and highly relevant.
This is a preliminary call for papers and proposals for an edited collection using a broad range of approaches in the analysis of these films and this phenomenon specifically. Proposals can address, but are not limited to:
-Stylistic and narrative analysis
-Considerations of genre
-Historical and political contexts
-Industrial efforts to capitalise on this trend (see the short-lived Fox Faith studios in the mid 2000s and its products)
-Critical viability and acceptance
-Intersections of, or discord between, faith and fandom
-Representations of race and gender
-Auteurist analyses of these films
-Philosophical and more broadly theoretical approaches to these films and this trend.
Proposals and abstracts of approximately 300 words with a short bio can be submitted to Wickham Clayton by 31 August, at firstname.lastname@example.org <mailto:email@example.com> . Also feel free to email for expressions of interest and questions regarding the project.
(info atualizada em 11/07/2016)
CFP - Mise-en-scène: The Journal of Film & Visual Narration (1.1 Fall 2016)
deadline for submissions:
July 30, 2016
full name / name of organization:
Mise-en-scène: The Journal of Film & Visual Narration (KPU)
The Mise-en-scène editorial team is pleased to announce an open call for papers for the journal’s premiere issue. Debuting in the fall of 2016, Issue 1:1 will be a multimodal showcase for mise-en-scène scholarship that encompasses the latest research and theoretical concerns in film and media studies. Given the journal’s mandate to renew discourse around one of screen culture’s most ubiquitous yet indefinable terms, the submissions for this and all subsequent calls are to be mise-en-scène centric. Analysis of the image, frame or screen capture must play an essential role in each manuscript.
Authors are welcome to submit their work in one of the categories detailed under Section Policies. Topic areas may include, but are not limited to, the following:
Mise-en-scène across the disciplines
Pedagogical approaches to film and media studies
Film/video as a branch of digital humanities research
The deadline for submissions is July 30, 2016.
Interested in submitting to this call? Review the Author Guidelines and then proceed to the registration portal to begin the process.
All inquiries regarding this call can be director to the Editor-in-Chief, Greg Chan, available at firstname.lastname@example.org.
(info atualizada em 08/07/2016)
CfP - Media in Muslim contexts: inventing and re-inventing identities
The Aga Khan University will organise a media conference in November 2016.
MEDIA IN MUSLIM CONTEXTS: INVENTING AND RE-INVENTING IDENTITIES
CALL FOR PAPERS
Date: November 3-4, 2016
Location: Aga Khan University (International) in the UK, London
Deadline for submission of abstracts: July 31, 2016
The Aga Khan University¹s Institute for the Study of Muslim Civilisations<http://www.aku.edu/ismc> (ISMC) and Graduate School of Media and Communications<<http://akumedia.aku.edu/>http://akumedia.aku.edu/> (GSMC) seek to bring together academics and media professionals to discuss the central role of mass media in the contemporary Muslim World. Issues to be addressed include changes in media technology, identity formation, heritage destruction, resistance movements and censorship. We welcome paper submissions on a broad range of topics under these themes.
· Media and the invention of history: the invention and reinvention of national pasts; the creation of romantic visions of history through media, especially through film and television.
· Media as vehicles of resistance: media and popular resistance; construction of communities through social media.
· Iconoclasm and the Image Wars: questions of iconoclasm, heritage destruction and preservation; their coverage in international media, as well as the material rewriting of history.
· The Power of Satire: Humour and satire as instruments of dissent and dialogue; censorship and violent reaction; satire directed at Islam and Muslims and satire by Muslims directed at regimes, religious movements and other targets.
Submission of proposals
Papers are invited within the conference themes and accepted papers will be grouped into panels, with each speaker having 20 minutes to present their paper. Interested individuals should submit proposals to email@example.com<mailto:firstname.lastname@example.org>by July 31, 2016.
Proposals should include the following information:
· Name, institutional affiliation, and email address
· Paper title
· Abstract (of no more than 250 words)
Some conference participants may join via webinar and proceedings will be recorded and made available on the Institute¹s website. For all inquiries, please contact email@example.com<mailto:firstname.lastname@example.org>
The Call for Papers also available at <<https://www.aku.edu/events/pages/event-detail.aspx?EventID=362&Title=Media%20in%20Muslim%20Contexts:%20Inventing%20and%20Re-inventing%20Identities>https://www.aku.edu/events/pages/event-detail.aspx?EventID=362&Title=Media%20in%20Muslim%20Contexts:%20Inventing%20and%20Re-inventing%20Identities>
(info atualizada em 07/07/2016)
Gods, Icons, and Idols: Stars from Hollywood and Beyond
deadline for submissions:
July 15, 2016
full name / name of organization:
Film and History Conference 2016
CFP: Gods, Icons, and Idols: Stars from Hollywood and Beyond
An area of multiple panels for the 2016 Film & History Conference:
Gods and Heretics: Figures of Power and Subversion in Film and Television October 26-October 30, 2016
The Milwaukee Hilton
Milwaukee, WI (USA)
[EXTENDED] DEADLINE for abstracts: July 15, 2016
Stars are like gods: Worshipped. Admired. Emulated. Since the early twentieth century, stars have been the major cinematic draw for audiences and fans alike, and are an integral part of the filmmaking process, from the formulation of scripts to production strategies. For decades, A-list stars from film have made the transition to television, and today, transmedia stardom is more widespread than ever before. While much scholarly work focuses on stardom as an American phenomenon, many other countries and cultures have their own stars and star systems, which include different modes of “hero-worshipping” and industrial strategies.
This area invites 20-minute papers on a wide range of topics on stardom. Some possibilities include (but are not limited to):
Stars from the silent era to contemporary Hollywood
Stars from humble backgrounds or from established Hollywood families
Transnational stars who capture the imaginations of different countries around the globe
Stars from other industries outside of the U.S. such as India or Japan
Posthumous stars who continue to resonate long after their deaths or stars who were once
A-listers but are now largely forgotten
Stars who have gained notoriety through paths outside of Hollywood
Stars who consistently work in diverse media including television or new media
Stars who spend time and resources outside of acting to fight for political and social causes
Stars as auteurs
Economic and industrial strategies of stardom
Audiences, spectatorship, and fandom
Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. For updates and registration information about the upcoming meeting, see the Film & History website (www.filmandhistory.org).
Please e-mail your 200-word proposal by 15 July 2016, to the area chairs:
Savannah College of Art and Design
University of Kansas
(info atualizada em 06/07/2016)
European Screens conference - Debate on the implications of Brexit for UK film and TV
Debate on the implications of Brexit for UK film and TV – European Screens conference (University of York, 5-7 Sept)
University of York, 5-7 September, 2016
The British voters’ decision to leave the European Union is likely to have multiple consequences for the film and television industries in the UK and beyond.
MEDIA/Creative Europe funding, UK/European co-productions, the availability of British content on EU screens and EU content on British screens, the free movement of creative labour, the Europa cinema network, the Digital Single Market, the Audiovisual Media Services Directive, and UK tax rules are just some of the areas likely to be affected by the referendum result.
As part of the European Screens conference at the University of York (5-7 September), the MeCETES project will be hosting a special debate involving industry professionals and academic experts on the implications of Brexit for the UK film and television industries. Speakers include:
-Amanda Nevill (British Film Institute)
-Tim Bevan (Working Title Film)
-Mike Downey (European Film Academy)
-Duncan Petrie (University of York) – Chair
The three-day conference will provide further opportunity to discuss the implications of Brexit and many of the other challenges and opportunities facing film, TV drama and the audiovisual industries in Europe at this uncertain time, with debates on The future of public service broadcasting (Cassian Harrison, BBC Four; Katherine Sarikakis, University of Vienna; Ed Braman, University of York), Transnational adventures: European screens, European identity (Daniela Berghan, Royal Holloway; Laura Rascaroli, University College Cork; Tim Bergfelder, University of Southampton), Well-travelled European drama (Lucy Mazdon, University of Southampton; Paul Cooke, University of Leeds; Eva Novrup Redvall, University of Copenhagen), The state of European cinema (Will Higbee, University of Exeter; Angus Finney, London Film School; Michael Franklin, Goldsmiths University of London) and Enabling the circulation of European film (Martin Kanzler, European Audiovisual Observatory, Agnieszka Moody, Creative Europe – tbc).
There has never been a more important time for European film and media scholars to come together in the spirit of European collaboration, co-operation and cultural exchange, and in particular for UK-based academics to maintain and strengthen links with friends and colleagues in the rest of Europe. We are therefore delighted to offer a platform for over 40 research papers by academics from across Europe and beyond, covering the latest work on cultural diversity, transnational audiences, co-productions, historical drama, national representation, small national cinemas, and trends in European production, distribution, exhibition and consumption. The MeCETES team will also be presenting the findings of their three-year collaborative project on mediated cultural encounters through European screens.
Do join us for what will surely be a lively, timely and important event.
Visit our conference webpage for tickets and more information: www.mecetes.co.uk/european-screens <http://www.mecetes.co.uk/european-screens>
Tickets: £100 (academic staff) / £50 (students/unwaged)
(info atualizada em 06/07/2016)
Letras 53: Estudos Literários, 2016/Segundo Semestre
Título: Estudos narrativos: Componentes interdisciplinares
Ementa: A proposta de Letras 53 supõe o aproveitamento da crescente revitalização interdisciplinar dos estudos narrativos. Referimo-nos a “estudos narrativos” ou mesmo “narratologias”, pois tais expressões indicam a pluralidade de abordagens de que se beneficia a narratologia desde os anos 1990, cuja amostra pode ser conferida em duas importantes coleções de ensaios: Narratologies, editada por David Herman (Columbus: Ohio State University Press, 1999), e Narratologies Contemporaines, organizada por John Pier e Francis Berthelot (Paris: Éditions des Archives Contemporaines, 2010). Os termos, assim, já não designam apenas um subcampo da teoria literária estruturalista, mas a reemergência e transformação da análise narrativa por meio de uma ampla variedade de áreas de pesquisa – estudos cognitivos, linguísticos, culturais, fenomenológicos etc., que se alimentam daquela teoria e ao mesmo tempo rompem com seus limites, o que permite ainda estender os estudos narrativos a relatos transliterários, como os produzidos nas mídias digitais, no cinema, na televisão etc. Portanto, este número temático da Revista Letras espera receber textos que promovam a ampliação e diversificação da concepção de narrativa, propondo novas formas de estudo para suas dinâmicas e efeitos.
Prazo de Submissão: 01 de agosto de 2016. Contacto: email@example.com
Organizadores: Raquel Trentin (UFSM) e Carlos Reis (Universidade de Coimbra).
(info atualizada em 05/07/2016)