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 VII Encontro Anual irá decorrer de 10 a 13 de maio de 2017, na Universidade do Minho (Braga). 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

CFP: Transmedia UK - Bath Spa University


Transmedia UK: Sector by Sector

Media Convergence Research Centre and Centre for Culture and Creative Industries
Bath Spa University, Corsham Court Campus

One-Day Academic-Industry Workshop: Friday 24th November 2017

Confirmed Industry Speakers:
Alison Norrington, Creative Director at StoryCentral Ltd.

Lana Beckwith, Senior Content Development Manager at HarperCollins
Nataly Rios Goico, Creative Consultant at Conducttr
Kate Fitzpatrick, Senior Strategist at e3 Media
Tim Kindberg, CEO at Matter 2 Media Ltd.


Audiences now engage with media across multiple platforms, following the fictions of films and books across social media and video games, exploring brand universes and publishing enterprises across television, comics, websites, apps, etc. The transmedia phenomenon is now a defining strategy across the media industries for generating multiple revenue streams and for building closer relationships between content, brands and audiences. But when looking across online gaming, publishing, mobile media and digital marketing, which transmedia practices really make up the UK's multiplatform landscape?

It can be claimed that the creative strategies used for producing content across multiple platforms are typically characterised by the sector in which they operate - conceptualised as ‘storytelling’ in film and television, as 'content marketing' in advertising, as ‘engagement’ in publishing, for example. These sector-specific understandings limit the innovative potential for stories, worlds and brands to be crafted as transmedia entities for the digital age.

Transmedia UK: Sector by Sector tackles this problem by beginning to map the ways in which different UK media sectors are now responding to ideas, concepts and pressures of transmediality. This academic-industry workshop aims to identify the strategies and principles that now make up the transmedia practices in and across online gaming, publishing, mobile media, digital marketing and beyond, examining which practices operate across these various sectors while exploring what it means to distinguish between storytelling, publishing, interactivity and marketing in today's transmedia environment.

Exemplifying current approaches to transmediality in their respective sectors of online gaming, publishing, mobile media and digital marketing - as well as in sector-spanning transmedia consultancy contexts - the organisations involved in the workshop comprise:

* Conducttr <http://www.conducttr.com/>, a world-renowned audience engagement platform that integrates storytelling with gaming automation to build immersive, online and personalised gaming experiences for its users;
* HarperCollins <https://www.harpercollins.co.uk/>, one of the world’s foremost book publishers with a catalogue ranging from fiction to apps;
* e3 Media <https://www.e3.co.uk/>, one of the UK’s most awarded independent digital marketing agencies, providing creative solutions to real-world business problems;
* Matter 2 Media Ltd. <http://matter2media.com>, helping technologies grow to solve business problems and create experiences for users via mobile apps and social video;
* StoryCentral Ltd. <http://www.storycentral.com/>, which works globally with such companies as Walt Disney Imagineering, SundanceTV/AMC Networks, FOX International and Penguin to incubate
new franchises, participatory experiences, story architecture and audience engagement strategies.

This academic-industry workshop will feature presentations from staff representatives from all of these five industry partners, who will each discuss exactly what 'transmedia' or 'multiplatform' now means in their own sector-context.

We also invite proposals from researchers, postgraduate students and creative practitioners for short presentations that engage with the wider theme of 'Transmedia UK' from an academic perspective. Proposal topics may address, but are not limited to:

* Sector-specific approaches to transmediality (e.g. transmedia gaming, transmedia marketing, etc.)
* Understandings of 'creativity' and 'commerce' in the UK transmedia landscape
* Definitions of 'engagement' and 'interactivity' in the UK transmedia landscape
* Emerging transmedial convergences between online and offline media platforms
* Implications for cultural policy and copyright in the UK transmedia landscape

Please send proposals (300 words approx.) for 15 minute presentations along with a short biography to Matthew Freeman (m.freeman@bathspa.ac.uk<mailto:m.freeman@bathspa.ac.uk>) and Charlie Tweed (c.tweed@bathspa.ac.uk <mailto:c.tweed@bathspa.ac.uk>) by no later than Friday 22nd September 2017.

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Blogue GT Outros Filmes



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CFP: Special Issue of Science Fiction Film and Television on the female astronaut on screen



Special Issue of /Science Fiction Film and Television
Guest Editors: Lorrie Palmer and Lisa Purse

“When the Astronaut is a Woman: Beyond the Frontier in Film and Television”

With the release of /Hidden Figures/ (Melfi, 2016), public perception of the iconic era of the space race was reconfigured. The central image of the white male astronaut was replaced by one in which women of color dominated mathematics, science, and technology, thereby prompting a new cultural conversation. Indeed, this narrative of science fact signals another significant re-embodiment in our science fictions: the female astronaut.

Spaceflight and the astronauts who embark on mythic journeys of exploration have long been in the shadow of the macho military test pilots of the Mercury, Gemini, and Apollo missions. These men evoke nostalgia through their Right Stuff swagger, their personae as space race Cold Warriors, and as a collective Kennedy-esque metaphor for the American frontier. In the postwar decades of space travel, “the body of the astronaut [was] increasingly used as a projection screen for anxieties concerning the stability of gender categories” (Brandt 2006), so it is significant that recent iterations are moving beyond the traditional white male astronaut. We see this in the diversification of representations of space travelers in television and fiction film, particularly along the lines of gender, race and sexuality, as corporations race to Mars with crowd-sourced crews, and entertainment media revise cultural narratives about space exploration.

This special issue of /Science Fiction Film and Television/,therefore, seeks to integrate this contemporary moment of challenge to the hegemonic imagery of space travel by examining the genre’s aesthetic and representational characteristics and their relation to wider cultural discourses around gender, race, technology and ecology, and to theoretical debates about the body, technoscience and the post-human.

Along these lines, contributors may wish to re-evaluate depictions of female astronauts in films like /Contact/ (1997), /Solaris/ (2002),/Event Horizon/ (1997), or /Supernova/ (2000), or to map more contemporary representational trends in films such as /Interstellar/ (2014), /The Martian/ (2015), the /Star Wars/ or/Star Trek/ reboots, or Ripley’s legacy in the recent installments of the /Aliens/ franchise. Television series like /Dark Matter/ (2015-), /Ascension/ (2014), /The Expanse/ (2015-), or the new /Star/ /Trek: Discovery/ (2017-) would be of particular interest to this special issue. At the heart of these texts are female astronaut-protagonists who must negotiate their relationship to the legacy of existing depictions of space exploration, while also speaking to their contemporary context. Ultimately then, we ask how the reconfiguration of space race history—now made visible in /Hidden Figures/—broadens the frontier of science fiction scholarship.

Please send proposals by 30 September 2017 to Lorrie Palmer, lpalmer@towson.edu <mailto:lpalmer@towson.edu> and to Lisa Purse, l.v.purse@reading.ac.uk <mailto:l.v.purse@reading.ac.uk> with an author’s bio and a short (5-7 entries) bibliography.
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Lectureship in Film Theory


We in Film@CultureLab at Newcastle University are expanding our team. We are looking for a Lecturer in Film Theory to teach on our growing BA Film Practices degree and supervise on our innovative PhD programme. We would like to recruit someone who has a passion for film theory (including documentary theory) and film movements and who can inspire students to support our ethos that theory and practice are mutually enriching.

Film@CultureLab is the home of film practice at Newcastle University. We are a group of award-winning filmmakers and scholars committed to the ideal of documentary as a cinematic art form. We are proud to have Nick Broomfield and John Akomfrah as our Visiting Professors. And we are part of a thriving academic unit in Media, Culture and Heritage (MCH) located in the School of Arts and Cultures. The successful candidate will be expected to contribute to the research culture of MCH through her/his research activities and interests in film theory and / or documentary theory.

The post is available as a full time permanent position. The closing date for submitting application is 27th July 2017. We would like the successful candidate to start as soon as possible in the 2017-18 academic year. For more information please go to:
http://www.jobs.ac.uk/job/BCK981/b76984a-lecturer-in-film-theory/
Informal enquiries can be directed to the Head of MCH, Dr Darren Kelsey (darren.kelsey@ncl.ac.uk) or to Dr Ian McDonald (ian.mcdonald@ncl.ac.uk).

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CFP Science and Popular Culture Conference 2018



Papers, panels, and round tables are now invited for the Science & Popular Culture Area of the PCA/ACA Conference in Indianapolis, Indiana March 28-31 2018.


Proposals should be 100-250 words in length and can address any aspect of science and popular culture. Potential topics include (but are not limited to):

* Representations of science/scientists in television, film, art, print, and other media
* The cultural influence of science*/*influences of culture on science and scientists
* Use of popular culture texts (novels, films, television series, etc.) to argue for or against scientific theories such as evolution and climate change
* Internet culture and science
* Science-related cultural artifacts
* Scientists as celebrities/celebrity advocates of science
* Science communication, popularization and education
* Non-Western cultures and Science
* Intersections of science and the humanities
* Use of science in advertising and marketing
* Science fiction/science and fiction
* The artistic dimensions of science/science as art
* Critical examinations of scientifically framed popular beliefs and pseudoscience
* Public and popular dimensions of scientific debates
* Moments of conflict between scientific discoveries/knowledge/work and culture
* Science fandom

Submissions are open 1 July – 1 October 2017


To submit a paper visit:

http://pcaaca.org/national-conference/proposing-a-presentation-at-the-conference/


or email:

spcpca@gmail.com <mailto:spcpca@gmail.com>
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Call for Application - Editor-in-Chief Imaginations: Journal of Cross-Cultural Image Studies
We are searching for a new editor-in-chief of /Imaginations: Journal of Cross-Cultural Image Studies/. Please read below for English and French versions or follow the link - and please share with anyone who may be interested.


http://imaginations.csj.ualberta.ca/?p=9912

The Managing Editorial Team of /Imaginations /is seeking an Editor-in-Chief. The term is 3 years with the option to renew. This is a non-remunerated position. The role of the Editor-in-Chief includes identifying and securing guest editors for upcoming issues, overseeing the peer-review process, and taking a leadership role in the publication and launch of new issues. Fluency in French is an asset, but not a necessity. As an open access journal, /Imaginations/ relies solely on grants and institutional funding to cover production costs—the Editor-in-Chief will be involved in the process of securing future funding. A dynamic editorial staff based at the University of Alberta is well positioned to support the new Editor-in-Chief, but there is also flexibility regarding staffing and operations, if the Editor prefers to draw on local institutional resources.

*Role of Editor-in-Chief*

Provide leadership and vision for fulfilling journal mandate; secure journal funding by identifying and applying for grants; manage journal finances; manage Editorial Team; maintain communication with Editorial Advisory Board; communicate with academic associations that promote the journal; correspond with /Elicitations/ Reviews Editor; attract guest editors; manage publicity ranging from dissemination of CFPs and launch of issues (whether virtual or physical) to announcements via listservs and social media and the production of promotional materials. In general, oversee the functioning of the journal ranging from peer-review to final publication to archiving the journal into perpetuity.

To apply please send a CV along with a brief cover letter describing your interest in the position to Carrie Smith-Prei (carrie.smith-prei@ualberta.ca) and Brent Ryan Bellamy (bbellamy@ualberta.ca <mailto:bbellamy@ualberta.ca>). The position will remain open until filled. Review of applications begins September 1, 2017.

*About the Journal*

Founded at the University of Alberta in 2010, the journal is funded by the federal granting agency of the Social Sciences and Humanities Research Council of Canada (SSHRC). /Imaginations /is a knowledge democracy project, and committed to being free to submit to and free to read, and all submissions are subject to a double-blind peer-review process. Based out of Canada, the journal has a mandate to publish multilingual, open-access scholarship on visual cultural studies in English or French, as well as in the original languages whenever possible. /Imaginations /showcases artistic work and scholarly research. It focuses on innovative artistic practices and interdisciplinary, intercultural theoretical understandings of images, screens and visual culture. The journal provides an online installation venue for original artwork and publishes academic articles in original languages and translated into French or English. Please find the journal at: http://imaginations.csj.ualberta.ca

*Journal Structure*

The Editorial Advisory Board is composed of the leading scholars in visual culture from across the disciplines and around the world. The Managing Editorial Team is composed of several leading visual-culture scholars from across the arts and humanities, some of whom were founding editors of /Imaginations /and others who joined the journal at later stages, replacing outgoing members and bringing to the project their expertise in visual cultural theory and production. The Editor-In-Chief**is selected by committee and approved by The Editorial Advisory Board and the managing editorial team. Editorial roles are established and voted upon by the Editor-in-Chief and the managing editorial team. Each issue may have a managing editor.

*Journal Editorial Roles*

*Editor-in-Chief *The**Editor-in-Chief of /Imaginations /leads through consultation with the Advisory Editorial Board and with the assistance of the managing editorial board. /Imaginations /currently publishes between two and three issues per year, each with a special topic or dossier most often selected by a guest editor and organized around a guest artist. All articles and artist-interviews are vetted by the Editor-in-Chief and the Editorial Team before undergoing double-blind peer review prior to production and publication.

*Role of Managing Editorial Team *Participate in regular meetings; contribute to ongoing discussions regarding journal’s vision; network and recruit feature artists and scholarly contributors; promote the journal, take on the role of Managing Editor in rotation with other editors. Note: In order to streamline production processes each issues of the journal is assigned a managing editor. This role is different from the roles we all already assume in the production of each issue.

*Role of Managing Editor:*Manage peer-reviews, organize translation with French Editor and Editor-in-Chief; organize copyediting with Editor-in-Chief;manage submissions and assign them to appropriate managing editor; respond and oversee the proper copyright practices for image reproduction; finalizing all materials before transitioning content to Web Editor and Design & Technical Editor.

*Role of French Editor *Manage translations of all CFPs, abstracts, bios, and other bilingually produced Imaginations content; solicit artist and scholarly contributions in French; recruit French-language reviewers.

*Role of Copy Editor *Copyediting texts; sending revisions to contributors, copying managing editor and Editor-in-Chief; updating style sheet and author guidelines as needed. *Note*: We have had a Copy Editor. Over the past two years, that position has largely been vacant, at best occupied on an issue-to-issue basis. Graduate students were hired to perform certain copy-editing tasks. These responsibilities have fallen to the managing editorial team.

*Role of Design & Layout Editor *Create final PDF design and cover-design; format images and video for print and web publishing formats; keep current on e-publishing trends to remain relevant and propose necessary transitions to new formats/platforms; assist Web Editor with technical complications.

*Role of Web Editor *Upload/publish all content to WordPress site, working with technical editor in terms of images and any streaming video; upload PDFs to both WordPress and OJS; archive all visual material through DOAJ, EBSCO, OJS, and CSJ server; ensure links and video streaming are functional; manage communications with potential authors; correspond with digital repository librarians and technical support staff to ensure the maintenance of websites, as well as to stay current on new digital publishing developments; publish/go live once signed off onmanage Google Analytics; organize tags (digital keywords that increase searchability); manage Digital Object Identifier (DOI) numbers through CROSSREF.

*Role of Elicitations Review Editor *Attract reviews by identifying issues of interest; recruit reviewers; correspond with publishers and curators regarding review topics; edit reviews; correspond with reviewers; upload/publish reviews online.

*Role of Advisory Board *Created through invitation, it has a standing membership composed of mainly highly recognizable and well-established scholars. The managing board largely draws the expertise of the Advisory Board, when/where consultation/advise is necessary, and by encouraging active involvement as guest-editors. The advisory board is kept informed through written updates and by distributing to them publicity materials so that they can actively promote the journal. In future, should managing editors choose to rotate off, they will be invited to join the Advisory Board, so that /Imaginations /may continue to benefit from their visual culture expertise as well as their digital publishing knowledge.

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L’équipe éditoriale d’/Imaginations /est à la recherche d’un rédacteur ou d’une rédactrice en chef. Le mandat est de 3 ans avec possibilité de renouvellement. Il s’agit d’un poste non rémunéré. Les tâches de l’éditeur en chef incluent : identifier et trouver les rédacteurs invités pour les numéros à venir, superviser le processus d'évaluation par les pairs, et assumer un rôle de leadership lors de la publication et du lancement des nouveaux numéros. La maîtrise de l’anglais est essentielle. En tant que revue publiée en libre accès, /Imaginations/ dépend entièrement des subventions et du financement institutionnel pour couvrir ses coûts de production. Le rédacteur en chef participera au processus d'obtention de fonds futurs. Une équipe éditoriale dynamique basée à l'Université de l'Alberta est bien placée pour appuyer le nouveau rédacteur en chef, bien que nous soyons flexibles quant à la dotation en personnel et aux opérations, si l'éditeur préfère recourir à des ressources institutionnelles locales.

*Rôle du rédacteur en chef*

Faire preuve de leadership et proposer une vision afin de répondre au mandat de la revue; mobiliser les fonds nécessaires en identifiant et en remplissant les demandes de subventions; gérer les finances de la revue; gérer l’équipe éditoriale, maintenir la communication avec le comité scientifique; communiquer avec les associations savantes qui font la promotion de la revue; correspondre avec le rédacteur des comptes rendus critiques (/Élicitations/); persuader les rédacteurs invités; gérer la publicité : de la distribution des appels à contribution et du lancement des numéros (virtuel ou physique aux annonces via les listes de diffusion et médias sociaux et à la production de matériel promotionnel. En général, superviser le fonctionnement de la revue, de l'examen par les pairs à la publication finale et l’archivage de la revue afin d’assurer sa pérennité.

Pour déposer votre candidature, veuillez soumettre un curriculum vitae ainsi qu’une brève lettre de présentation décrivant votre intérêt pour ce poste à Carrie Smith-Prei (carrie.smith-prei@ualberta.ca <file:///C:\Users\Brent\Downloads\carrie.smith-prei@ualberta.ca>) et Brent Ryan Bellamy (bbellamy@ualberta.ca <mailto:bbellamy@ualberta.ca>). Le poste restera affiché jusqu'à ce qu'il soit pourvu. Les candidatures seront examinées à partir du 1^er septembre 2017.

*À propos de la revue*

Créée à l’Université de l’Alberta en 2010, la revue est financée par le Conseil de recherche en sciences humaines du Canada (CRSH), un organisme fédéral. /Imaginations/ est un projet de connaissances démocratique qui s’appuie sur la liberté de présenter des contributions et de les lire. Les contributions font l’objet d’un examen par les pairs à double insu. Établie au Canada, la revue a pour mandat de publier des travaux plurilingues à accès libre sur les études visuelles, et ce, en français ou en anglais ainsi que dans leur langue d’origine, lorsque possible. /Imaginations/ offre une vitrine aux œuvres artistiques et à la recherche universitaire. Elle est centrée autour de pratiques artistiques novatrices et interdisciplinaires, de compréhensions interculturelles et théoriques des images, des écrans, et de la culture visuelle. La revue offre un espace d’exposition en ligne pour des œuvres d’art inédites et publie des articles universitaires dans leur langue d’origine ainsi que traduits en français ou en anglais. Pour en savoirplussur la revue, veuillez consulter notre site Web : http://imaginations.csj.ualberta.ca.**

*Structure de la revue *

Le comité scientifique est formé d’éminents chercheurs en culture visuelle de nombreuses disciplines et ce, à travers le monde. L’équipe éditoriale est composée de plusieurs spécialistes de la culture visuelle des domaines des arts et des sciences humaines. Certains ont cofondé /Imaginations/ et d’autres ont rejoint la revue plus tard, remplaçant ainsi les membres sortants et apportant leur expertise en matière de théorie culturelle et production visuelles. Le rédacteur en chef est sélectionné par un comité et approuvé par le comité scientifique et l’équipe éditoriale. Les rôles éditoriaux sont définis et votés par le rédacteur en chef et l'équipe éditoriale. Chaque numéro est confié à un rédacteur responsable.

*Rôles éditoriaux de la revue *

*Rédacteur en chef *Le rédacteur en chef d'/Imaginations /assume un rôle de leadership en concertation avec le comité scientifique et avec l’appui de l’équipe éditoriale. /Imaginations/ publie actuellement entre deux et trois numéros par an, chacun avec un thème ou dossier spécifique le plus souvent sélectionné par un éditeur invité et organisé autour d'un artiste invité. Tous les articles et les entrevues avec les artistes sont examinés par le rédacteur en chef et l’équipe éditoriale avant d’être soumis à un examen par les pairs à double insu avant la production et la publication. //

*Rôle de l’équipe éditoriale *Participer à des réunions régulières; contribuer aux discussions quant à la vision de la revue, faire du réseautage et recruter des artistes invités et des collaborateurs universitaires; promouvoir la revue; assurer le rôle de rédacteur en rotation avec les autres membres de l’équipe éditoriale. *Remarque :* Afin de rationaliser les processus de production, chaque numéro de la revue est confié à un rédacteur responsable. Ce rôle est différent des rôles que nous assumons tous dans la production de chaque numéro.

*Rôle du rédacteur *Gérer les examens par les pairs; orchestrer la traduction avec le rédacteur pour le contenu en français et le rédacteur en chef; organiser la révision avec le rédacteur en chef; gérer les contributions et les attribuer au rédacteur responsable; satisfaire et superviser les pratiques appropriées en matière de droit d'auteur pour la reproduction d’images; finaliser l’ensemble des documents avant de les transférer au rédacteur Web et au rédacteur responsable de la conception et de la mise en page.

*Rôle du rédacteur pour le contenu en français *Gérer la traduction de tous les appels à contributions, résumés, bios, et autres contenus d'/Imaginations/ produits de manière bilingue; solliciter des contributions artistiques et universitaires en français; recruter des critiques francophones.

*Rôle du réviseur *Réviser les textes; envoyer les corrections aux contributeurs avec le rédacteur responsable et le rédacteur en chef en copie conforme; au besoin, mettre à jour la feuille de style et les consignes aux auteurs. *Remarque :* nous avons déjà eu un réviseur. Toutefois, au cours des deux dernières années, ce poste est demeuré en grande partie vacant, au mieux occupé au cas par cas. Des étudiants diplômés ont été embauchés pour effectuer certaines tâches de révision. Ces responsabilités sont dorénavant assumées par l'équipe éditoriale.

*Rôle du rédacteur responsable de la conception et mise en page *Concevoir la version définitive du PDF et de la page couverture; formater les images et vidéos pour la publication papier et la diffusion Web; se maintenir à jour sur les tendances de publication numérique afin de rester pertinent et proposer les transitions nécessaires vers de nouveaux formats/nouvelles plates-formes; appuyer le rédacteur Web lors de problèmes techniques.

*Rôle du rédacteur Web *Télécharger/publier tout le contenu sur le site WordPress, en collaboration avec le rédacteur responsable de la conception et mise en page au niveau des images et vidéos en continu; télécharger les fichiers PDF sur WordPress et OJS; archiver tout le matériel visuel via DOAJ, EBSCO, OJS et le serveur du CSJ; veiller à ce que la diffusion vidéo et les liens soient fonctionnels; gérer les communications avec des auteurs potentiels; correspondre avec les bibliothécaires numériques et le personnel de soutien technique afin d’assurer la maintenance des sites Web et se tenir au courant de l’évolution de l’édition numérique; publier une fois connecté à Google Analytics; créer des étiquettes (mots-clés numériques qui facilitent la recherche); gérer les codes d'identification d'objets numériques (DOI) via CROSSREF.**

*Rôle du rédacteur des comptes rendus critiques (/Élicitations/) *Susciter des comptes rendus critiques en identifiant des questions d'intérêt; recruter des auteurs et correspondre avec eux; correspondre avec les éditeurs et conservateurs au sujet des comptes rendus critiques; réviser les critiques, télécharger/publier les comptes rendus critiques en ligne.

*Rôle du comité scientifique *Créé par l’entremise d’invitations, il est doté de membres permanents dont la majorité est des universitaires hautement reconnus. L’équipe éditoriale tire largement parti du savoir-faire du comité scientifique lorsque des consultations/recommandations sont nécessaires, de même qu’en encourageant une participation active en tant que rédacteurs invités. Le comité scientifique est tenu informé au moyen de mises à jour écrites et de matériels publicitaires afin qu'il puisse promouvoir activement la revue. Dans l’éventualité où des membres de l’équipe éditoriale choisiraient de céder leur poste, ils seront invités à joindre le comité scientifique afin qu’/Imaginations/ puisse continuer à bénéficier de leur expertise en culture visuelle et de leur connaissance de l'édition numérique.



Dr. Carrie Smith-Prei
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Chair, Modern Languages & Cultural Studies
Associate Professor, German Studies
University of Alberta
Coeditor/Women in German Yearbook/(WiGY)
Coeditor/Seminar: A Journal of Germanic Studies/
Profile <https://uofa.ualberta.ca/arts/about/people-collection/carrie-smith-prei> | Digital Feminisms <https://www.ualberta.ca/research/research-initiatives/digital-feminisms-and-feminist-futures> | Research <http://www.artsrn.ualberta.ca/feminism/> | Imaginations <http://imaginations.csj.ualberta.ca> | WiGY <http://www.nebraskapress.unl.edu/product/Women-in-German-Yearbook,673912.aspx>| Seminar <http://www.utpjournals.press/loi/seminar>
/
/
/The Department of Modern Languages and Cultural Studies at the University of Alberta is committed to creating welcoming physical, material, and intellectual spaces by respecting and celebrating differences of gender identity and expression, race, sexual orientation, ability, class, ethnicity, nation, and religion. We honour our location in ᐊᒥᐢᑿᒌᐚᐢᑲᐦᐃᑲᐣ (Amiskwacîwâskahikan) on Treaty 6 territory./
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CFP: The ​Left Conference - Photography and Film Criticism



The CiC.Digital Pólo FCSH <https://www.facebook.com/cicdigitalpolofcsh/?fref=mentions> and Instituto de História Contemporânea <https://www.facebook.com/ihc.fcsh.unl/?fref=mentions> of​ Faculdade de Ciências Sociais e Humanas - FCSH NOVA <https://www.facebook.com/FCSHUNL/?fref=mentions>​​,​ ​New​ ​University​ ​of Lisbon,​ ​decided to extend until​ ​july 31 the deadline for submission of texts to be presented at the International​ ​Conference "​The ​Left Conference - Photography and Film criticism". ​
​November​ ​16-18​​ at the Contemporary Art Museum of Chiado in Lisbon and Faculty of Fine Arts/ University of Lisbon, Portugal​​.

Please send your abstracts until July 31st, 2017 to:
paulo.catrica@gmail.com <mailto:paulo.catrica@gmail.com>
detomasi.filippo@gmail.com <mailto:detomasi.filippo@gmail.com>

+info: : https://photographyandtheleft.wordpress.com <https://photographyandtheleft.wordpress.com/>

<https://www.facebook.com/cicdigitalpolofcsh/photos/a.845933848816950.1073741828.768802493196753/1401534493256880/?type=3>

Since the late nineteenth century the print photograph in the media stood as a powerful tool for denouncing social injustice and claiming better life conditions – i.e. as seen in the work of Jacob Riis, Lewis Hine, or Joshua Benoliel, as many others. In the early decades of the twentieth century the use of images had a significant boost with film, when directors such as Flaherty, Eisenstein, John Grierson, Vertov, Dvorjenko or Jivens, combining documental intentions with avant-garde experimental claims, made possible to discuss political and historical conditions.

The aim of the conference is to discuss and debate photographs and film as a social tool from a leftist stance. In particular, to examine and explore the relation of documentary practices and political commitment in different historical circumstances throughout the twentieth and the twenty first centuries.

Keynote speakers
Gail Day (University of Leeds)
Steve Edwards (Birbeck College)
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CFP: Confronting the Narratives of the Anthropocene (Nov 23-24, 2017; Tampere, Finland)



Narrare: Centre for Interdisciplinary Narrative Studies at the University of Tampere will host a two-day symposium “Confronting the Narratives of the Anthropocene” November 23-24, 2017. The deadline for abstracts is October 6, 2017.


Invited speakers: Axel Goodbody (University of Bath) and Brian McAllister (Ohio University).



Since its coining in 2000 by Paul Crutzen and Eugene Stoermer, the concept of the Anthropocene has become a common buzzword in various disciplines, including the natural and social sciences as well as environmental humanities. Even though the International Commission on Stratigraphy is still debating the status of the Anthropocene as an official geological epoch, the term itself is now commonly used to reflect the planetary impact of collective human activity. In the discourse of the Anthropocene, the entire human species is situated as a geological force capable of inducing massive changes upon the biosphere of the planet.

In the humanities and social sciences, the recent introduction of a new planetary epoch has been typically approached as a narrative problem. For many scholars, the Anthropocene represents a new grand narrative where the abstract category of “humanity” is portrayed as a universal agent uniformly responsible for the Earth’s new geological regime. For others, it indicates a convergence of human and natural histories and suggests a new kind of entangled relationship between human and non-human agencies. From a narratological point of view, the Anthropocene also presents a crisis of scale: it demands a multifocal perspective on human actions as well as planetary ecology. The stories of the Anthropocene do not concern human beings alone, but the entire Earth and its inhabitants.

In this interdisciplinary symposium on narratives of the Anthropocene, we ask: What are the narratives of planetary-scale environmental change? What is the role of fictional and factual narratives in tackling the complex natural-cultural issues of the proposed geological epoch? In the age of the Anthropocene, whose story should “we” be telling, how, and to what purpose?

We invite papers dealing with topics such as:
– Grand narratives of the Anthropocene
– Representations of the Anthropocene in narrative fiction; climate fiction
– Narrative form, genre, and the Anthropocene
– Anthropogenic apocalyptic narratives, dystopias, and utopias
– Environmental risk narratives
– Human and non-human agency in the narratives of the Anthropocene
– Narrative sense-making and the Anthropocene; unnarratable aspects of planetary-scale environmental change

Please send a 300-word abstract for a 20-minute paper to juha.raipola@uta.fi no later than October 6, 2017. Also include your affiliation, e-mail, and a 100-word bio. We will notify you of acceptance on October 13, 2017.

Further information will be posted on Narrare’s website:
https://research.uta.fi/narrare/
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Blogue do GT OUTROS FILME
O blogue GT OUTROS FILMES foi pelo GT Outros Filmes da Associação de Investigadores da Imagem em Movimento (AIM). O objectivo do blogue é possibilitar a construção de redes com outros grupos de pesquisa (networking) e a divulgação internacional de materiais de pesquisa (ex. vídeos), chamadas de trabalhos académicos (CFP), publicações dos membros, mostras de filmes, festivais de cinema, e outras notícias consideradas relevantes.

O blogue do GT OUTROS FILMES aceita textos submetidos espontaneamente ou solicitados por convite, em regime de fluxo permanente, que sejam relevantes aos interesses do grupo de pesquisa e obedeçam às normas estabelecidas e aqui apresentadas. São solicitados contributos dos membros do GT e de pesquisadores, artistas e cineastas interessados na divulgação internacional de materiais de pesquisa, artigos académicos, resenhas de livros, críticas de filmes, festivais de cinema e exposições. Os artigos para as três secções criativas – Book Reviews, Film Reviews e Exposições e Festivais. Para mais informações consultar o endereço: https://outrfilmes.hypotheses.org/
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CFP: Colóquio Narrativa Média e Cognição - 2017


Colóquio Narrativa, Média e Cognição


Debater e aprofundar modos de pensar e de construir narrativas é o propósito primordial do colóquio, com especial enfoque na componente cognitiva implicada na construção e correspondente vivência dessas narrativas.

Apresentação e Call


Se a narrativa e a sua construção tem sido um tema que a última década dotou de particular visibilidade, o modo como essa construção se interliga com os media e a tecno-mediação, gerando uma cada vez maior hibridização de géneros e formatos, bem como inegáveis implicações cognitivas tanto na perspectiva da criação como da recepção, são motivos mais que suficientes para justificar a continuada pertinência deste colóquio. Este é o 4º encontro - depois de se ter iniciado na Universidade do Minho em 2014, passado pela Universidade Católica Portuguesa em 2015 e pela Universidade do Porto em 2016, este ano cabe à Universidade da Beira Interior a oportunidade de promover uma reflexão e discussão conjuntas em torno deste tema tão claramente polifacético.
Entre os seus objectivos, estará também realçar a relação fenomenológica, perceptiva e emocional que, na contemporaneidade, tão claramente detectamos na estrutura narrativa dos conteúdos, respectiva formatação e transmissão mediática e mediada. Esta análise e questionamento tornam-se prementes num universo cuja progressiva predisposição para a introdução de mecanismos de gamificação, misturando e nivelando facto e ficção, não só modela a recepção, como promove uma potencial consciência distópica por parte de públicos e audiências em relação aos conteúdos veiculados, em detrimento da credibilidade e legitimidade que, no passado, foi condição desses formatos narrativos e dos meios a que estavam e estão associados.

Nesse sentido, a Organização convida à submissão de propostas de comunicação originais cujo enquadramento temático possa partir de perspectivas tão diversas como:
• Narrativa e Comunicação;
• Narrativa no cinema, videojogos, arte interativa, intermedia e transmedia;
• Estudos de narratologia (poéticas, correntes, estilos, géneros, modelos narratológicos);
• Elementos e mecanismos narratológicos (premissa, conflito, ações, personagens, relações entre personagens, tempo, espaço...);
• Novas poéticas e estruturas narrativas (modelos não-lineares e multilineares, hibridismo);
• Papel da narrativa na cognição e na organização do conhecimento;
• Narrativas históricas, sociais e políticas (análise dos mitos, métodos historiográficos, discursos da identidade coletiva e da alteridade, utopias e distopias sociais, etc.);
• Lugar da narrativa na estética e teoria da arte;
• Espaços diegéticos;
• Ontologia da narrativa;
• Papel do criador e do espectador/recetor/utilizador;
• Narrativa e emoção;
• Desenvolvimento da narrativa (criatividade e aplicação de modelos narratológicos);
• Outras que contribuam de forma clara e argumentada para a relevância e contexto do debate pretendido.


Submissão de Propostas / Envio do Artigo Completo:

A submissão das propostas deve ser feita através do e-mail call.narrativamediacognicao@labcom.ubi.pt, indicando Título da Proposta, Temática Geral (a partir da lista indicada acima), Nome(s) do(s) Autor(es), Categoria Profissional, Filiação Institucional e e-mail(s) de contacto, anexando o ficheiro em versão .docx, .doc, .rtf ou .odt.

O resumo (abstract) da apresentação deve ser submetido até 31 de Agosto e ter um limite de 2000 caracteres. As apresentações deverão ser preparadas para 15 minutos, sugerindo-se os formatos PowerPoint, o OpenOffice ou Prezi mas não sendo obrigatório. As propostas aceites para comunicação virão a ser publicadas em livro de Actas, com ISBN e ISSN, não sendo obrigatório o envio do artigo completo nos casos em que o(s) autor(es) não o deseje(m).

Os participantes que desejarem enviar artigo completo devem fazê-lo até à data de 30 de Novembro, para o mesmo e-mail call.narrativamediacognicao@labcom.ubi.pt, devendo o texto ter até 30000 caracteres (resumo e bibliografia não incluídos), e ser enviado também em formato .doc, .docx, .rtf ou .odt (não serão aceites textos enviados em .pdf).

Caso contenha imagens, as mesmas devem ser enviadas separadamente em .jpeg, gravadas com indicação do apelido do autor principal e numericamente de acordo com a ordem do seu aparecimento no texto (ex: Costa_001.jpeg). O texto deve conter indicação dessa referência, no local pretendido para inserção de cada imagem, acompanhada da respectiva legenda.

Datas Importantes


Submissão de Propostas de Comunicação: até 31 de agosto
Notificação de aceitação: até 20 de setembro
Data limite para envio do artigo completo: 30 de Novembro

Programa


A divulgar brevemente.

Comissões


Comissão organizadora:
Francisco Merino (UBI - LabCom.IFP)
Luís Frias (UBI - CIC.Digital)
Nelson Zagalo (UM - CECS)

Comissão científica:
André Barata (UBI - LabCom.IFP)
Catarina G. Moura (UBI - LabCom.IFP)
Daniel Ribas (IPB / CITAR - UCP)
Filipe Luz (ULHT)
Filipe Martins (UP / ESMAE - Instituto de Filosofia)
Francisco Merino (UBI - LabCom.IFP)
Guilhermina Castro (CITAR - UCP)
Herlander Elias (UBI - LabCom.IFP)
Jorge Leandro Rosa (UP - Instituto de Filosofia)
Jorge Louraço (ESMAE)
Jorge Palinhos (UM - CECS / ESAP - CEAA / UCP - CITAR)
Né Barros (UP - Instituto de Filosofia / balleteatro / ESAP)
Nelson Zagalo (UM - CECS)
Patrícia Gouveia (UL - FBA)
Paulo Nuno Vicente (UNL / FCSH - iNOVA MediaLab)

Contactos


Colóquio Narrativa, Média e Cognição
4 Out 2017
Auditório da Biblioteca
Universidade da Beira Interior
Covilhã Portugal

Organização:
narrativamediacognicao@labcom.ubi.pt

Submissão de Propostas / Envio do Artigo Completo:
call.narrativamediacognicao@labcom.ubi.pt

Secretariado:
Dra. Adelaide Reis
Departamento de Comunicação e Artes
dca@ubi.pt

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Colóquio "Correspondências: O Cinema entre o Brasil e Portugal"
Este colóquio é organizado conjuntamente pelo Curso de Estudos Artísticos da Faculdade de Letras da Universidade de Coimbra e o Curso de Cinema do Departamento de Comunicação Social da Pontifícia Universidade Católica do Rio de Janeiro. Conta com o apoio do Instituto de Estudos Brasileiros da Universidade de Coimbra e da linha de investigação Cinema:Teoria/Prática do CEIS20 - Centro de Estudos Interdisciplinares do Século XX. Pretende promover uma maior proximidade e intercâmbio entre professores e pesquisadores do Brasil e de Portugal, reunindo estudos sobre o cinema produzido nos dois países, observando influências, cruzamentos, especificidades, através de quatro eixos temáticos:

PROGRAMA
9h15 - 11h00: 

História
Ney Costa Santos (Pontifícia Universidade Católica Rio de Janeiro): "Joaquim, o Alferes antes de Tiradentes"
Gustavo Ramos de Souza (Universidade Estadual de Londrina / Universidade de Coimbra): "O Imaginário Colonial em Tabu, de Miguel Gomes"
Paulo Cunha (Universidade da Beira Interior / CEIS20): "Dois Novos Cinemas: Os Casos Português e Brasileiro"

11h15 - 13h00: 
Cultura
Wiliam Pianco (Universidade do Algarve / CIAC): "Crises em Português: Dois Casos no Cinema de José Barahona"
Nay Araujo (Universidade do Estado do Rio de Janeiro / Universidade do Algarve): "A Dimensão Transnacional do Cinema Luso-Brasileiro no Programa IBERMEDIA"
Osvaldo Manuel Silvestre (Universidade de Coimbra / CLP): "A Escrita, o Cinema, a Contracultura em José Agrippino de Paula"

14h30 - 16h15:
Teoria
Ana Soares (Universidade do Algarve/CIAC): "Prosódia Fílmica e Hibridismo"
Susana Viegas (Universidade Nova de Lisboa / Universidade de Deakin / IFILNOVA): "Memorial da Contemporaneidade: Documentário e Fabulação"
Bruno Fontes (Universidade de Coimbra): "Cenas de Escrita: Modalidades de Representação e de Inscrição da Escrita na Imagem Fílmica em João Botelho
e Luiz Fernando Carvalho"

16h30 - 18h15:
Cineastas
Fausto Cruchinho (Universidade de Coimbra/CEIS20): "Sobre Pedro Costa"
Miguel Oliveira (Universidade de Coimbra): "Como ‘Agenciar’ um Filme?: O Exemplo Di Glauber"
Sérgio Guimarães de Sousa (Universidade do Minho / CEHUM): "António Vieira, Manoel de Oliveira, Júlio Bressane"

A primeira edição ocorre no dia 12 de julho no Instituto de Estudos Brasileiros.

ORGANIZAÇÃO
Sérgio Dias Branco (Universidade de Coimbra/IFILNOVA/CEIS20)
Flávio Kactuz (Pontifícia Universidade Católica do Rio de Janeiro)

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CFP: Colóquio Figuras da Ficção 5 - Coimbra



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CFP: Narrative and Wellbeing (Oct 19-20, 2017; Tampere, Finland)


Narrare: Centre for Interdisciplinary Narrative Studies at the University of Tampere will host a two-day conference “Narrative and Wellbeing” October 19-20, 2017.

Invited speakers

Cindie Aaen Maagaard (University of Southern Denmark)

Maura Spiegel (Columbia University).

Call for Papers

The conference will consider the various ways in which narratives can be used to promote wellbeing. Narrative is a strategy for making sense of the unexpected. It allows people to respond intelligently and creatively to life events such as a sudden illness and it may help them come to terms with a long-term condition. Narrative theory has also begun to play a role in medical education. Narrative medicine involves learning about narrative structures in order to become better at listening to and responding to patients’ stories. Therapeutic approaches such as narrative therapy and bibliotherapy also involve working with narratives – reading, composing, and discussing them. While these examples highlight the role of narrative in dealing with somatic or mental illness, we are also interested in how narratives contribute to wellbeing in its broader sense, outside a clinical setting. In what ways do narratives contribute to a good life? How are narratives related to things like personal development, job satisfaction, recreation, etc.? Narratives of illness, especially published works of fiction and autobiography, have societal benefits in addition to therapeutic ones. They offer representations of experience that have the capacity to generate sympathy and understanding and to reduce the stigma associated with illness. Narrative form does, however, pose risks as well, and they should also be considered. We invite papers dealing with topics such as the following:

– How can fictional and non-fictional narratives and creative writing foster well-being?

– Narrative therapy, bibliotherapy

– Narrative medicine: the use of narrative theory in educating health-care professionals

– Fictional and autobiographical narratives of illness, mental illness, disability, or addiction

– Methods for studying autobiographical narratives of illness

– Narrative and embodiment

– The narrative aspects of the various areas of subjective and societal wellbeing

– The problems and risks posed by narrative form in the contexts mentioned above

Please send a 300-word abstract for a 20-minute paper to laura.s.karttunen [at] uta.fi no later than September 12, 2017. Also include your affiliation, e-mail, and a 100-word bio. We will notify you of acceptance on September 19, 2017.

Registration

There is no registration fee, but we hope the participants can attend the conference dinner at their own expense.

The conference is organized by

Narrare: Centre for Interdisciplinary Narrative Studies

Dangers of Narrative: Contemporary Story-Critical Narratology (The Kone Foundation)

LILI- The Literary in Life (Academy of Finland)

Voice as Experience. Life-Storying in Contemporary Media (Academy of Finland)
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Concurso Profº Adjunto SOM - ESMAD do Instituto Politécnico do Porto



Procedimento concursal comum para a constituição de vínculo de emprego público por tempo indeterminado em período experimental na categoria de professor adjunto, na área Audiovisual, área disciplinar Som. ESMAD, Instituto Politécnico do Porto.

Link para o anúncio em Diário da República: https://dre.pt/application/conteudo/107476871





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O cinema no discurso do poder. Dicionário. Legislação cinematográfica portuguesa (1846-1974), por Jorge Seabra



O cinema no discurso do poder é um dicionário que efetua o levantamento da legislação dirigida à instituição cinematográfica desde a existência do cinema em Portugal (1896) até 1974, percorrendo três regimes, o fim da Monarquia Constitucional (1896-1910), a Primeira República (1910-1926) e o Estado Novo (1933-1974). O dicionário é constituído por um total de 123 entradas, que têm na sua base a análise de seis temas globais, concretamente (1) Poder e órgãos inspetivos (11 entradas); (2) Cinema, educação e propaganda (12 entradas); (3) Censura, critérios, processo e organismos (14 entradas); (4) A indústria, os agentes económicos e o Estado (38 entradas); (5) Espetáculo cinematográfico (31 entradas); (6) Profissionais e organismos do setor (17 entradas). O cinema no discurso do poder é o primeiro estudo sistemático sobre a forma como os poderes políticos enquadraram a atividade cinematográfica em Portugal, a partir de uma fonte sistemática e contínua como é o caso da legislação, que por isso mesmo é entendida como discurso que expressa a vontade normativa dos poderes instituídos.

Jorge Seabra é doutor em história contemporânea, com especialização no domínio do cinema, particularmente no tema do colonialismo e pós-colonialismo no universo dos cinemas em português. Professor universitário desde 1994, lecionou na Universidade Católica Portuguesa e na Universidade de Coimbra, instituição a que continua vinculado através do Centro de Estudos Interdisciplinares do Século XX (CEIS20), onde é membro da direção, exerce funções de coordenação do grupo Correntes Artísticas e Movimentos Intelectuais e no seminário Sociedades e Culturas do doutoramento em Estudos Contemporâneos. Tem exercido funções de programação e coordenação de festivais de cinema, nomeadamente no Festival internacional de cinema dos países de língua oficial portuguesa (1982-1990), Coimbra in motions (2012-2013) e Mar film festival (2017). Proferiu conferências em diversos países sobre temas da sua especialização e tem publicado em diferentes revistas nacionais e internacionais. É autor de África nossa. O império colonial na ficção cinematográfica portuguesa (1945-1974) (2ª ed. 2014) e Cinema. Tempo, memória, análise (2014), sendo ainda co-autor de Territórios do cinema. Representações e paisagens da pós-modernidade (2016); O cinema português através dos seus filmes (2ª ed. 2014) e O cinema sob o olhar de Salazar… (2ª ed. 2011).
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CFP: To Each Their Own Pop. Music, Cinema and Television in Italy in the Period of the Youth Movements (1960-1979)


We are pleased to call for participation in the third “Italian Way to Pop” one-day symposium, to be held October 23, 2017 at the Università Cattolica del Sacro Cuore in Milan. We invite proposals for contributions that are focused on music, cinema and television in Italy in the period of the youth movements (1960-1979).

The symposium will be introduced by an invited talk of Miguel Mera, City, University of London, about the methodological challenges for historical research in multimedia environments, and by two invited speeches about comparative national case studies, Spain and France, respectively by Teresa Fraile, Universidad de Extremadura, and Olivier Julien, Université Paris-Sorbonne.

Extended call
In the light of the information that has emerged in the inter-disciplinary debate surrounding the chronological redefinition of the relationship between the production chain of the audiovisual media industry and the music business, the pivotal role played by popular music especially emerges with particular clarity in Italian media production of the Sixties and the Seventies.The field of music production may be understood as the vanguard of the modernisation of the national cultural production and consumption, fosteringnot only new models of artistic collaboration (group as a collective creative entity, the close relationship with technology, the multiple skills required for professional working within industries, etc.), but also changing patterns in the social use of recorded sound and other media gave rise to new types of audience experiences. The aim of the event is to set the ground for a more systematic approach to the historical and theoretical framework which sets out, in particular, from questions relating to the sound artefact and its socio-technological dimension, the transformation of the soundscape, the change in the status of musicians, and media performance.

The scope of this workshop embraces a crucial period in the development of audiovisual media in Italy, namely the years from the end of the economic boom to the end of the social turmoil started in the wake of ’68. The period witnessed the pluralisation of popular culture as it became increasingly segmented in complex ways according to factors such as age, genre and social status, a phenomenon which led to a broadening of the horizons, places and modalities of use of cultural products. The more overtly political dimensions of the media output of the period came into play, with particular emphasis on the modes of popularisation and commodification of the countercultural and avant-garde trends typical of the era.


We are looking for contributionsthat can address topics such as:

* research into the industrial relationships between the different
sectors of Italian media production in those years, through the
cataloguing and close examination of the technological standards,
legislation and contractual conditions connecting the various
industrial actors;
* different formats used and on the sales, distribution and marketing
strategies;
* the intertwined contribution and the multifarious expertises of the
professionals who worked in the various sectors of media productions
at the time;
* the study and analysis of the audiovisual production of the period,
reconstructing the intricate network ofgenres and authorial paths so
as to reach an understanding of the configuration of styles that
mark the period concerned;
* the presence of parallel circuits of production, distribution and
reception in the music and audiovisual fields, connected to the
process of generification of media markets.

We would like to receive 300 words proposaland a brief bio for 20-minute presentations related to one or more of the topics listed above. Please send the submission to the attention of the organizing committee of the workshop (italianway2pop@gmail.com), before the deadline of July 31, 2017.


Conference Committee

Alessandro Bratus (Università di Pavia, Cremona)

Marco Cosci (Università di Pavia, Cremona)

Massimo Locatelli (Università Cattolica del Sacro Cuore, Milano)

Elena Mosconi (Università di Pavia, Cremona)

Maria Francesca Piredda (Università Cattolica del Sacro Cuore, Milano)
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CFP: Daniel Blaufuks: Routes and Intersections [Lisbon, Portugal, on 9 and 10 October 2017]

The call for papers is now open for the International Symposium /Daniel Blaufuks: Routes and Intersections/, an interdisciplinary event organised by the research group 'Cinema and the World - Studies on Space and Cinema', to be held at the Centre for Comparative Studies in the University of Lisbon School of Arts and Humanities, Lisbon, Portugal, on 9 and 10 October 2017.

With works that range from large-scale photography, to photobooks and photo essays, to video, film and installations, Daniel Blaufuks has proven himself to be one of the most prolific artists in Portuguese contemporary art. The artist has been deeply engaged with questions surrounding the Holocaust, exile, memory and postmemory. Photography, film and archival material have been the tools chosen for his excavations. Nonetheless, it is impossible to overlook the influence of literature in the artist’s work.

In this symposium we aim to reflect on two pervading lines in Blaufuks's work: routes and intersections. In /Routes,/ we will explore travel through space — be it in extreme conditions such as exile, but also as a way of discovering locations, or travelling through cities — and travel through memory — lived memory, memory that permeates generations, constructed and/or mediated memory. In /Intersections,/ the focus will be on the artist's interweaving of multiple media in the construction of expandable projects — including /Terezín/ (2007), /All the Memory of the world, part one/ (2014), /Attempting Exhaustion/ (2016), amongst others — and on the relevance literature takes in his projects.

With an aim to examine Blaufuks's artistic practice as a stimulating influence in Portuguese and international contemporary art, we invite proposals for 20-minute presentations. The event's working languages will be English and Portuguese. Topics may include (but are not limited to):


* The role of archival material in the construction of individual/collective memory;
* Holocaust, from post-memory to prosthetic memory;
* Photobooks and literature;
* Road movies and travel diaries;
* Appropriation as an act of creation;
* The atlas and the archive;
* Expanded cinema, photography, and installation art.

Please send 300-word abstracts and a brief (100-word) biographical note, addressed to the organizers, Sandra Camacho and Filipa do Rosário, to routesandintersections@gmail.com <mailto:routesandintersections@gmail.com> by 16 July 2017.

For more information, please visit https://routesandintersect.wixsite.com/lisbon2017 and www.comparatistas.edu.pt <http://www.comparatistas.edu.pt>



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Enterface'17 - Universidade Católica Portuguesa - Porto



O Enterface'17 (13th International Summer Workshop on Multimodal Interface), decorrerá entre 3 e 28 de Julho na Universidade Católica Portuguesa, Porto. Serão vários os workshops grátis para investigadores e muitos ainda estão a aceitar propostas para participação!

Visite o site do evento: http://artes.ucp.pt/enterface17/

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Workshops Festival de Cinema de Avanca 2017
OFICINAS DE CRIAÇÃO FÍLMICA 2017 | CREATIVE FILM WORKSHOPS 2017
Um espaço de WORKSHOPS onde se filma, onde se troca e praticam ideias.
Um espaço para terminar filmes, para fazer RESET e iniciar novos e grandes projetos!
Cineastas e futuros cineastas num embate de ideias e filmes no AVANCA 2017.

Durante 5 dias, CINEASTAS vindos de todos os lados filmam e produzem um filme nas ruas, nos campos e com as pessoas de Avanca.
Um embate de criatividade, de experimentação fílmica, de explosão narrativa, de apuro técnico.
Participar nos CREATIVE FILM WORKSHOPS é integrar uma equipa de cinema inesperada e produzir um filme para o grande ecrã dos cinemas.
Filmes que o AVANCA 2017 se irá encarregar de distribuir por todo o mundo, com parceiros dos 5 continentes.
Ficção, animação, documentário, em filmes sem limite de tempo e produzidos por equipas onde se misturam todas as nacionalidades.
Para participar nos CREATIVE FILM WORKSHOPS basta escolher um projeto, sugerir uma ideia ou sinopse para um possível filme e preencher a ficha de inscrição.

OS TUTORES
Cineastas premiados são os tutores das equipas, apoiando, com a sua experiência, cada um dos filmes em produção.
(No primeiro dia, os tutores mostram também a sua obra e o porquê do que fazem e como. Um momento de inspiração e de excelência...)

OS PROJETOS
PROJETO 1 – FILMAR FICÇÃO OU DOCUMENTÁRIO
Espaço para explorar ideias, preparar e até realizar um novo filme.
Jessica Rodríguez (Cuba)
Laurent Van Lancker (Bélgica)
Chris Raiber (Áustria)
Dalia Abuzeid (Jordânia)
Luís Margalhau (Portugal)

PROJETO 2 – OFICINA DE GUIÃO
Desenvolver a escrita de um projeto audiovisual.
(Pré-requisito para participação – ter um argumento/sinopse de um projeto de curta ou longa, ficção ou documentário)
Marcia Paraiso (Brasil)

PROJETO 3 – TÉCNICAS DE ILUMINAÇÃO PARA CINEMATOGRAFIA DIGITAL
Oficina voltada para fotógrafos, videastas, iluminadores e amantes da fotografia e cinema.
Prática de iluminação baseado em cenas da cinematografia clássica mundial.
Ralf Tambke (Brasil)

PROJETO 4 – NA TRINCHEIRA DO CINEMA DE ANIMAÇÃO
Integrar uma equipa e desenvolver um novo projeto de cinema de animação.
Janice Nadeau (Canadá)
Arly Jones (Espanha)
Sami Natsheh (Espanha)

APOIO ESPECIALIZADO
As equipas terão, ainda, apoio especializado de alguns dos melhores profissionais do cinema português.

PROGRAMA DAS OFICINAS DE CRIAÇÃO FÍLMICA
Dia 26 (quarta-feira) 18h - Apresentação das equipas
Dia 27 (quinta-feira); Dia 28 (sexta-feira); Dia 29 (sábado)
9h30 às 17h30 - "Masterclass" com os tutores da sua equipa, início da produção, visita de locais de filmagem e escolha de atores.
Preparação, filmagens e montagem.
Dia 30 (domingo) Manhã - Apresentação de cenas dos filmes produzidos.

A INSCRIÇÃO
até 10 de julho: 50 euros | após 10 de julho: 60 euros

Inclui: pequenos almoços; jantar inaugural; almoço final; documentação; sessões do festival; possibilidade de acampar sem custos.

OFICINAS DE CRIAÇÃO FÍLMICA | CREATIVE FILM WORKSHOPS
Um desafio | Uma oportunidade | Um debate de ideias | Uma experiência profissional
AVANCA 2017, um encontro e um festival que comemora a 21ª edição a exibir e a apoiar o ato criativo de cineastas de todo o mundo.
Um mundo mais próximo, porque se encontra todos os anos em julho, em AVANCA.

Contactos para informações e inscrições:
AVANCA 2017
Cine-Clube de Avanca
Tel. 234880658 Telem.966190163
ccavanca@gmail.com | www.avanca.com
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CFP: II IntermIdia Conference


CALL FOR PAPERS (DEADLINE: 30^TH JUNE 2017)

We welcome submissions for the II IntermIdia Conference:

THE MOVING FORM OF FILM:

EXPLORING INTERMEDIALITY AS A HISTORIOGRAPHIC METHOD

6-8 November 2017, University of Reading, UK

As part of the AHRC/FAPESP-funded IntermIdia Project (www.reading.ac.uk/intermidia), led by investigators from the University of Reading (UoR), UK, and the Federal University of São Carlos (UFSCar), Brazil, this international conference seeks to invite discussion of intermediality as a historiographic method.

Conference Convenor: Prof Lúcia Nagib

UoR Investigators: Prof Lúcia Nagib (PI); Alison Butler (Co-I); Prof John Gibbs (Co-I); Dr Lisa Purse (Co-I); Dr Albert Elduque (PDRA); Dr Stefan Solomon (PDRA).

UFSCar Investigators: Dr Luciana Corrêa de Araújo (PI); Dr Flávia Cesarino Costa (Co-I); Dr Samuel Paiva (Co-I); Dr Suzana Reck Miranda (Co-I); Dr Margarida Adamatti (PDRA).

Administrator: Richard McKay.

CONFIRMED GUEST SPEAKERS

Keynote Speakers:

- Alain Badiou – French philosopher, former Chair of Philosophy, Université de Paris VIII

- Luciana Corrêa de Araújo – Professor of Film Studies, Universidade Federal de São Carlos

- Robert Stam – University Professor of Cinema Studies, New York University

- Ismail Xavier – Professor of Film Studies, University of São Paulo

Plenary Speakers:

- Ágnes Pethő – Professor of Film Studies, Sapientia Hungarian University of Transylvania in Cluj-Napoca

- Lisa Shaw – Reader in Portuguese and Brazilian Studies, University of Liverpool

Opening Conference Screening and Guest Speakers:

Screening of Dong (2006, 66 minutes), documentary directed by China’s greatest filmmaker Jia Zhangke on the celebrated painter Liu Xiaodong.

Post-screening discussion with:

- Jia Zhangke (tbc)

- Cecília Mello – Lecturer in Film Studies, University of São Paulo

- Jean-Michel Frodon – Former editor of the Cahiers du Cinéma, current Professorial Fellow in Film Studies and Creative Industries at the University of St. Andrews

*

From its birth, the film medium has fuelled debates around its possible specificity versus its obvious connections with other arts and media. In recent days, with the advent of digital technologies that trigger and depend on media convergence, it has become indisputable that film is inherently intermedial, giving scope for reconsidering film history in light of the medium’s moving, all- encompassing form. As Alain Badiou summarises, it is impossible to think cinema outside of a general space made of its connections to the other arts. He says: ‘Cinema is the seventh art in a very particular sense. It does not add itself to the other six while remaining on the same level as them. Rather, it implies them – cinema is the “plus-one” of the arts. It operates on the other arts, using them as its starting point, in a movement that subtracts them from themselves’ (2005: 79). This conference will build on such an understanding by investigating the ways in which intermediality, rather than obstructing, enhances film’s artistic endeavour. More pointedly, it will ask: how can intermediality help us to understand the history of cinema as a whole?

Broadly speaking, ‘intermediality’ refers to the interbreeding of artistic and technical medial forms. The uses of the term hark back to the 1960s and Higgins (1966; 1981), who applied it to an array of countercultural artistic phenomena of the time. Through the years, the concept has evolved to encompass an ‘inflation’ of definitions (Pethö 2010), which concur in the celebration of ‘hybridisation’, ‘transnationalism’, ‘multiculturalism’ and cross-fertilisations of all sorts. As for cinema, intermediality has gained prominence among other more established approaches, such as comparative, intertextual, adaptation and genre-based studies, for its wider premise that keeps the interrogation into the properties of the medium constantly on the critic’s horizon (Rajewsky 2010). This conference will look at medial interstices, intercultural encounters and creative clashes where the specificities of cinema are questioned and re-fertilised into new forms. Its ultimate aim will be to stimulate an overarching exploration of and theorising on the uses of intermediality as a historiographic method.

We welcome proposals which explore the following issues, with particular emphasis on histories and historiographies of cinema and the film medium:

Intermediality and historiography;

Intermediality and the history(ies) of cinema

Intermedial and intercultural encounters;

Intermediality as hybridity;

National cinema(s) and intermediality;

Experimental cinema and intermediality;

Early Cinema and intermediality;

Multi-mediality in New Cinemas;

Border-crossings in genres and genders;

Intermediality and new technologies;

Comparative medial approaches across regional, national and transnational cinemas.

SUBMISSION GUIDELINES

All proposals should be on subjects relevant to the objectives of the conference, as described above. Proposals must be submitted in English. Please submit your title, abstract (max. 300 words), short bio (max. 150 words), e-mail address and institutional affiliation.

For pre-constituted panels (between 3 and 4 participants), please follow guidelines above, appoint a panel chair and add a panel title and description of max. 200 words.

Proposals should be submitted by e-mail to intermidia@reading.ac.uk . Deadline for submissions is Friday 30 June 2017. Please use the same e-mail address for general information.

Notification of accepted proposals will be given by Monday 31 July 2017.

Details of the registration fee, the conference programme, and the registration process will be announced shortly thereafter on the IntermIdia Project website: http://www.reading.ac.uk/intermidia/

Support: AHRC, FAPESP, University of Reading.
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CFP: ECREA Television Studies Conference 2017. "The Future of European Television: Between Transnationalism and Euroscepticism"



15^th -17^th November 2017

University of Málaga (Spain)

Deadline 7^th July 2017



In recent years Television in Europe has become more and more transnational as the increasing number of European co-productions shows. These tendencies are now challenged by the recent developments of a political climate of anti-Europeanism and neo-nationalism in Europe such as the Brexit as well as by a new protectionism in the USA that could affect European media ecology. This section interim conference will focus on the current political developments, transformations, challenges and risks that impact on the future of television, its creative processes, contents and its reception in Europe.

Just as Europe as a continent, regarding its political construction and common project, lives in a time of changes, threats and tensions, Television also experiences deep transformations. It stages new requirements for academic research: How can we approach Television past, present and future in Europe in the face of this new paradigm of change and even Euroscepticism? How does the current development impact not only ways of production but also ways of viewing and reception? What is the political and cultural role of Television through its live events broadcasting, TV journalism, fictions or shows, within the dynamics of social and political change? Will it be possible in the future to refer to "European television" as a concrete concept?In this landscape of globalization, digitalization, media convergence, streaming platforms, post-networks Era, transmedia productions and social media interactions could be weakened or reinforced the idea of an identifiable, common and shared cultural pattern around European Television?

Among others, papers addressing on comparative studies of Television, international researches on the new modes of distribution and consumption or on Television as an agent of European cultural cooperation and understanding will be welcomed, as others related to other challenges of European Television, including:

-The future of Television’s ecology, creative processes and reception in Europe.

-Anti-Europeanism and neo-nationalism and the role of Television.

-Political, Economy and Cultural threats in European Public Broadcasting Services.

-Tensions and opportunities of European Television market in the digital convergence context.

-The image of Europe portrayed by Television contents: from Journalism to Fiction shows.

-European Television productions and formats in the globalised market of Television.

-Examples of past collaborations, present and future of European co-productions.

-Persistent national peculiarities in TV consumption and reception all over Europe in the newconvergence media context.

-Theoretical and methodological approaches to European TV History and current practices.

We particularly invite colleagues from Europe and beyond to present papers that address, among other aspects, how will be the cultural importance of television in the immediate future; how the processes of content creation are and will be transformed; how regional, national, international and transnational modes of production are and will be developed; how the new digital distribution platforms are affecting and will change specifically the European continent TV landscape; or what changes are already visible in the modes of constitution of European Television audiences.

Proposals for individual papers or panels can be submitted to ECREA Television Studies section (*tvstudiessection@gmail.com* <mailto:tvstudiessection@gmail.com>) until 7^th July 2017.

Abstracts should be written in English and have to contain a clear outline of the argument, the theoretical framework, and methodology and results if applicable. The length of individual abstracts should be between 300 and 500 words plus a short biographical note. Panel proposals, which should consist of five individual contributions, will combine a panel rationale with five paper abstracts, each of which shall be a maximum length of 500 words and should include also a short biographical note of each author.

The conference is organized by the ECREA Television Studies section <http://www.ecrea.eu/divisions/section/id/19>and the University of Málaga <http://www.uma.es>(Spain) in collaboration with “Production and circulation of media contents" section of the Spanish Association of Communication Research <http://www.ae-ic.org>(AE-IC).

Website: http://eventos.uma.es/8524/detail/the-future-of-european-television_-between-transnationalism-and-euroscepticism.html

Contact: *tvstudiessection@gmail.com* <mailto:tvstudiessection@gmail.com>
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DEADLINE APPROACHING- Locarno Documentary Summer School (7-11 August)

Submissions are open until Friday 23^June (CET) to the 18th Documentary Summer School (7-11 August 2017 in Locarno, Switzerland), a residential educational program, jointly organized by the Institute of Media and Journalism of the Università della Svizzera italiana (www.imeg.com.usi.ch/en/index.htm <http://www.imeg.com.usi.ch/en/index.htm>) with the Locarno International Film Festival. This year’s theme is “To show or not to show. The possibilities and limits of shocking images in documentary filmmaking”. Guest lecturer Prof. Brian Winston (University of Lincoln) will join a faculty of international academics and practitioners, including award-winning filmmaker Andrea Segre (/Shun Li and the Poet/).

Participation is open to 25 graduate students in the fields of film, media and communications studies. Early doctoral students and emerging filmmakers are also welcome to apply. The official language of the Documentary Summer School is English.

Full program, costs, conditions of participation and guidelines for submission can be found here < www.pardolive.ch/pardo/professionals/summer-academy/documentary-summer-school.html <http://www.pardolive.ch/pardo/professionals/summer-academy/documentary-summer-school.html> >

Please send information enquiries and applications to:

Gloria Dagnino, PhD – gloria.dagnino@usi.ch <mailto:gloria.dagnino@usi.ch>
Università della Svizzera italiana
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Call for Practice: Screenworks special issue - Digital Ecologies and the Anthropocene



This special issue of Screenworks, the online publication of practice-research in film and screen media, invites all practice researchers with an interest in Digital Ecologies and the Anthropocene to submit works that explore the multiple interpretations and intersections of these themes.

Contemporary technologies are crucial in enabling human life and culture to function as well as realising the production and distribution processes of capital. They provide us with useful tools for visualising processes such as climate change and tracking the earth’s own movements or seismic activity but also depend on material realities, consisting of complex meshes of human and non-human moving parts with their own environmental implications. Today <http://airmail.calendar/2017-06-14%2012:00:00%20AEST>’s digital machines are heavily dependent on the extraction of raw materials, the use of fossil fuels and the production of material waste at sites such as Guiyu, China which has been called ‘the electronic graveyard of the world’.

Histories of the internet and current pervasive media technologies also closely relate to the study of the earth and ecological observations. Emerging from the development of military and nuclear technologies, the conception of cybernetics and the design of self-governing computer systems with inbuilt feedback loops - these machines and systems can be approached as actors within a complex mesh of networks, hyperobjects, production processes, waste disposal and notions of deep time.

Discussing possible responses to these conditions Christophe Bonneuil describes the ‘shock of the Anthropocene’ as a space for generating new political arguments, new modes of behaviour, new narratives, new languages or new creative forms and this special issue of Screenworks seeks to bring some of these emerging discourses to the surface through practice-research work.

This call for practice follows a symposium of the same name hosted by the Media Convergence Research Centre at Bath Spa University and will be edited by guest editors Charlie Tweed (Bath Spa University), Joshua McNamara (University of Melbourne) and Screenworks associate editor Alex Nevill.

The deadline for submissions is 30^th September 2017 for publication in January 2018.

Submissions must comprise two parts: 1) the practical work/documentation itself, preferably as a Vimeo URL provided in the submission form; and 2) a 2000-word Research Statement, using the https://protect-au.mimecast.com/s/wxnKB8F39WZXSw?domain=screenworks.org.uk available on the Screenworks website. To contact the editorial team with any queries please email: digitalecologiesscreenworks@gmail.com<mailto:digitalecologiesscreenworks@gmail.com>.
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CFP QueerFemSEE: Queer and Feminist Studies in Eastern Europe International Conference



We are inviting you to the first conference of its kind in the Romanian academia: QueerFemSEE – Queer and Feminist Studies in Eastern Europe International Conference. The conference is hosted by the University of Bucharest and will take place on 17 – 19 November 2017.
QueerFemSEE is an interdisciplinary conference that seeks to explore various accounts of South-Eastern and Eastern European researchers (and their Western peers with similar interests) concerning topics connected to media studies, cultural studies, public space, and their intersection with gender and queer studies. We aim to offer a space for sharing research, ideas, alternative readings of cultural and media products that are often neglected in various national academic contexts.

More info on the conference website: https://queerfemsee.wordpress.com/call-for-papers/

There is no participation fee and possibility of covering transport and accommodation for the persons coming from South-Eastern and Eastern Europe.

Feel free to join us and to circulate the call for papers!
Thank you,

Ramona Dima

ramona.dima@drd.unibuc.ro
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Funded PhD Studentship on Bill Douglas and British Cinema



The College of Humanities at the University of Exeter and The Bill Douglas Cinema Museum are pleased to announce a funded PhD studentship to research Bill Douglas’ place in British cinema.

The studentship is entitled 'Creativity and Constraint in the British Film Industry in the 1970s and 1980s: A Case Study on Bill Douglas' and will analyse the problems and issues in the British film industry in this period and how the work of Bill Douglas, a singular film artist, fits within British cinema of the time.

The project will draw upon The Bill Douglas Working Papers. This collection comprises new archival material recently donated by Bill Douglas’s friend and collaborator Peter Jewell and others that worked with Douglas. The papers offer insights Douglas’ working methods across his career; there is particularly rich material relating to the production of his ‘poor man’s epic’ on the Tolpuddle Martyrs, ‘Comrades’ (1987).

You can find more details on the studentship, eligibility, and how to apply at http://www.exeter.ac.uk/studying/funding/award/?id=2645 and more details on the papers at .http://www.bdcmuseum.org.uk/about/the-bill-douglas-working-papers-by-arielle-woods/

This is a collaborative PhD studentship funded by the College of Humanities at the University of Exeter and The Bill Douglas and Peter Jewell Trust. The studentship will be for a period of up to 3 years of full-time study, dependent on satisfactory progress, and will cover full UK/EU tuition fees and a maintenance grant of £14,553 per year. Deadline for applications is 16 July.

This is an exciting opportunity for a new scholar to work with unique materials to produce original research.
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