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]


CFP: Contracampo - Brazilian Journal of Communication

Contracampo - Brazilian Journal of Communication, a publication of the Graduate Programme in Communication (PPGCOM) of Fluminense Federal University (UFF),

Call for papers for the special issue "Geography of Time: Narratives and Temporalities of the Global South" with guest editors Fernando Resende (UFF) and Sebastian Thies (Tübingen University).

Articles can be written in Portuguese or English and should be submitted by 31 August.
In this special issue, Contracampo focuses attention on images, media, communication processes and literature, and how they allow us to critically reflect upon complex time regimes and their impact on society. How do they unveil power structures of temporality in the South and indicate cultural and political locations from where resistance against globalized time regimes arise? How do subjects deal with temporal shifts and transitions of multitemporal heterogeneity in everyday life? How is memory and historicity articulated in this context and how do autochthonous concepts of time offer resilience against these dynamics? Despite the centrality of the discussion around the idea of temporalities, articles that address other issues related to the Global South from the perspective of communication can also be submitted to the special issue.

The full call for papers is available at

More information about the guidelines for authors can be found at

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Call For Proposals PhD Workshop - Universidad Carlos III de Madrid

The PhD Program in Media Research (Universidad Carlos III de Madrid) and the PhD Program in Communication (Universitat Jaume I de Castellón) are glad to announce an *international PhD Workshop for predoctoral researchers on Communication*.

The PhD workshop will take place the *18th of October, from 10 AM to 2 PM*, and will consist on the presentation of the PhD project of the participants in the presence of two international experts on Communication: *Dr. Philippe Meers* (full professor of Film and Media Studies at the University of Antwerp) and *Dr. Zrinjka Peruško* (full professor of media sociology and mass communication at the Faculty of Political Science, University of Zagreb, and Founder Chair of its Centre for Media and Communication Research).

This workshop is organized within the context of the International Seminar 'Global Emergency of Commercial Television and Public Service Challenges in Europe' and the International Conference 'Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinema' (Universidad Carlos III from the 17th to the 20th of October, 2017).


PhD WORKSHOP - 18th of October 2017

Universidad Carlos III de Madrid

Faculty of Humanities, Communication and Documentation

Getafe Campus


-PhD Program in Media Research (Universidad Carlos III de Madrid).

-PhD Program in Communication (Universitat Jaume I de Castellón).


INTERNATIONAL SEMINAR - Global Emergency of Commercial Television and Public Service Challenges in Europe (October 17-18, 2017) -Spanish Government Funded Research Project "Cinema & television in Spain 1986-1995: modernity and the emergence of global culture" (CSO2016-78354-P). Ministry of Economy and Competitiveness.

INTERNATIONAL CONFERENCE - Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinema (October 18-20, 2017) - Spanish Government Funded Research Project "Transnational relations in Spanish-American digital cinema: the cases of Spain, Mexico and Argentina" (CSO2014-52750-P). Ministry of Economy and Competitiveness.


-Department of Journalism and Audiovisual Communication (Universidad Carlos III de Madrid/ UC3M).

-Tecmerin (UC3M Research Group).

Proposals are welcomed from PhD students of Communication to participate in this PhD Workshop. This one-day PhD Workshop is organized within the context of the International Seminar Global Emergency of Commercial Television and Public Service Challenges in Europe and the International Conference Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinema.



Philippe Meers is full professor of Film and Media Studies at the University of Antwerp. He is chair of the Visual and Digital Cultures Research Center (ViDi), and chair of the Center for Mexican Studies at the University of Antwerp. He published about cinema culture in The Journal of Popular Film and Television, Screen and in Hollywood Abroad (BFI, 2004); The Contemporary Hollywood Reader (Routledge, 2009). He edited, with Richard Maltby y Daniel Biltereyst, Explorations in New Cinema History. Approaches and Case Studies (Wiley-Blackwell, 2011), and Audiences, Cinema and Modernity: New Perspectives on European Cinema History (Routledge, 2012). He was founding chair of the Film Studies section of the European Communication Research and Education Association (ECREA), founding member of the European Network for Cinema and Media Studies (NECS), and of the Network on History of Movie-going, Exhibition, and Reception (HoMER). Outside academia, he is a member of the board of directors of the cultural (audiovisual) organisations Vlaamse Dienst voor Film cultuur VDFC, Aifoon, C.H.I.P.S., Laika and Fonds Raoul Servais.

Professor Meers’ workshop will be held in Spanish and English, as requested by students.


Zrinjka PeruSko is full professor of media sociology and mass communication at the Faculty of Political Science, University of Zagreb, and Founder Chair of its Centre for Media and Communication Research. Also, she is Director of the Media and Politics Stream in the Doctoral Program in Political Science at the University of Zagreb, and Founder Co-director of the international post-graduate course "Comparative Media Systems" at the Inter University Centre Dubrovnik. In addition to five authored/ edited books, and book chapters published internationally, her work appears in International Journal of Communication, Central European Journal of Communication, Medialni studia (Media studies), View - Journal of European Television, History & Culture, East European Politics and Societies, Medijska istraživanja (Media research), among others. Professor Peruško is presently serving as Chair of the ECREA Central and East-European (CEE) Network. She is also a Member of the Committee for the Steve Chaffee Career Achievement Award (2016, 2017) of the International Communication Association (ICA).

Professor Perusko’s workshop will be held in English.


PhD workshop is aimed at researchers who work on topics related to themes analyzed both in the Seminar and in the Congress, which are discussed below:



During the last two decades of the last century, private and commercial television were deployed and developed in many European countries. Although there had been pioneering experiences almost since World War II, it is then when the development of new technologies and the extension of a post-industrial consumer society popularize the phenomenon.

New actors will modify the production systems, but also the forms of consumption and the relationship of the viewers with the audiovisual texts. Also, if transnational globalization is one of the defining processes of the period, the presence of international operators will force the redefinition of theoretical frameworks for television, which will no longer be considered an essentially national phenomenon. Therefore, the media landscape will be ruled by national legislation and, in addition, by a supranational jurisprudence from the European Economic Community. The best example of the new situation will be Television without Frontiers Directive passed in 1989.

The new situation will ask for a reflection and redefinition of both the concept of public service and the raison d'être and obligations of public television, often in direct conflict with its new competitors. New issues will arise, such as profitability, audience, or quality content.

International Seminar "Global Emergency of Commercial Television and Public Service Challenges in Europe" follows the lines stated in the research project "Cinema and television in Spain 1986-1995: modernity and emergence of global culture". In doing so, it proposes to study and reflect on how the implementation of private television in different countries has occurred and how it has conditioned the current television.

Further information: <>


Over the past twenty years, digital technology has become the standard in the film production, circulation, and consumption processes. Within this context, Hispanic cinemas have undergone deep changes, both within the countries with an established cinematic tradition, as well as in those that, due to several reasons, had not developed a robust cinematography throughout the 20th century. The analogue paradigm became deeply contested and a new digital framework, which was widely discussed by institutions, film critics, and academics, emerged. This moment coincides with the widespread generalization of national and transnational neoliberal policies that, far from backing diversity, have increased the gap between those “connected” and those “disconnected” (to draw upon Néstor García Canclini’s term); a gap also experienced by those that, even if connected, still occupy subaltern positions.

The speeding of these processes has resulted in an increase of mobility, at work both in the geographical displacement of film professionals and in the emergence of new narratives models that deal with questions of belonging and uprooting, springing precisely from these experiences of displacement. The cinemas of the Global South, and, most specifically, Hispanic cinemas, have actively taken part in these processes, ultimately playing a relevant role in terms of narrative and aesthetic models, and the production, circulation and consumption of film.

Following the main research axes of the R+D project “Transnational relations in Hispanic digital cinemas: the axes of Spain, Mexico, and Argentina” (CSO2014-52750- P), the International Conference Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinemas welcomes proposals across the following lines of inquiry: representation of migrations, displacements, exile, and diaspora; reconfiguration of the regional, national, and transnational Hispanic interactions within the new century; Public discourses and film policies within the region; Hybridization and identity in the narratives on colonization, decolonization, and revolutionary processes; Activism and digital praxis; Film cultures and cinephilia: festivals, publications, and digital platforms; Historiographic, theoretical, and methodological problems of so-called Hispanic, Iberian, and Latin American cinemas americanos.

For further information: <>

Proposals are welcomed from PhD students of Communication. Submissions should provide a title and an abstract of 800-1000 words including a theoretical framework and an outline of the planned methodology. Applications must be sent before the 30th of September in a PDF or DOC format to <>.

Selection will be based on proximity with the main themes of the Seminar or the Congress. The notification of the acceptance will be sent by the 3rd of October, 2017.

Each workshop teacher will work and comment a maximum of four proposals during the morning of the 18th of October (from 10 AM to 2 PM). Each participant will present her/his proposal in 15-20 minutes, in Spanish or English for Professor Meers and only English for Professor Perusko.

Further information: <> or
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CFP: Feminist and Queer Perspectives on Sex in Contemporary Film and TV

Second CFP: Special Edition of /Mai: Journal of Feminism and Visual Culture/ – ‘Feminist and Queer Perspectives on Sex in Contemporary Film and TV’

The newly founded feminist and LGBTQIA+ journal /Mai /is seeking contributions to its special edition, which revolves around ‘Feminist and Queer Perspectives on Sex in Contemporary Film and TV’. /Mai /is a new journal founded and edited by Anna Backman Rogers (Senior Lecturer in Feminist Philosophy and Visual Culture, University of Gothenburg, Sweden) and is named after the Swedish feminist filmmaker Mai Zetterling. The journal aims to become the basis for an intersectional feminist and queer collective of scholars, writers, artists and activists. We are hoping for the edition to be published by March 2018, and we are also keen on receiving a range of papers, and other experimental pieces, which can be defined by contributors. Conventional or standard academic papers should be 5,000 – 6,000 words in length, although we will consider some shorter pieces of 3,000 words. Other pieces, such as interviews for instance, should aim to stick to this word limit too (5-6,000 words).

Please also note a couple of things. Firstly, this edition is centred on Feminist and Queer perspectives of sexual images and the representation of sex acts, not sex in the biological/physiological sense (but papers concerned with the relationship between anatomy and sex acts are obviously welcomed) . Secondly, for the sake of this edition, ‘contemporary’ can also be loosely defined by those who submit papers, but generally means media texts released in the last ten years.

Papers may centre on:

• How contemporary Film and TV is stylistically or narratively representing sex acts.
• What role sex plays within genre or narrative more broadly.
• How different film/TV cultures use or represent sex to tell a story or to further character development.
• The political ramifications of screening sex.
• Ethical considerations of screening sex.
• The connection between socio-cultural factors and industrial shifts in relation to screening sex.
• Sex acts in relation to masculinity and femininity.
• Audiences and watching sexual images.
• ‘Alternative’ representations of sex in Film and TV and the importance of these sexual images.
• ‘Queer Sex’
• BDSM, Kink and ‘Othering’ the sex act.
• Heteronormative, hetero-centric or homonormative representations of sex.
• How the history of sex on-screen has affected present depictions.
• The relationship between pornography and sex in mainstream film/TV.
• The relationship between sex in cinema and sex on TV.

Abstracts should be 200 – 250 words, and should also include a 100 word bio. The deadline for abstracts has been extended and is now the 14th August 2017, with successful contributors being contacted by 31st August 2017. A copy of the paper should be sent to the editors by January 15th 2018, to then be peer-reviewed and edited.
Please email abstracts to: (guest editor) and please feel free to get in touch with any informal enquiries, either to me or Anna Backman Rogers:
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Call for chapters: Cinema of Crisis

Cinema of Crisis: Film and Contemporary Europe

Now more than ever, the idea of Europe as grounded in a shared cultural heritage cannot be taken for granted. For all its diversity, complexity and internal tensions, Europe remains a powerful economic and political superstate. But it is one in crisis, where the postwar social democratic consensus has collapsed, the failings of neoliberalism have led to widespread austerity, and extremism, xenophobia and racism are on the rise.

This collection of original essays will consider filmmakers’ engagements with pressing issues of the moment via popular genres, documentary, art cinema, experimental film, intermedia work and gallery installations.

We invite contributions that focus on creative responses to topics such as:

Political upheaval (politics as morality; ‘de-democratisation’; the rise of nativist, nationalist, and racist groupings; failures of the centre left; reinventing politics and the return of the left; Brexit and its ramifications; Trump and Europe)

Economics (austerity and its affects;labour conditions and the ‘gig economy’; precarity; class, gender and inequality under neoliberalism; the continued hollowing out of manufacturing; privatisation and the erosion of the welfare state; automation anxiety)

Society (inequality; the scapegoating of immigrants and the poor; zoning and social exclusion; polarisation along generational / regional / ethnic / gender / cultural and class lines; Fortress Europe and the migrant / refugee ‘crisis’; environmental pressures; post-war history, memorialisation and memory disputes; security threats and discourses (states of emergency; fear, insecurity, surveillance; cyber attacks; terrorism etc)

Please send 300 word proposals to both Thomas Austin and Angelos Koutsourakis by November 30, 2017.
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CFP: Researching Past Cinema Audiences (UK)

Researching Past Cinema Audiences: Archives, Memories and Methods

Monday 26^th - Wednesday 28^th March 2018, Aberystwyth University, UK

In collaboration with:

Media Industries and Institutions Research Cluster, Department of Theatre, Film and Television Studies, Aberystwyth University

Centre for Media History, Aberystwyth University

Keynote Speakers:

Professor Sue Harper, Portsmouth University, UK

Professor Daniel Biltereyst, Ghent University, Belgium

Since Allen and Gomery’s (1985) call for a revision of existing approaches, the emergence and rise in prominence of the New Film History tradition has irrevocably changed what it is to be a film historian. No longer solely concerned with film aesthetics or viewing cinema as a ‘reflection’ of society (Chapman, Glancy and Harper, 2007: 2–3), films themselves are now not necessarily the chief focus of a historical investigation of cinema. Indeed, over the past twenty years there has been a notable shift towards the study of all kinds of past film exhibition spaces (both public and private) and the tastes, responses and habits of the audiences who frequented them. This is illustrated by the growing number of publications, networks and research projects on past cinema audiences which cross and connect the disciplines of film and media studies, cultural and leisure studies, and history and cultural geography.With this shift towards researching spaces of exhibition and their audiences, film historians have met the call to look beyond traditional film history methodologies and incorporate the use of a wide range of sources, from archival, industry and reception sources, to audience memories elicited through interviews or questionnaires.

This conference offers a platform for both established and emerging scholars who share this desire to research past cinema audiences – prior to 2000 – through a wide range of investigative foci. The conference will allow for the showcasing and sharing of current research and, consequently, for the consideration of current and future directions and debates within the field. We welcome proposals for twenty minute papers, as well as for poster presentations, the latter of which may be ideal for masters or first year PhD students. Please send paper proposals (of 250 words maximum) to Jamie Terrill and Kate Egan at <> by Friday 1^st December 2017. Panel proposals (of 3 or 4 speakers) are also welcome; please include a brief panel introduction (of 150 words maximum) with paper proposals in these cases.

Paper and panel topics may include (but are not limited to):

·Past audiences for cinemas in particular cities, towns or villages (rural, seaside, etc.)

·Past audiences for cinemas in particular eras or decades

·Past cinema audience responses and experiences in relation to gender, class, nationality, age, race or sexuality

·Audience responses to – or recollections of – past film controversies (local, national or international)

·Changing audience tastes, including in relation to particular stars, genres or modes (documentary, experimental, avant-garde, underground, cult cinema)

·Audiences for past forms of home media (Super 8, analogue video, laserdisc)

·Considerations of particular archives, sources or methods for researching the habits or experiences of past audiences

·Audience responses to past technological developments (in relation to sound, colour, widescreen, 3D, etc.)

·Audience habits or experiences associated with particular kinds of cinema or forms of exhibition (picture palaces, art cinemas, fleapits, grindhouse cinemas, multiplexes, drive-ins, midnight movies and cult screenings, matinee screenings, film societies and clubs)
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CFP: Doing Women's Film and Television History IV

Doing Women's Film and Television History IV:
Calling the Shots – Then, Now, and Next

University of Southampton, May 23 – 25, 2018
Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford

As researchers of the AHRC-funded project Calling the Shots: Women and Contemporary UK Film Culture 2000-2015 we are proud to host the fourth International Doing Women's Film and Television History conference in association with the Women’s Film and Television History Network – UK/Ireland.

The focus for DWFTH-IV is predicated on the idea of the contemporary as an historical formation. The conference will offer a space to think about the interconnectedness of the past, present and future in feminist historiography and theory, as well as across all forms of women’s film culture and filmmaking. It will also consider women’s film and television histories and their relationships with the contemporary, framed and read historically, to reflect on our methodological, theoretical, ideological and disciplinary choices when researching and studying women and/in film and television. In addition to this theme, we are interested in proposals/panels on all topics related to women’s film and television history, from all eras and from all parts of the globe. We hope that DWFTH-IV will build on the successes of the previous conferences through new work on women, both historical and contemporary, and fresh thinking on what we mean by women’s film and television history.

Calling the Shots is producing important new research on women in cinema now, through interviews, data analysis and writing. We are finding and recording all the women who have been employed in six key roles in British film production since 2003. We are interviewing over 50 of these women thereby producing a record of their involvement and achievements. The scale and forensic detail of the project shows both what they have done and where they have been excluded. Since its inception, Calling the Shots has been affiliated with WFTHN-UK/Ireland, and in doing our research we continually reflect on how contemporary study both relies on historical precedents and develops new models for thinking and working historically, while being focused on the present.

Keynote speakers TBC
(The conference will include screenings with special guests, as well as sessions with film and television practitioners and other industry professionals.)

Papers are invited on any aspect of women’s work in, consumption of, and relationship with film and television. The following is an indicative (and by no means exhaustive) list of possible topics:

· women’s film/TV historiography: filling gaps or changing history?

· history formulated as in medias res: how do we do contemporary history, and what are the implications of thinking of the historical in this way?

· methodologies: archive searches, data collection (uses, limitations, difficulties collecting); interviews with practitioners; creative/cultural industrial approaches

· the impact of social, economic and industrial conditions (including industry regulation) on women’s roles and creative practices

· new ways of doing textual analysis of women’s films (rethinking feminist theory?)

· re-thinking women as ‘auteurs’ of film and television (directors, showrunners, producers, actors)

· feminism & women’s film history; historicizing women’s film collectives of 1970s and 80s; feminist filmmaking today (and tomorrow?)

· international and transnational contexts: connections, comparisons, collaborations, migration

· crossing industry boundaries: film, television, theatre, radio, journalism, art, etc

· practice-based research: directing, screenwriting, sound/set/costume design, etc

- the relationship between practice-based research and history

· women audiences/viewers and women as fans

· women campaigner/activists in film and television and for on-screen/off-screen change

· women’s film criticism/women film critics

· the uses of social media by women filmmakers/showrunners/actors/critics/fans/campaigners etc

· digitisation in women’s filmmaking and future histories

· ‘women’s cinema’ as critical category in post-feminist contexts

· women’s independent filmmaking and/versus women’s mainstream (or blockbuster) directing

· changing the curriculum: critical canons, teaching & film programming; pedagogies of women’s film and television history; teaching feminist history and theory; including women’s film and television in core modules/classes

· the relationship between film and television genres, their gendered affiliations and women’s involvement in their production

· women practitioners’ negotiations of femininity and/or feminism in their working lives

· the intersection of class, race, sexuality, disability and women both on screen and behind the camera

· issues of archiving and preservation for women’s film and television

· distribution and exhibition and broadcasting – finding and seeing women’s film and television

Proposals for twenty-minute presentations must include the title of the presentation, a 250-word abstract and a brief biography the author(s). Pre-constituted panels of three speakers may also be submitted, and should include a 250-word panel rationale statement, as well as individual abstracts. Proposals from both established scholars and early career researchers including postgraduate students are welcomed. Proposals should be submitted to before the 3 November 2017. Participants will receive a response from the selection committee before 20 December 2017.

Calling the Shots: Women and Contemporary Film Culture in the UK, 2000-2015 is an AHRC funded research project, running from 2014-2018. The project team are: Dr Shelley Cobb (Southampton); Prof Linda Ruth Williams (Exeter); Dr Natalie Wreyford (Research Fellow, Southampton); Ania Ostrowska and Sarah Smyth (PhD candidates, Southampton). Further details of the project can be found at:
Further details on the Women’s Film and Television History Network - UK/Ireland can be found at:
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Lecturer in German Film and Visual Culture

The School of Language, Literature, Music & Visual Culture at the University of Aberdeen seeks to appoint a Lecturer in German Film and Visual Culture from 1 January 2018. The appointment will teach on the School’s undergraduate and taught postgraduate programmes in German Studies and Film & Visual Culture and undertake research in an area of C20 and C21 German film. Preference may be given to candidates whose work involves comparative study of German and other European and World cinemas. Applicants should hold a PhD in a relevant area; have a track record of research and publication appropriate for the career stage; and have experience of teaching at undergraduate level. The role will be undertaken within the School of Language, Literature, Music & Visual Culture.

Closing Date : 17/08/2017

Ref No : LAN066A

Further particulars :

Film & Visual Culture and German Studies have a long tradition of excellence at Aberdeen. German has been taught at Aberdeen since the 1890s, with areas of strength in German literature and cultural history from the Romantic period to the present day, ecocriticism, studies of identity and affect, translation studies, and comparative literature. The combination of Film with Visual Culture is unique in Scotland. Research strengths of the unit include feminist media theory, the visual culture of contemporary science and medicine, contemporary performance art in Eastern Europe, history and theory of documentary, and practice-as-research in documentary and narrative film. Many of these strengths are reflected in the research centres hosted by the School, including the Washington Wilson Centre for Visual Culture and the Grierson Centre for Textual Criticism and Comparative Literary History.

The appointment will contribute equally to the work of both disciplines, including the development of shared courses as appropriate. The School also has an exciting track record of public engagement and impact-related activities to which the successful candidate will make their own contribution.

The Closing date for receipt of applications is 17 August 2017
Salary will be at the appropriate point on the Grade 7 scale (£39,324- £46,924 per annum), with placement according to qualifications and experience.

Should you wish to make an informal enquiry please contact Professor Edward Welch, Head of School- 01224 272152<>

Should you require a visa to undertake paid employment in the UK you will be required to fulfil the minimum points criteria to be granted a Certificate of Sponsorship and Tier 2 visa. As appropriate, at the time an offer of appointment is made you will be asked to demonstrate that you fulfil the criteria in respect of financial maintenance and competency in English. Please do not hesitate to contact Mrs Heather Clark at<> for further information.

To apply online for this position visit
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Invitation to submit book proposals to New Studies in European Cinema

Peter Lang Oxford is pleased to announce the re-launch of the series /New Studies in European Cinema /under new editorship:

New Studies in European Cinema <> <>

Series Editors

Wendy Everett (University of Bath) and Fiona Handyside (University of Exeter)

With its focus on new critical, theoretical, and cultural developments in contemporary film studies, this series encourages lively analytical debate within an innovative, multidisciplinary, and transnational approach to European cinema. It aims to create an expansive sense of where the borders of European cinema may lie and to explore its interactions and exchanges within and between regional and national spaces, taking into account diverse audiences and institutions. The series reflects the range and depth of European cinema, while also attempting to revise and extend its importance within the development of cinema studies in the coming decades. Of particular interest is how European cinema may respond to the challenges of digital distribution and the new intermedial landscape, evolving issues in transnational funding and production, the significance of film festival culture, and questions of multivocality and pluralism at a time of global crisis. The impact of all such developments upon European culture and identity will be of fundamental interest in the coming decades and the /New Studies in European Cinema/ series makes a key contribution to this debate.

Proposals for monographs and edited collections are welcome. All proposals and manuscripts undergo a rigorous peer review assessment prior to publication.

Recent Volumes

/Contemporary Greek Film Cultures from 1990 to the Present <>/

Edited by Tonia Kazakopoulou and Mikela Fotiou

ISBN 978-3-0343-1904-1

/Mapping Cinematic Norths: International Interpretations in Film and Television <>/

Edited by Julia Dobson and Jonathan Rayner

ISBN 978-3-034-31895-2

For more information, or to submit a proposal, please contact Dr Laurel Plapp, Senior Commissioning Editor, Peter Lang Ltd, 52 St Giles, Oxford OX1 3LU, United Kingdom. Email: <>. Tel: ++44 (0)1865 514160
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CFP: The 11th International Conference and Festival on Global Cult Film Traditions
The 11th International Conference and Festival on Global Cult Film Traditions

Birmingham City University Presents:

Cine Excess XI
Fear and the Unfamiliar: Wrong Time, Wrong Place, Wrong Crowd Birmingham City University (and related screening venues)
9th-11th November 2017

Over the last 11 years, the Cine-Excess International Film Conference and Festival has brought together leading scholars and critics with global cult filmmakers for an event comprising a themed academic conference with plenary talks, filmmaker interviews and UK theatrical premieres of up and coming film releases.

Previous guests of honour attending Cine-Excess have included Catherine Breillat (Romance, Sex is Comedy), John Landis (An American Werewolf in London, The Blues Brothers), Roger Corman (The Masque of the Red Death, The Wild Angels), Stuart Gordon (Re-Animator, King of the Ants), Brian Yuzna (Society, The Dentist), Dario Argento (Deep Red, Suspiria), Joe Dante (The Howling, Gremlins), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave (Blow Up, The Devils), Ruggero Deodato (Cannibal Holocaust, House on the Edge of the Park), Enzo G. Castellari (Keoma, The Inglorious Bast***s), Sergio Martino (Torso, All the Colours of the Dark), Jeff Lieberman (Squirm, Blue Sunshine), Pat Mills (Action Magazine, 2000 AD) and Jake West (Evil Aliens, Dog House).

Cine-Excess XI is hosted by the Birmingham School of Media at Birmingham City University, and will feature a three day academic conference alongside filmmaking guests, industry panels and a season of related UK premieres and retrospectives taking place at screening venues across the region.
For its 11th annual addition, the conference Fear and the Unfamiliar: Wrong Time, Wrong Place, Wrong Crowd considers the ways in which cult media exploits the boundaries of self and other in order to address horror and unease across a range of key genres. Specifically, it revisits and reconsiders Robin Wood’s (1986) taxonomy of otherness, which positioned categories such as women, the working class, ethnicity, alternative ideologies, and deviations from the ideological sexual norm as triggers for the evolution of the horror film and related transgressive genres.
Although Wood’s original return of the repressed hypothesis generated a range of critical readings around disreputable film genres, the parameters of his analysis have become invested with new and politicised resonances in recent years. Here, acts of extremism, and the making strange of the familiar in the contemporary milieu of Trump’s travel ban, a proposed wall to separate Mexico from the US, and generalised calls for greater immigration control all serve to resituate ‘other people’, ‘other cultures’ and ‘other places’ as sources of fear and revulsion. In short, awareness of individual, national and international difference has once more become culturally and politically foregrounded as threatening, thereby situating the other as being at the axes of Wrong Time, Wrong Place, Wrong Crowd.

Cine-Excess XI invites papers that either look back to Wood’s original premise, or assess more contemporaneous works/influences to consider such boundary awareness through the articulation of the other in cult media, film and television. This might involve the making strange of the familiar person/self, either in appearance or behaviour, perhaps through the mirror image or the doppelganger, or the rendering of places and spaces as uncanny, different or ideologically/physically remote, such as in the Gothic ruin, the rural backwater, or the isolated cabin in the woods. Proposals might also examine how shifts in time likewise cause ordinary contemporary on-screen places to become peculiar, excessive and cult.

Proposals are now invited for papers on a wide range of cult media case-studies, including film, television, literature, comics and digital media. However, we would particularly welcome contributions focusing on:

• Legacy of the living dead – Social realism and apocalyptic satire in the cinema of George A. Romero
• Cabins, cannibals and chainsaws – The transgressive other of US cult cinema
• Migrant trauma – Fears of the immigrant in classical and contemporary media 
• Bloody kids – Infants and infantile fears in cult media traditions • The return of the repressed redux – New readings of the concept of the other
• The savage lens – Colonial visions of the unfamiliar 
• The gothic other – Terrors old and new 
• Wicker men and stone children – British tradition, folklore and cross-generational conflicts in UK cult film cultures
• “Colonised by bourgeois ideology” – Robin Wood and the fear of the working class 
• Picket fences and domestic perversions – Unwholesome portrayals of the nuclear family in cult film and television
• Invasion USA – Alternative ideologies and fears of national infiltration
• Deadlier than the male – Case-studies of the transgressive female on screen 
• Film and the unfamiliar – Global visions, transnational variants and genres out of place 
• Don’t go into the woods tonight – Urban fears in cinema’s forgotten rural spaces 
• Lost boys and girls – Gang culture tropes across cult film and TV 
• Cult on cults – Representations of religious and political extremists 
• Sexuality and the unfamiliar – Queer bodies and threats to heteronormativity 
• The other within – Outcasts , radicals and vengeful veterans
• Fear of the once familiar – Mainstream icons reborn as cult performers 
• The Cultification of the Uncanny – Theoretical perspectives on the concept of the unfamiliar
• Fear of the all too familiar – Doubles and doppelgangers in cult film and TV
Please send a 300-word abstract and a short (one page) C.V. by Friday 8th September 2017 to:

Xavier Mendik Fran Pheasant-Kelly
Birmingham City University University of Wolverhampton

A final listing of accepted presentations will be released on Friday 15th September 2017.
Delegate fees for Cine-Excess XI are £130 (standard) /£60 (concessions) for the three days, or £50 (standard) and £25 (concessions) per day. This fee includes entrance to the conference and related Cine-Excess screenings and industry panels. For further information and regular updates on the event (including information on guests, keynotes and screenings) please visit

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Call for chapter proposals - 'Different Bodies: Disability and the Media'

Book edited by Diana Garrisi and Jacob Johanssen (Communication and Media Research Institute, University of Westminster).

Following on from the conference ‘Different Bodies: (Self-) Representation, Disability and the Media’ which was held at the University of Westminster in June, we are preparing a book proposal based on some of the themes arising from the conference. The book proposal will be submitted to Peter Lang, who have already expressed a strong interest in the project.

The collection is intended to offer a comprehensive view of the relationship between disability and the media from a global and multidisciplinary perspective. Building upon existing studies, the book aims to explore if and how the rapidly changing technological means of communication are affecting how the body as strange, shameful, wrong, impaired, wounded, scarred, disabled, lacking, different or ‘other’ is constructed in the media. In particular the book aims to discuss whether the Internet has made it possible to develop new, alternative or more inclusive narratives that challenge long-established mainstream coverage of disability. Some of the questions we would like to address are, for example, whether self-representations of disability on the Internet are contesting or aligning with representations on mainstream media outlets. We would also like to look at issues such as the rise of disability hate crimes online, the relationship between journalism and disability awareness campaigns, online dating and disability, the media coverage of disability rights and employment.

Possible themes include but are not limited to:

* Affective labour of bodies
* Auto-ethnographic accounts of the body in / through digital media
* Celebrity bodies and the spectacles of transformation
* Cinema and disability
* Contemporary coverage of disability in print/online/television/radio
* De-colonizing and de-westernising the mediated body
* Disability and advertising
* Disability and race
* Disability and the media: historical perspectives
* (Dis)Empowerments of the disabled body
* Journalism and practices of othering the body
* Neoliberalism, policy and austerity politics
* Posthumanist and non-representational frameworks
* Reality television and the body
* Representing wounds and scars
* Researching bodies and the media: frameworks and methodologies
* Stigma and the body
* The abject body
* The body and trauma
* The mediated body as spectacle
* The medicalised body in the media
* The objectification of the disabled body in the media

We invite submissions of 200-250 words chapter proposals. Deadline: 30 September 2017.

Submissions should also include:

a) Title of chapter

b) Author name/s, institutional details

c) Corresponding author’s email address

d) Keywords (no more than 5)

e) A short bio

Commissioned chapters will be around 5,000 words. The fact that an abstract is accepted does not guarantee publication of the final manuscript. If the book proposal is approved, all chapters submitted will be judged on the basis of a double-blind reviewing process.

We look forward to your submissions.

Should you have any questions, please don’t hesitate to contact us at <> and
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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 <>, a world-renowned audience engagement platform that integrates storytelling with gaming automation to build immersive, online and personalised gaming experiences for its users;
* HarperCollins <>, one of the world’s foremost book publishers with a catalogue ranging from fiction to apps;
* e3 Media <>, one of the UK’s most awarded independent digital marketing agencies, providing creative solutions to real-world business problems;
* Matter 2 Media Ltd. <>, helping technologies grow to solve business problems and create experiences for users via mobile apps and social video;
* StoryCentral Ltd. <>, 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 (<>) and Charlie Tweed ( <>) 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, <> and to Lisa Purse, <> 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:
Informal enquiries can be directed to the Head of MCH, Dr Darren Kelsey ( or to Dr Ian McDonald (

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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:

or email: <>
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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.

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 ( and Brent Ryan Bellamy ( <>). 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:

*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.


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 ( <file:///C:\Users\Brent\Downloads\>) et Brent Ryan Bellamy ( <>). 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 :**

*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
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 <> | Digital Feminisms <> | Research <> | Imaginations <> | WiGY <,673912.aspx>| 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 <> and Instituto de História Contemporânea <> of​ Faculdade de Ciências Sociais e Humanas - FCSH NOVA <>​​,​ ​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: <> <>

+info: : <>


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 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:
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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:
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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, 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, 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


A divulgar brevemente.


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)


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


Submissão de Propostas / Envio do Artigo Completo:

Dra. Adelaide Reis
Departamento de Comunicação e Artes

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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:

9h15 - 11h00: 

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: 
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:
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:
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.

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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We are delighted to announce that from *March 12^th to 15^th , 2018*, the School of Humanities, Communication and Library Science, University Carlos III de Madrid, will host the International Interdisciplinary Conference: THE CITY: IMAGES AND IMAGINARIES.

This Conference aims to offer a diverse view of representations of cities, including the artistic dimensions, as well as the technical, historical, or urban perspectives. The following central concepts and their corresponding sub-themes, will be addressed:

·Urban space: configuration, design, the legacy of the past.

·Civic experience in modern times: citizenry, identities, sustainability.

·Contemporary cities and their representations: audiovisual, visual arts, writing.

Please see the webpage <>for a detailed CFP and further information about the Conference. The abstracts should be submitted through a platform set up on the mentioned webpage until *November 30^th, 2017*.

If you have any questions youcan send a message from the “Contact <>” tab of the web page, or an e-mail to <>.
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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] 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.


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:

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