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 VIII Encontro Anual da AIM irá decorrer de 16 a 19 de maio de 2018, na Universidade de Aveiro. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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NOTÍCIAS

CFP Trípodos - Spanish film noir, the thriller and the crime genre in Spain. A historical perspective


SPANISH FILM NOIR, THE THRILLER AND THE CRIME GENRE IN SPAIN. A HISTORICAL PERSPECTIVE

<https://drive.google.com/file/d/0B17e83poESVTSWEtcHhJLVhOekE/view <https://drive.google.com/file/d/0B17e83poESVTSWEtcHhJLVhOekE/view>

Editors: José Luis López Sangüesa (Universidad Complutense de Madrid, Spain) and Rubén Higueras Flores (Universidad Complutense de Madrid, Spain)

Deadline for receiving papers: 16/10/2017
Summary

Much of the wealth of Spanish cinema lies in the fact that it consists of many popular genres, which enjoy great commercial success but little critical recognition. Film noir and crime are genres which have been either forgotten by the history books or else relegated to a mere footnote in a film history biased in its view. For this reason, this monograph aims to offer a historical perspective of this evocative body of work, from the post-war period to the present day. The commercial success and critical acclaim bestowed on some recent feature films belonging to the genre attest to the timeliness of this monograph, which we consider of great interest to film historians and researchers and academics in the fields of History of Art and Communications Studies.

Lines of study

* Spanish post-war detective film (1940-1949).
* Spanish noir of the fifties.
* Spanish crime film under the policies of García Escudero and Robles Piquer (1960-1968).
* Spanish thriller (1969-1983)
* Contemporary Spanish thriller.
* Auteurship in film noir and the Spanish thriller.


Papers should be sent by the 16th October 2017. In order to submit original papers, authors must be registered with the journal (www.tripodos.com<http://www.tripodos.com/>) as authors. Following this step, authors must enter their user name and password, activated in the process of registering, and begin the submission process. In step 1, they must select the section “Monograph”.

Rules and instructions regarding the submission of originals can be downloaded at www.tripodos.com <http://www.tripodos.com/>. For any queries, please contact the editorial team of the journal at tripodos@blanquerna.url.edu <mailto:tripodos@blanquerna.url.edu>.

Trípodos is a international scholarly journal published by the Blanquerna School of Communication and International Relations at Ramon Llull University. Since 1996, the pages of this biannual publication have offered a forum for debate and critical discussion with regard to any discipline related to the world of communication: journalism, cinema, television, radio, advertising, public relations, the Internet, etc.

Trípodos:

- Occupies the 5th position in the IN-RECS index (2011 edition).
- Is in category C of the CIRC classification (Integrated Classification of Scientific Journals).
- Is indexed in the databases and catalogs: ESCI (Emerging Sources Citation Index), Ulrich’s periodicals directory, EBSCO Publishing, Communication Source, DOAJ (Directory of Open Access Journals), ERIH PLUS, ISOC, DICE, MIAR, Latindex, Dulcinea, REBID, Library of Congress, British Library, COPAC, SUDOC, ZDB, OCLC WorldCat, Dialnet, Carhus Plus+, RACO, among others.
- Has an H index of 6 in Google Scholar Metrics (2008-2011). Occupies the 7th position in the Communication category.

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Conferência de Ciência e Artes dos Videojogos
Junte-se a nós nos dias 23 e 24 de Novembro para a Conferência de Ciência e Artes dos Videojogos. Este evento pretende aliar as contribuições da academia e da indústria, para estabelecer um campo comum no estudo dos jogos. A conferência será organizada pela Universidade Lusófona de Humanidades e Tecnologias e pela Sociedade Portuguesa de Ciência dos Videojogos (SPCV). O seu principal objetivo está relacionado com a promoção da cultura científica, da investigação e da indústria dos videojogos em Portugal, enfatizando diferentes áreas:
Arte, Estética e Design de Jogos Digitais
Ludologia
Desenvolvimento de Jogos
Aprendizagem baseada em jogos
Imersão e presença nos videojogos

A Conferência de Ciência e Artes dos Videojogos terá lugar na Universidade Lusófona de Humanidades e Tecnologias - Lisboa, e contará com alguns dos mais proeminentes trabalhos de investigação na área, bem como alguns dos mais relevantes keynote speakers.

Prazos:
Submissão de artigos: 15 de Outubro de 2017
Notificação de aceitação: 5 de Novembro de 2017

Mais informação aqui: http://vj2017.ulusofona.pt/
___________

Join us on November 23-24, 2017, for the Conference of Science and Arts of Video Games. This event aims to bring the contributions of the academy and industry together, to establish a common ground in game studies. The conference is organized by the Universidade Lusófona de Humanidades e Tecnologias and the Portuguese Society for Videogames Sciences (SPCV). The main objective of this conference is to promote the scientific culture, research and the video game industry in Portugal, emphasizing several different subjects:
Art, Aesthetics and Design of Digital Games
Game Studies
Game Development
Game-based Learning
Immersion and Presence in Videogames

The Conference of Science and Arts of Video Games will be held at the Universidade Lusófona de Humanidades e Tecnologias – Lisbon, and will feature the most prominent research works in the field, with some of the most relevant keynote speakers. We hope you can join us!

Deadlines:​
Proposals submission: October 15, 2017
Notification of acceptance: November 5, 2017

More information here: http://vj2017.ulusofona.pt/en/​
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Curso de Doutoramento em Estudos Contemporâneos - fase extraordinária
O Centro de Estudos Interdisciplinares do Século XX da Universidade de Coimbra - CEIS20 integra a rede de unidades de investigação financiadas e avaliadas pela Fundação para a Ciência e a Tecnologia - FCT. No âmbito do Instituto de Investigação Interdisciplinar da Universidade de Coimbra - III da UC, assegura, no ano letivo de 2017/2018, a sétima edição do Curso de 3º Ciclo em Estudos Contemporâneos.

Trata-se de um Curso de Doutoramento de quatro anos (240 ECTS) que visa promover investigação científica de elevada qualidade sobre as sociedades contemporâneas. Os projetos de doutoramento terão uma natureza interdisciplinar ‒­ a partir da história contemporânea, dos estudos europeus e relações internacionais, estudos artísticos, ciências da comunicação, ciências da educação e história das ciências da saúde – e uma natureza comparativa.

Recordamos que decorrerá, de 15 a 31 de outubro de 2017, a fase extraordinária de candidaturas.

Para mais informações, ver http://www.uc.pt/iii/ceis20Ensino/Doutoramento_EC e www.uc.pt/candidatos/online. Para respostas mais direcionadas, contactar ceis20_bib@ci.uc.pt.
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Call for Papers: Women and New Hollywood


Maynooth University, Ireland

29-30 May 2018

Recent decades have witnessed no shortage of critical or academic writing on the industrial upheaval and creative innovations of New Hollywood (1967-80). But as scholarship has shaped the era, it has done so around a very narrow set of concerns, the overriding one casting New Hollywood as an era of great directors, which, by default, has meant an era of “great men.” Such a vision relies on the kind of identification of creativity with masculinity that Geneviève Sellier has discussed in relation to the French New Wave, and its construction has required a marginalisation, erasure even, of the creative labour of countless women practitioners.

In reality, the late ‘60s and ‘70s saw women begin to re-enter Hollywood production in numbers never before seen. While achieving nothing close to real parity, women nevertheless wrote, edited, designed, and produced many of the era’s most influential films. Most of these contributions have been, at best, paid lip service, but more often overlooked almost completely.

For example, one of New Hollywood’s iconic films, /Bonnie and Clyde/, is regularly recognized for its innovative editing – Dede Allen arguably changed the style of Hollywood filmmaking forever. And yet, Allen is marginalised within discourses that discount women’s contributions and privilege the roles of men like Arthur Penn and Warren Beatty.

Media Studies at Maynooth University and the Irish Research Council are happy to announce the conference Women and New Hollywood, to be held at Maynooth Unversity on 29-30 May, 2018.

The conference will endeavour to excavate and reassess the various roles that women’s creative labour played in shaping the New Hollywood era across all facets of production and within the broader cultural context. We hope to challenge the dominant discourse around New Hollywood, which is, among other things, heavily gendered in its bias towards a creativity, an innovation, and a labour that continue to be framed as almost entirely male.

To that end we invite proposals on any aspect of Women and New Hollywood, including but not limited to:

* women practitioners – analysing the work of specific editors,
designers, directors, writers, producers, etc.;
* how the work of particular women of the ‘70s has influenced later
Hollywood filmmakers;
* actors behind the camera;
* women in charge – charting the rise of the first wave of women
executives and studio heads and their influence on later eras of
Hollywood;
* the relationship between women in production and women’s
representation on screen;
* women’s film criticism during the era;
* women, New Hollywood, and second-wave feminism;
* historiography & institutional memory – how contemporary
institutions such as publishers, archives, or film studies
departments perpetuate or challenge the marginalisation of New
Hollywood women;
* theorizing the ‘70s – through a contemporary lens or by revisiting
‘70s feminist theory.

Furthermore, while the main topic of the conference is Hollywood filmmaking, we recognize that artistic women have often been impelled to work across creative spheres. So we are also open to proposals on the following, especially where links can be made to the conference’s main topic:

* independent women filmmakers;
* women in television;
* women working in other national film industries.
We are accepting submissions for individual papers or pre-constituted panels of three papers each. In either case, please include abstracts of no more than 300 words and brief biographies for each presenter (100 words). Pre-constituted panels should also include a brief rationale statement (250 words). In keeping with the spirit of the conference, we would like to discourage all-male panels. Proposals should be submitted in one email to WomenNewHollywood@gmail.com by 20 December 2017. Participants will be notified by the selection committee before the end of January 2018.

Further queries can be directed to the email address above or to one of the conference organizers: Aaron Hunter (aaron.hunter@mu.ie) or Martha Shearer (martha.shearer@kcl.ac.uk).

Maynooth is a university town, located approximately 30 minutes by train from Dublin city centre. It is home to a historic castle, the Duke of Leinster’s former estate, and lively pubs and restaurants. Accommodation will be available on campus and in local hotels.
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Call for chapters - 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.
t.r.austin@sussex.ac.uk
a.koutsourakis@leeds.ac.uk

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CFP: The Films of John Hughes (Refocus Series)

Series Editors: Gary D Rhodes, Robert Singer

Editors: Timothy Shary, Frances Smith

The films of writer, director, and producer, John Hughes, have enjoyed popular and critical success. With Sixteen Candles (1984), The Breakfast Club (1985), Weird Science (1985), Ferris Bueller’s Day Off (1986), and /Pretty in Pink (1986), Hughes portrayed mercurial suburban adolescence in America. In doing so, he was responsible for bringing to the fore a whole new troupe of actors, dubbed The Brat Pack, which included Molly Ringwald, Matthew Broderick, Emilio Estevez, and Andrew McCarthy. Despite the lasting success of Hughes’ teen output, it was his move into mainstream comedy that secured his greatest commercial successes with hits like /Planes, Trains and Automobiles (1987), Uncle Buck (1989), Home Alone (Chris Columbus, 1990), and 101 Dalmatians (Stephen Herek, 1996).

Since Hughes’ death in 2009, there has been a growing appreciation of his work, and particularly of his teen output. Contemporary nostalgia for the 1980s has played a role, in works such as Easy A (Will Gluck, 2010), Pitch Perfect (Jason Moore, 2012), The Edge of Seventeen (Kelly Fremon Craig,2016), and Permanent (Collette Burson, 2017). Yet Hughes also deserves to be considered as an independent filmmaker, who eschewed the calls of Hollywood to film in his native Midwest (particularly Chicago). To be sure, Hughes’ films remain relevant and are well remembered. However, despite his popular appreciation and the sporadic commentary about his movies, there has to date been no scholarly volume dedicated to the discussion of his work as a whole.

This anthology seeks to address this gap in scholarship, and will be published by Edinburgh University Press in 2019 as part of the /Refocus/ series, which has included books on Amy Heckerling, Delmer Daves, and Preston Sturges. Edited by Dr. Gary D Rhodes and Dr. Robert Singer, this series is dedicated to examining the work of overlooked filmmakers. We are seeking proposals of 500 words, plus a biography of 100 words, for essays to be included in the book. Completed essays should be between 6500 and 8000 words and follow the Chicago endnote referencing style. We are open to proposals on all aspects of John Hughes’ work. Essays may focus on individual works, or on recurrent themes throughout his oeuvre.

Contributions are particularly welcome, but by no means limited to, the following areas:

• Hughes and teen cinema
• The American family in Hughes’ films
• His early work for /National Lampoon/ movies and TV shows (1979-1985)
• Analysis of individual films (1980-2008)
• Gender and teen comedy
• Topics of class, race, sexuality, or gender across Hughes’ films
• Analyses of individual star performances in his films, e.g.: John Candy, Macaulay Culkin, Molly Ringwald, Anthony Michael Hall
• Hughes’ eight films as director (1984-1991)
• The aesthetic style of Hughes’ work, as writer and/or director
• Hughes as Hollywood producer of family comedies, e.g.: /She’s Having a Baby/ (1988), /Dutch/ (1991), /Dennis the Menace/ (1993), /Flubber/ (1997)
• Midwest geography and culture in his stories
• Use of music in his films, particularly pop hits
• His writing as alter ego Edmond Dantés, including /Beethoven/ (1992), /Maid in Manhattan/ (2002), and /Drillbit Taylor/ (2008)
• Anything connecting his essentially secluded personal life to his work

Proposals should be sent to refocusjohnhughes@gmail.com <mailto:refocusjohnhughes@gmail.com>by December 31, 2017. Both editors will review all proposals and respond by January 31, 2018. If successful, essays will need to be completed by September 30, 2018. Please send any enquiries to refocusjohnhughes@gmail.com <mailto:refocusjohnhughes@gmail.com>.

With best regards,

Frances Smith and Timothy Shary
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CFP: 23rd International Bremen Film Conference



23rd International Bremen Film Conference – April 25th 29th , 2018

Call for Papers: Cinema Crossing Borders

Since its invention, cinema has been exploring the practice of creating and identifying borders, including: geographical borders, national borders, the abolition of borders and the construction of walls to delimitate borders. However, despite the existence of borders, films have travelled and continue to travel around the world: in former times through classic trade routes to cinema theatres and film festivals but nowadays also as digital information. The cinema’s narratives, as well as the journeys of the films themselves, represent and describe national boundaries as products of a political, social and aesthetic practice that culturally changes. Following contemporary studies on migration and cinema, cinema in exile and diaspora, as well as in the context of interdisciplinary border studies, the 23rd Bremen International Film Conference invites international experts to reflect on “Cinema Crossing Borders” as practices of border and cross-border cinema.

The concept of cross-border cinema is linked to specific characters: vagabonds, migrants, merchants, tourists or terrorists – but also to far less defined and less related phenomena – such as “strangers” or “aliens”. Cross-border cinema is only seemingly anchored to classic genres – such as: road movie, western, war film and science fiction; or to contemporary forms, including: postcolonial and transnational cinema, multicultural cinema etc.As a genuine portrayal of movement, cross-border cinema encompasses all of these genres – including Hollywood cinema, documentary film, essay film, animation, etc. From its origins to the present, cinema seems to be a predestined medium for staging and transcending border transitions but also it allows participation in border practices, shaping and reshaping them.

Cinema has, since its beginnings, become a key part of the global economy, as well as of colonialism and of the appropriation of the world through images, audio-visual documents and productions. Films are themselves specific products of the global trade, they tell of their own border crossings, rendering them visible and audible, thus contributing to border negotiations. International co-productions, festivals and distribution channels are a proof of this. Furthermore, the theoretical and historical discourses also shape and reflect the overcoming of national-state boundaries as the object of cinematic creation, as well as its context in a globalised world. These discourses include, for example, historical considerations of the possibility for a cinematographic universal language, concepts for multilingual film productions, but also research into exile. From a more contemporary perspective, these discourses include cinema and migration and cinema of diaspora which explicitly address the above developments.

Abstracts are invited on topics related, but not limited to:

- Cinema and migration
- Cinema in exile and diaspora
- Transnational cinema
- Colonial and postcolonial cinema
- Genre and boundaries
- “Disorientation”: lack of border/grey zones
- The European crisis
- Border between USA and Mexico
- Comparative approaches to the representation of boundaries in films
- Multilingualism in the film / International distribution
- Limits and cultural identity. Race and Identity
- New Media Formats and borders: Virtual Reality / Network Projects

The 23rd International Bremen Film Conference aims to explore all the varieties of analytical approaches to “Cinema Crossing Borders” and to enhance the debate/discussion on how cinema forms and informs our idea of borders. Furthermore, it will also facilitate the analysis of critical and affirmative audio-visual productions as discourses on borders. The 23rd International Bremen Film Conference offers a platform for interdisciplinary exchange on border narratives and representations on screen. The conference will combine talks, panel discussions, film screenings, and Q&As with artists, and will take place from April 25th to 29th, 2018 at Bremen’s communal cinema CITY 46. Abstracts for papers that address the above topic with an interdisciplinary and film-theory approach are welcome. If you wish to participate in the 23^rd International Bremen Film Conference please submit an abstract (2000 characters) with a short curriculum vitae in German or English by October 1st 2017. A small travel allowance may be granted but funds are limited.

Contact: Rasmus Greiner / rgreiner@uni-bremen.de
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Call for papers - Pornography: Margins and Extremes


FilmForum 2018
XVI Gorizia International Film Studies Spring School / Porn Studies Strand
March 3rd-7th 2018

Deadline for submissions: October, 25th 2017Address questions and proposals to: goriziafilmforum@gmail.com <mailto:goriziafilmforum@gmail.com>, federico.zecca@uniba.it<mailto:federico.zecca@uniba.it>, g.maina@gmail.com <mailto:g.maina@gmail.com>, eb16882@bristol.ac.uk <mailto:eb16882@bristol.ac.uk>

In the 2018 edition of the Gorizia Spring School, the main objective of the Porn Studies section is to explore the margins and extremes of pornography in contemporary mediasphere, as well as in its historical developments.

The notions of margin and marginality may refer to “the place of repressed or subordinated textual meanings” (Brooker 2003: 152), but also to the specific position of non-mainstream intellectuals, subjects and social groups. In this sense, margin(ality) can either be a place of alienation, social exclusion, and normative oppression or a “space of radical openness” and a “position and place of resistance” (hooks 2015 [1989]: 228, 231; see also: Walker 1999), from which it is possible to re-articulate dominant discourses and produce new meanings and interpretative perspectives. At the same time, extremities and extremes can be understood in Foucauldian terms as places in which power becomes “capillary” (Foucault 1980: 39) and productive – that is where power is materialized in actual practices and produces real effects (Colucci 2004: 128) on bodies and subjectivities.

In our view, pornography can be understood as both a margin and an extreme of mainstream culture. In this perspective, it represents one of the places in which normative discourses and power dynamics are at their most visible and effective; on the other hand, however, pornography can sometimes be seen as the space of production of counter-discourses that might disrupt dominant perceptions and beliefs about gender, sexuality and the body.

With this in mind, we aim to analyse the repressed or subordinated textual and social meanings that characterize (or, conversely, that are produced by) pornography in its different historical and geographical forms, as well as to investigate the micro-politics of power at play in pornographic media and representations and their possible subversive re-articulations.

We invite proposals that explore, but are not restricted to, the following areas:

– Extreme pornography, extreme bodies, extreme representations
– Body modifications, aesthetic surgery and the re-conceptualization of aesthetic standards
– Marginal groups, identities, subjectivities in pornography
– Lives “at the margins”: performers, directors and producers’ biographies
– Marginal celebrities: the meaning of pornographic stardom in the wider context of celebrity culture
– Niche pornographic genres and consumption practices
– Marginal technologies of pornography: dismissed devices, obsolete media, outdated representations
– Marginal economies of pornography: small and independent studios, local businesses, memories of pornographic consumption
– At the margins of the city: movie theatres, arcades, sex shops as places of consumption and socialization
– Marginal pornographic industries and non-US productions
– Legal controversies, censorship, regulation
– Political debates on pornography: stigma and social scapegoating or liberation and empowerment
– Media discourses on pornography
– Mainstream representations of pornography (in film, television, press)

We invite you to send us proposals for papers or panels. The deadline for their submission is October, 25th 2017.

Proposals should not exceed one page in length. Please make sure to attach a short CV (10 lines max). A registration fee (€ 150) will be applied.

Address questions and proposals to: goriziafilmforum@gmail.com <mailto:goriziafilmforum@gmail.com>, federico.zecca@uniba.it<mailto:federico.zecca@uniba.it>, g.maina@gmail.com <mailto:g.maina@gmail.com>, eb16882@bristol.ac.uk <mailto:eb16882@bristol.ac.uk>
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CFP: film and literature, the Portuguese context


FROM TEXT TO SCREEN AND BACK TO TEXT: FILM AND LITERATURE, THE PORTUGUESE CONTEXT

13 and 14 November 2017, King’s College London

The theme of literary adaptation to the screen has always been a great academic catalyst, appealing to various disciplines, from film, to literary, to post-colonial, to translation, and to media and communication studies. Indeed, this broad spectrum of interest has made for very productive and multidisciplinary research. /Letters from War/, by film director Ivo Ferreira, a recent adaptation from the homonymous novel by writer António Lobo Antunes, has highlighted how film adaptations of literary works can lead to very distinct theoretical readings. For this discussion, it is important to bring to the forefront two distinct schools of thought: on one hand, such key authors as André Bazin and Joy Boyoum, who advocate a screen adaptation that is “true” to the work it is inspired by; and, on the other, theoreticians and film critics such as Neil Sinyard, Patrick Cattrysse, Henry Bacon, Jeanne-Marie Clerc and Monique Carcaud-Macaire, who defend the film work as a new object in its own right. In this context, it is relevant to mention the nuances and variations in artistic meaning created by the film adaptation of international literature. Such as in the work of Portuguese filmmaker João Botelho, who has adapted both Charles Dickens’ /Hard Times/ and Fernando Pessoa’s /B//ook of Disquiet/. Or Michel Van der Aa, who has also adapted Fernando Pessoa’s /Book of Disquiet/. Or the adaptation of José Saramago’s oeuvre by several international filmmakers. Can we read the impact of nationality in film adaptation? In this dialogue around film and literature, it is also crucial to investigate the indents film has been making on Portuguese literature. Can we trace how and to what extent the cinema has influenced Portuguese literary works? And can we speak of a film-centric Portuguese literary period or school? This conference will focus on the challenges, possibilities and multidisciplinary aspects arising from and related to the field of interaction between literature and film in a Portuguese context.


Guest speakers: João Botelho, Margarida Gil


Call for papers We welcome proposals for papers and presentations that explore
the following themes from a broad range of viewpoints and
approaches, by researchers and practitioners, as well as by
practice-based researchers.

Submissions may focus on, but are not limited to, the following topics:

• The relationship between the book, time and film.

• Film influences in Portuguese literature.

• Fidelity to literary works versus the creation of new independent film works.

• The imagined audience. The reasons for literary adaptation.

• How do book adaptations engage cinema goers and on what levels?

• From ‘text' to film: the aura of the writer.

• Portuguese literature’s influence in and translation to the visual arts.

Scholars and researchers from all related academic and practice-based fields and are invited to submit proposals.

The conference will be held in English.

Submission deadline: Friday 15 September 2017.

Participants will be notified by Friday 29 September 2017


Scholars and researchers wishing to submit a proposal for a paper presentation of 20 minutes (max.) are required to provide their name, email address, the title of the paper, an abstract (300-350 words), 5 key bibliographical references, 5 keywords and a short biography (100-150 words) to the following email: /portuguese.film.literature@gmail.com/ <mailto:portuguese.film.literature@gmail.com>


Organization

Centre for Portuguese Language and Culture (King´s College, London) and Utopia - UK Portuguese Film Festival

More on

https://www.kcl.ac.uk/artshums/ahri/eventrecords/2017-2018/Cam%C3%B5es/Conference-From-Text-to-Screen-and-Back-to-Text.aspx
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Call for Chapters - Book: "Shared Emotions: Children's World & Cinema"


Shared Emotions: Children’s World & Cinema.

Editors: Maria Irene Aparício, Ph.D; Dina Mendonça Ph.D, Stefanie Baumann Ph.D; Susana Mouzinho Ph.D candidate
Faculdade de Ciências Sociais e Humanas - New University Lisbon
http://www.aelab.ifilnova.pt


We are opening a call for papers for contributions for an edited volume on Children’s Cinema and Philosophy entitled Shared Emotions: Children’s World & Cinema.

The field of Cinema and Philosophy is a growing field of research and it has been the subject of several thematic volumes both edited and monographic. Often, those publications remain open to diversified aspects and approaches. Contrary to this, the present volume is concerned with a simultaneously circumscribed and manifold figure: that of the child and his or her particular experiences and ways of understanding the world, as shown through cinema. The idea is to assemble heterogeneous approaches on the way in which we grow up with cinema, how cinema forges our ways of perceiving and conceiving the world and how imaginary constructions associated with infancy are performed through cinema.
Predicted possible topics include, but are not limited to:

- Children’s experiences and their epistemological and political impact
- Pedagogy and its other: approaching children from an adult’s perspective
- Nietzschean, Bejaminian, Deleuzian or other philosophers’ approaches to childhood and their cinematic reflection
- Perception, Knowledge and Recognition
- The Meaning of Shared Values
- Growth, Aggression and Violence
- Strong affects: On Laughing and Crying at the Cinema
- Transformation and mimesis

We welcome approaches from different philosophical and film theory perspectives, as well as approaches related to other scientific areas and subjects beyond philosophy and film theory while holding philosophical and film theoretical insights.

Submission: Please send your abstract (up to 500 words) and a short CV (for each author/co-author) to

Sharedemotions.edition@gmail.com <mailto:Sharedemotions.edition@gmail.com>, by October 15th, 2017.

The notification of acceptance will be on November 15th.

Full articles should be between 5000 and 8000 words, and follow Chicago Style. They are due on January 30th 2018.
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Art History/Film Studies Job


DEPARTMENT OF ART HISTORY and MEL HOPPENHEIM SCHOOL OF CINEMA FACULTY OF FINE ARTS, CONCORDIA UNIVERSITY

Cross-Appointed Tenure-Track Faculty Position in Canadian Moving Image Arts Studies

Concordia University’s Department of Art History and the Mel Hoppenheim School of Cinema in the Faculty of Fine Arts invite applications for a full-time, cross-appointed tenure-track faculty position in Canadian Moving Image Arts Studies to begin August 1, 2018.

Context
With over 4,000 students, faculty, and staff, the Faculty of Fine Arts is among the five largest art and design schools in North America. Montréal, our home, is exceptional: with 170,000 university students, a vibrant cultural scene, and the most affordable tuition in Canada, the city ranks among the top ten best destinations in the world for tertiary education. While supporting a significant Anglophone population, Montréal is the second largest French-speaking city after Paris. North America’s number one choice for international events and festivals, Montréal was the first metropolis to be designated a UNESCO City of Design by the Global Alliance for Cultural Diversity. Nestled in the heart of this pulsing city, embraced by a dynamic research university, the Faculty of Fine Arts benefits from extraordinary access to brilliant practitioners, thriving venues, cross-cultural perspectives, and an extensive network of outstanding facilities for research and production.

Faculty and Departments
Taking advantage of our place within the rich fabric of a research university and our long history as one of the premiere sites in Canada for the study and creation of the arts and arts-based scholarship, the Faculty of Fine Arts is currently engaged in a transformative moment in which pedagogical, conceptual, theoretical, and material practices find resonance with a significant diversity of approaches. In our university community, live performance, historical research, methodological innovation, theoretical scholarship, technical experimentation, skills-based production, community fieldwork, as well as traditional and digital fabrication are equally valued. In addition to curricular experimentation, the formation of significant research centres and external partnerships in the Faculty of Fine Arts have enriched opportunities for faculty and students. In 2018 a new Media Bank will open in the Faculty, in which the combined film, video, and image archives of Art History and F!
ilm Studies will be housed. This facility will include seminar rooms, breakout space, as well as viewing stations available to students and faculty, and offers great potential for future research initiatives and activities.

The Department of Art History is a vital environment for the study and research of art’s histories, theoretical frameworks, visual and material culture, curatorial practice, education and community engagement. As one of Canada’s leading programs, the Department of Art History offers full undergraduate degree programs in Art History, Art History and Film Studies, and Art History and Studio Art, as well as an MA in Art History and an interuniversity PhD, offered collaboratively with three other institutions. Our curriculum and research reflect a diversity of approaches, and we encourage students to become active contributors to the discipline throughout their studies. The Department of Art History is a mutually supportive environment with a longstanding tradition of ground-breaking scholarship and where teaching is active and innovative, with public learning outcomes often providing a means to invite a sense of shared purpose among our student body and larger university co!
mmunity.

The Mel Hoppenheim School of Cinema—Canada’s largest university-based centre for the study of film animation, film production and film studies—is highly regarded around the world. The School has the distinct advantage of being situated in Concordia’s vibrant Faculty of Fine Arts, where faculty and students enjoy numerous cross-disciplinary opportunities, state-of-the-art resources and facilities, and a rich artistic and cultural context for research and study. Currently, the School’s faculty complement includes 26 full-time professors and a talented cadre of part-time instructors, teaching more than 800 students. The School hosts programs in Film Production, Film Animation, and Film Studies. Among the degrees offered are a BFA in Film Studies, a BFA in Art History and Film Studies, an MA in Film Studies, and a PhD in Film and Moving Image Studies. Our 12 full-time Film Studies faculty members are active scholars in a diversity of subfields, and our PhD program attr!
acts high- caliber international students, and is among the top Film Studies graduate programs in the world.

Since its creation in 2002, the Major in Art History and Film Studies has offered a course of study at the intersection between art history and film studies as scholarly disciplines. A research and writing- intensive program, it attracts top students and is a growth area for both departments. It is a program in which students develop an interdisciplinary understanding of the visual and audio-visual arts, as well as the critical and theoretical discourses pertaining to each discipline. Since its inception, intersections between experimental film practices and moving image gallery works have increased in current moving image arts practice, as have the challenges and strategies of curating, archiving, and preservation. More than ever, this hybrid program is well situated to train students in an expanded history of the moving image, and the associated institutions, artists, and archival practices.

Position Description
We are seeking candidates with expertise in moving image arts and visual culture. Moving Image Arts is an umbrella term that includes experimental film, video, installation arts, and expanded cinema, along with other modes of digital arts—all of which have distinct and interrelated histories and futures. We welcome candidates whose research encompasses curating, archiving and historiography. Preference will be given to applicants with a scholarly record focused on any modality of moving image arts and visual culture, including a demonstrated expertise in Canadian, Quebec, and/or Indigenous Media with a research program grounded in one or more of these areas.

Responsibilities
The successful cross-appointed candidate’s primary department will depend on their field of expertise, but since they will be expected to teach core undergraduate courses in Art History and Film Studies, they must be comfortable within both disciplinary milieux. Responsibilities will also include the stewardship of the BFA in Art History and Film Studies, including review of curriculum, timetable co-ordination, and mentoring students. In this role, they should demonstrate the ways collaborative, interdisciplinary research and pedagogy in Art History and Film Studies are central to the continued success of this program. The candidate should be prepared to supervise graduate students in either Art History or Film Studies, or both, and serve on graduate supervisory committees, as well as actively embrace program and department stewardship, perform administrative duties and engage in committee work at the department and Faculty levels. Prior activities demonstrating leadership!
, service, and commitment to diversity will be an asset.

Qualifications
Applicants should hold a PhD in either Art History or Film Studies, or a related discipline(s), have substantial teaching experience at the university level, and must demonstrate an active program of research as well as a record of publications. They should have a significant research and scholarly profile in Canadian, Quebec, and/or Indigenous moving image arts studies. Additional expertise in curatorial and archival activities will be considered an asset for the position. Although classes are taught in English, a foundation in French would be considered a strong asset.

Application Requirements and Deadline
Applications should be submitted electronically to arth.film@concordia.ca on or before November 1, 2017. Submissions must consist of a letter of application; curriculum vitae; a statement of teaching philosophy and interests; a teaching dossier showing evidence of teaching effectiveness (including course syllabi, evaluations, and examples of student work); a research philosophy highlighting future research plans; detailed examples of completed/in-progress works; one example of published scholarly work (peer-reviewed article); and the names and contact information of three referees. Short-listed candidates will be required to provide an attestation of terminal degree. The departments regret that they cannot consider incomplete applications.

All inquiries regarding this position should be sent to arth.film@concordia.ca and directed to:
Dr. Elaine Paterson, Chair, Department of Art History and Dr. Catherine Russell, Chair, Mel Hoppenheim School of Cinema

To learn more about working at Concordia, applicants are encouraged to consult: http://www.concordia.ca/hr/jobs.html
Faculty of Fine Arts: http://www.concordia.ca/finearts.html
Department of Art History: http://www.concordia.ca/finearts/art-history.html
Mel Hoppenheim School of Cinema: http://www.concordia.ca/finearts/cinema.html

Subject to budgetary approval, we anticipate filling this position, normally at the rank of Assistant Professor, for August 1, 2018. Appointments at a more senior level may also be considered. Review of applications will begin immediately and will continue until the position is filled.

All qualified candidates are encouraged to apply for this position; however, Canadian citizens and permanent residents of Canada will be given priority. Concordia University is strongly committed to employment equity within its community, and to recruiting a diverse faculty and staff. The university encourages applications from all qualified candidates, including women, members of visible minorities, Indigenous persons, members of sexual minorities, persons with disabilities, and others who may contribute to the diversity of the university.
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Conference: From Text to Screen and Back to Text. Film and Literature, the Portuguese Context
The theme of literary adaptation to the screen has always been a great academic catalyst, appealing to various disciplines, from film, to literary, to post-colonial, to translation, and to media and communication studies. Indeed, this broad spectrum of interest has made for very productive and multidisciplinary research.

Letters from War, by film director Ivo Ferreira, a recent adaptation from the homonymous novel by writer António Lobo Antunes, has highlighted how film adaptations of literary works can lead to very distinct theoretical readings. For this discussion, it is important to bring to the forefront two distinct schools of thought: on one hand, such key authors as André Bazin and Joy Boyoum, who advocate a screen adaptation that is “true” to the work it is inspired by; and, on the other, theoreticians and film critics such as Neil Sinyard, Patrick Cattrysse, Henry Bacon, Jeanne-Marie Clerc and Monique Carcaud-Macaire, who defend the film work as a new object in its own right.

In this context, it is relevant to mention the nuances and variations in artistic meaning created by the film adaptation of international literature. Such as in the work of Portuguese filmmaker João Botelho, who has adapted both Charles Dickens’ Hard Times and Fernando Pessoa’s Book of Disquiet. Or Michel Van der Aa, who has also adapted Fernando Pessoa’s Book of Disquiet. Or the adaptation of José Saramago’s oeuvre by several international filmmakers. Can we read the impact of nationality in film adaptation?

In this dialogue around film and literature, it is also crucial to investigate the indents film has been making on Portuguese literature. Can we trace how and to what extent the cinema has influenced Portuguese literary works? And can we speak of a film-centric Portuguese literary period or school?

This conference will focus on the challenges, possibilities and multidisciplinary aspects arising from and related to the field of interaction between literature and film in a Portuguese context.

Guest speakers: João Botelho, Margarida Gil

Call for papers
Submission deadline: Friday 15 September 2017

We welcome proposals for papers and presentations that explore the following themes from a broad range of viewpoints and approaches, by researchers and practitioners, as well as by practice-based researchers.

Submissions may focus on, but are not limited to, the following topics:
• The relationship between the book, time and film.
• Film influences in Portuguese literature.
• Fidelity to literary works versus the creation of new independent film works.
• The imagined audience. The reasons for literary adaptation.
• How do book adaptations engage cinema goers and on what levels?
• From ‘text' to film: the aura of the writer.
• Portuguese literature’s influence in and translation to the visual arts.

Scholars and researchers from all related academic and practice-based fields and are invited to submit proposals.
The conference will be held in English.
Submission deadline: Friday 15 September 2017.
Participants will be notified by Friday 29 September 2017

Scholars and researchers wishing to submit a proposal for a paper presentation of 20 minutes (max.) are required to provide their name, email address, the title of the paper, an abstract (300-350 words), 5 key bibliographical references, 5 keywords and a short biography (100-150 words) to the following email: portuguese.film.literature@gmail.com

Organization
Centre for Portuguese Language and Culture (King´s College, London) and Utopia - UK Portuguese Film Festival

Conference Committee
Ana Bela Morais (Faculdade de Letras, Universidade de Lisboa)
Ana Medeiros (King’s College, University of London)
Catherine Boyle (King’s College, University of London)
Catarina Fouto (King’s College, University of London)
Érica Faleiro Rodrigues (Birkbeck College, University of London)
Filipa Rosário (Faculdade de Letras, Universidade de Lisboa)
Helder Macedo (Emeritus Professor at King's College, University of London)
João Paulo Silvestre (King’s College, University of London)
Project supported by: Instituto Camões, Portugal

https://www.kcl.ac.uk/artshums/ahri/eventrecords/2017-2018/Cam%C3%B5es/Conference-From-Text-to-Screen-and-Back-to-Text.aspx

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Revista O Mosaico para trabalhos de graduação e pós-graduação
A Revista O Mosaico está com chamada aberta para uma edição dedicada aos estudos do Cinema e do Audiovisual. O título do dossiê é Polifonias nos Estudos do Cinema e do Audiovisual e a organização é de Agnes Vilseki e de Juslaine Abreu Nogueira, em nome do Grupo de Pesquisa CineCriare: Cinema Criação e Reflexão. O objetivo é dar visibilidade e acesso a pesquisas de estudantes de graduação e pós-graduação no campo do Cinema e do Audiovisual.

Para quem deseja submeter trabalho, as orientações e maiores informações estão disponíveis em: http://periodicos.unespar.edu.br/index.php/mosaico/index

O prazo final é dia 01 de outubro de 2017.
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Mesa-redonda "Mulheres no Cinema Português"
11 de Setembro de 2017, 18.30-20.30
Sala 2, Fundação Calouste Gulbenkian

No âmbito do Simpósio Internacional 'Women in Iberian Cinema', que decorrerá em Lisboa, a 11 e 12 de Setembro de 2017, a Faculdade de Letras e o Instituto de Ciências Sociais da Universidade de Lisboa, numa parceria com a Fundação Calouste Gulbenkian, irão apresentar uma mesa-redonda sobre "Mulheres no Cinema Português".
Participarão na conversa Cíntia Gil (directora do Festival Internacional doclisboa), Susana de Sousa Dias (cineasta), Joana Ferreira (produtora, C.R.I.M.), Rita Benis (argumentista e investigadora académica, FLUL), e Cristina Matos Silva (comissária para o cinema, Lisboa Film Commision). A mesa-redonda será moderada pela jornalista Ana de Sousa Dias.
O evento tenciona incentivar a partilha de perspectivas sobre o número e estatuto das mulheres que trabalham no cinema português. Mais do que abordar paradigmas autorais, pretendemos reflectir sobre a representação das mulheres nos diferentes géneros cinematográficos, pensar o feminismo, programação e a história do cinema em Portugal, assim como discutir preconceitos de género e igualdade num campo restrito mas em desenvolvimento.
Após a intervenção das convidadas, a conversa será alargada ao público.
A entrada é livre.

Para mais informações, contactar a organização:
Mariana Liz, ICS-ULisboa: mariana.liz@ics.ulisboa.pt, 966711560
Filipa Rosário, FLUL: filiparosario@gmail.com, 916287151
Ou escrever para: womeniniberiancinema@gmail.com
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Colóquio Narrativa, Média e Cognição | UBI
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 multifacetado.

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 10 de Setembro 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 10 de Setembro
Notificação de aceitação: até 20 de setembro
Data limite para envio do artigo completo: 30 de Novembro

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

Comissão científica:
André Barata (UBI - LabCom.IFP)
Bruno Mendes da Silva (UALG - CIAC)
Catarina G. Moura (UBI - LabCom.IFP)
Carlos Caires (UCP - CITAR)
Daniel Ribas (IPB / CITAR - UCP)
Fátima Chinita (IPL / ESTC)
Fernanda Bonacho (ESCS / IPL- ICML / UNL / FCSH - CIC.Digital)
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)
José Bidarra, (UAb / CIAC)
Né Barros (UP - Instituto de Filosofia / balleteatro / ESAP)
Nelson Zagalo (UM - CECS)
Patrícia Gouveia (UL - FBA)
Paulo Nuno Vicente (UNL / FCSH - iNOVA MediaLab)
Valentina Nisi (UM - M-ITI)

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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Cfp: Apparatus - Journal for Film, Media and Digital Cultures of Central and Eastern Europe

Call for papers for the themed issue of "Apparatus":

"Revealing the Invisible: Women and Editing in Central and Eastern European Film"

Guest edited by Adelheid Heftberger and Karen Pearlman


Women have been a vital part of film production since its beginning. However, their history in all its richness has not been adequately studied.^i <#sdendnote1sym>This themed issue of /Apparatus - Film, Media and Digital Cultures of Central and Eastern Europe,/scheduled for spring 2018, will focus on women’s creative work, particularly in a significantly under-theorised aspect of film: editing.


Editors are regularly ascribed characteristics that align with invisibility. Mary Lampson (editor of films by Emile de Antonio and Barbara Kopple) for example, says, echoing many editors’ descriptions of themselves: “Many good editors are sort of introverted, shy people, observers of life.” Their sense of rhythm has been frequently praised, and of course the patience it needs to work through abundant material and interact with directors and other members of the production team. These industry standard descriptions raise questions: are these traits gendered (in fact or in perception)? Are they less valorised than the qualities ascribed to (usually male) directors? Are sense of rhythm and structure, and skills of observation being insufficiently recognised as significant creative contributions in the evaluation of films? Are the products of editing processes, which are coherent and compelling structures, rhythms, and styles in the movement of story, emotion, image and sound, being overlooked in the evaluation of film due to truisms about their ‘invisibility’?


Is there a connection between the under-theorising of editing and the under-theorisation of women in film production? Editing is often described as the ‘invisible art’. Co-editor of this themed issue Karen Pearlman has proposed that good editing is /not /invisible, and to describe it as invisible is an industrial issue for editors who are also relegated to invisibility. Invisibility of women has been noted as a significant issue in disciplines of history, art and art history. Given that editing is one of the very few areas of film production that is even close to gender parity in employment, and that many classic films having been crafted by female editors, the question arises: is there a relationship between the historical invisibilities of women and editors?

Soviet montage is one kind of editing which stands out in opposition to ‘invisibility’. It is highly visible, and some of the female editors of the Soviet Montage period are relatively well known still (for example Esfir’ Shub or Dziga Vertov’s collaborator and wife Elizaveta Svilova). However others have been more or less forgotten (like Vera Khanzhonkova, the wife of the early film producer Aleksandr Khanzhonkov). We know from commentaries of their contemporaries that these women were respected as editors in their time. For example, in Sergey Yutkevich’s and Aleksandr Levshin’s scenario “A Film About Films”, which never got made, these three women were meant to feature as prime examples for creating innovative editing. It is also worth mentioning that both Shub and Svilova were working mostly on documentary films and even mostly with found footage. But even the “screen visibility” Yutkevich and Levshin were prepared to give to female editors, would not necessarily mean clearer understanding of the process as a whole, their collaborations with their colleagues and their degree of independence.

Visibility can - in Russia but arguably Central and Eastern Europe as a whole - also be understood as a language problem. Even though, for example, Shub left a substantial amount of writings, these writings have not been translated and thus have not been given serious research attention internationally. Language issues extend beyond simple translation issues though. For example, there is a question of how to read between the lines of the writing of Soviet women editors when they may have been writing with the knowledge that their words could be scrutinised by government censors. Significant questions also arise when we consider the kinds of writing and words that women use about themselves and their work. For example, in /Red Women on the Silver Screen/(1993)/,/Lynne Attwood writes about a Stalin Era women’s conference at which "delegates related the heroic feats of their husbands and discussed what they had done to help". By positioning themselves as helpers, rather than agents and credited creative collaborators, women add to their invisibility. Similarly editors commonly use language that draws a veil around editing processes with words like “instinctive” and “magic”.

Interviews with editors or editors own biographical and experiential accounts are highly relevant to the inquiries of this journal issue but they rarely explicitly address concepts, context and methodology. One disciplinary area currently engaging with the question of academic articulation of editing expertise is cognitive studies of the moving image. Finally, there is the language used in evaluating films or the processes of making them. Here the language generally positions the director as the decision maker about editing, when in fact, thousands of decisions are made by the editor before showing the director one decision to ratify. The editor makes many creative contributions through their embodied expertise and it would be incorrect to suggest that “the editor functions as a pair of hands /rather/than as a thinker in the editing process. ... editing is an instance of integrated cognition and action.” Is attributing editing decisions to directors an entrenched systematic erasure of editor’s visibility?

How can unearthing the involvement of female collaboration, specifically editing, in film production change the way we write film history and regard the film canon? How much do we actually know about the presence of female editors in Polish Post-war cinema, Czech New Wave or DEFA-films, just to name a few famous currents within Central and Eastern European Cinema?

How do we have to change our research methods in order to achieve a valid “big data” basis if we need it for our research? How can film archives and/or online knowledge bases support and contribute such research? What are the possible advantages of computer aided tools and how can the data be interpreted in a meaningful way for the investigation into the proposed topic(s)?

In addition to a contribution to film historiography and uncovering archival sources which might shed light on female editors, there are many other possible topics which can be addressed:

* Women and the history of editing

* Critical evaluations of editing

* Editing and authorship

* Women editors in Central and Eastern European film industries (past
and present)

* Creativity in film editing

* Historical and contemporary understanding of the difference between
a ‘cutter’ (who assembles footage according to instructions) and an
‘editor’ who makes creative contributions and decisions

* Power structures built into the positioning of women and the crew
roles of editing, including, for example, questions of pay,
authority, collaboration and credit

* Particular partnerships and distinctive aspects of these
partnership’s creative output

* Backgrounds and training of editors

* Women in the Soviet montage era and other contexts as editors,
mentors, editor/directors, key thinkers

* Representation (or not) of women, and of editors in national
filmographies and narratives

* Influence of editors in documentary film, studio style and auteur
cinema in different countries / in film history

* Editing and how rhythm, structure or film style are shaped, shared
and perceived

* Investigations of ideas about what is ‘women’s work’ including, for
example stencil coloring, cutting and, recently, digital restoration
or typical “female” jobs like knitting, sewing, typing or
switchboard operators

* film historical research, into how editors present themselves, in
self-images, how they are described or assessed by others, and how
their image developed

* Other relevant questions and topics welcome

Abstracts (200-350 words) and a short biography should be submitted to Adelheid Heftberger (_a.heftberger@zem-brandenburg.de<mailto:a.heftberger@zem-brandenburg.de>_) and Karen Pearlman (_karen.pearlman@mq.edu.au <mailto:karen.pearlman@mq.edu.au>_) by October 10, 2017 for consideration by the editors. For this themed issue we prefer abstracts in English, but Apparatus generally publishes articles in all of the languages of the region always accompanied by abstracts in English, German and Russian.

Selected articles will undergo an editorial and double blind peer reviewed process before final acceptance.

Deadline for abstracts: 10 October 2017
Notification of acceptance: 10 November 2017

Deadline for full articles: 10 February 2018


 Leigh, Michele. 2015. “Reading between the Lines: History and the Studio Owner’s Wife.” In /Doing Women’s Film History. Reframing Cinemas, Past and Future, /edited by Christine Gledhill, and Julia Knight. Urbana.

 Anderson, John. 2012. “The ‘Invisible Art’: A Woman’s Touch Behind the Scenes”. http://www.nytimes.com/2012/05/27/movies/kim-roberts-kate-amend-and-other-female-film-editors.html.

See Pearlman, Karen. 2015. /Cutting Rhythms, Intuitive Film Editing. New York; London./

Cousins, Mark. 2016. “Scissor Sisters”. http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/scissor-sisters<http://www.bfi.org.uk/news-opinion/sight-sound-magazine/comment/scissor-sisters>, and Galvao, S. 2015. “‘A Tedious Job’ – Women and Film Editing”. http://critics-associated.com/a-tedious-job-women-and-film-editing/.

Kukulin, Il’ia. 2015. /Mashiny zashumevshego vremeni: kak sovetskii montazh stal metodom neoficial’noi kul’tury/. Moscow.

Yutkevich, Sergey, and Levshin, Aleksandr. 1985. “Fil’ma o fil’me”. In /Iz istorii kino. //Dokumenty i materialy/11. 23–25, Moscow.

Oldham, Gabriella. 1992. /First Cut, Conversations with film editors/. Berkeley; Los Angeles.

Pearlman, Karen. 2015. /Cutting Rhythms, Intuitive Film Editing. New York; London; /Pearlman, Karen. 2017. “Editing and Cognition Beyond Continuity.” /Projections, Journal of Movies and Mind; /Pearlman, Karen. 2018. “Documentary Editing and Distributed Cognition.” In /A Cognitive Approach to Documentary Film/, edited by Catalin Brylla & M. Kramer, Basingstoke; Smith, Tim J. 2012. “The Attentional Theory of Cinematic Continuity”, /Projections Journal of Movies and Mind./

Pearlman, 2018.

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CFP: Game Studies Area: 2018 PCA/ACA National Conference


Game Studies Area: 2018 PCA/ACA National Conference.


The Game Studies area of the National Popular Culture Association and the American Culture Association Conference invites proposals for papers and panels on games and game studies for the Popular Culture Association/American Culture Association National Conference to be held Wednesday, March 28 through Friday, March 31, 2018

at the J.W. Marriott in Indianapolis, Indiana.


The database for proposal submissions opens July 1.


Below, please find:


I. Topics of Interest


II. Suggestions for First Time Submitters


III. Submission Process


IV. Information about the Conference


V. Contact Information


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I. Topics of Interest


The organizers seek proposals and papers covering all aspects of gaming, gaming culture and game studies.Proposals can address any game medium (computer, social, console, tabletop, etc) and all theoretical and methodological approaches are welcome.

Possible topics include but are not limited to:


-- new game mediums and platforms


-- representation or performance of race, class, gender and sexuality in games


-- gaming culture, game specific cultures, and multicultural and cross-cultural issues


-- game development, design, authorship and other industry issues


-- game advertising, reviews, packaging, promotion, integrated marketing and other commercial concerns


-- political and legal entailments such as regulation, censorship, intellectual property


-- ludology, textual criticism, media ecology, narratology, etc as paradigms for games studies


-- player generated content in MUDs and MMORPGs, Mods, maps and machinima


-- game genres, platforms, consoles, console wars and connections to other media


-- serious games for education, business, healthcare, (military) training, etc


-- space and place in games, play spaces, virtual/physical communities, mobile gaming and localization


-- digital literacy, discourse practices, social norms and norming, the politics of play


-- public discourse/controversy over violence, militarism, sex, criminality, racism, etc in games


-- game pedagogy and classroom practices, gamification, learning as play


II. Suggestions for First Time Submitters



We know that many people interested in presenting in Game Studies are new to the field, or come from departments without much institutional support for it. We welcome you! You’ll find that our area is a welcoming and collegial community. Although when you first come to study games, it might seem like there’s not a lot of scholarship on the topic, there is actually a robust body of work. As with any field, we encourage you to try to familiarize yourself with some of the major threads of that discussion so that you don’t find yourself rehashing old arguments, like the ludology vs. narratology debate. Similarly, know your audience! You will be talking to a group of scholars who are just as excited about game studies as you, so you don’t have to worry about spending time in your talk defining what games are or defending the validity of their study. Focus on what you are bringing that you feel is new to the discussion/debate.



III. Submission Process


The Game Studies area of the National Popular Culture Association and the American Culture Association Conference, which began as the Video Games Studies area in 2003, has the most enduring footprint of any North American academic organization that gives serious attention to the social and cultural impact of games and gaming. The area continues to grow and offers two avenues for scholars to participate and present their work.


A. Paper Proposals


For individual paper proposal submissions, please submit a 250-word (maximum) abstract by October 1, 2017. Submissions must be made online at http://conference.pcaaca.org/ <http://conference.pcaaca.org/.>.Detailed instructions for using the online submission system can be found at http://pcaaca.org/national-conference/proposing-a-presentation-at-the-conference/.



B. Panel Proposals


For panel submissions, please submit a 250-word (maximum) panel abstract, as well as 100-word abstracts for each individual presentation, by October 1, 2017. Panel proposals must be emailed to digitalgames.pcaaca@gmail.com <mailto:digitalgames.pcaaca@gmail.com>. Be sure to include the proposed title of the panel, the organizer’s name, affiliation, mailing address, and email, as well as this information for all panelists. Each panelist must also submit their paper individually at http://conference.pcaaca.org/. Panel submissions may take the form of debates, dialogs, roundtable discussions, thematic panels, (or other format,) and should be designed to last approximately eighty minutes.



IV. Information about the Conference



*A. So that there will be ample time for discussion, each individual paper presentation should be designed to last approximately twelve to fifteen minutes (there will typically be four presentations per session with time for Q&A).


*B. Technology for use during presentations may be limited. More information about the conference can be found at http://www.pcaaca.org/



*C. Presenters will be required to join either the Popular Culture Association or the American Culture Association prior to attending the conference, as well as pay a registration fee for the conference. Information about these fees can be found at http://pcaaca.org/national-conference/membership-and-registration/.



IV. Contact Information


Questions and concerns can be sent to digitalgames.pcaaca@gmail.com <mailto:digitalgames.pcaaca@gmail.com>, or may be directed to one of the area chairs listed below.



Matthew Wysocki, Department of Communication, Flagler College

mwysocki@flagler.edu


Nicholas Mizer, Editor, The Geek Anthropologist

nicholas.j.mizer@gmail.com
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CFP: The Politics of Faith, Spirituality, and Religion in Southeast Asian Cinemas



10th Biennial Association for Southeast Asian Cinemas Conference (ASEACC)
July 23-26, 2018, Indonesian Institute of the Arts, Yogyakarta, Indonesia.

In Southeast Asia, the tropes of faith/belief, spirituality and religion are frequently inseparable from the political––whether specific regimes, groups, movements or longer 'undercurrents'––in a way that challenges post-enlightenment, rationalist/secularist conceptions of the political and the modern. As the products of these rapidly changing societies with diverse and long-historical philosophies and practices of faith, religion and ritual, Southeast Asian cinemas have often occupied disputed theoretical and aesthetic ground, particularly in their engagements with politics. Local cinematic forms have consistently resisted any absolute break with the power structures and attendant narrative and aesthetic discourses that link the regional past to its national presents. The resultant connection drawn by many local films between modernism and approaches to life, politics and representation that implicitly or explicitly eschew Western secularism have frequently served as a source of consternation or dismissal from both local and global audiences and critics.

In the decades since 9/11, however, as religion has become ever more visible and the post-European Enlightenment ideal of separation between public and private spheres has been increasingly destabilized throughout the world, films engaging with the profound continuity of local aesthetic and spiritual pasts in Thailand, Indonesia, the Philippines and elsewhere have also begun to gain more regular acceptance in the foremost bastions of cinematic legitimacy in Europe, East Asia and the United States. How might works like these––and perhaps more important, those less universally appreciated offerings that preceded them––challenge and expand our understanding of what cinema is and does? How might the analysis of Southeast Asian cinemas, genres, or particular films inspire a critical rethinking of the position and role of religion, faith and other “old” systems of belief in processes of regional transformation and decolonization, and the production and spread of modernity and nationalism they fostered?

Perhaps the most pressing question in this context: in light of the alarming contemporary expansion of politico-religious conservatism and authoritarianism throughout the region, might Southeast Asian films, filmmakers and theorists be especially well positioned to formulate a critical response that elides the polarizing valorization of secularism so often deployed by Western critics?

Possible topics include, but are by no means limited to:

● Representation of religion, religious themes, and spirituality in cinema
● Faiths, identity-based politics, sectarianism
● Cinema as a vehicle for the adaptation and continual development of religious or traditional ideologies and systems of thought
● Cinema as a mediator between religious and political authorities and the public
● Cinematic reference to, or quotation of, traditional systems of belief and forms of expression
● Cinema and Institutional investment in defining and promoting tradition
● Faith/religion and reception, exhibition, distribution (ex. themed festivals)
● Films as interventions into religious politics/cultures and sectarian politics
● Faith/religion/spirituality, film, and consumer culture
● Religion and censorship
● Islamic themed films as a contemporary phenomena in Indonesia and Malaysia (and elsewhere)

ASEACC welcomes presentations related to the conference theme or to Southeast Asian cinemas more broadly. Past conferences have included site visits, screenings, and presentations from academics, critics, filmmakers, archivists, and others interested in Southeast Asian screen media.

Please check our website archives and conference programs for past paper topics as we are less likely to accept topics that have been covered before: http://seaconference.wordpress.com/

Abstract Submission Deadline: October 31, 2017. Please send an abstract (max. 300 words) and short bio (max. 100 words) to: Katinka Van Heeren (cvanheeren@hotmail.com <mailto:cvanheeren@hotmail.com>), Patrick Campos (patrick.campos@gmail.com <mailto:patrick.campos@gmail.com>), and Sophia Harvey (soharvey@vassar.edu <mailto:soharvey@vassar.edu>).
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Conference - Women in the work of Woody Allen (UK)



"Women in the work of Woody Allen"
York St John University

Saturday 13th January 2018


‘I’m interested in the relationships that women have with other women’


As part of a prospective edited volume, this one-day conference will explore the role and representation of women in the work of Woody Allen including his films, his plays, written work and his recent Amazon TV serial. It is our intention to bring together researchers to consider how women are represented in the work of Woody Allen, to consider the notion of the male perspective on writing women, and to explore the various approaches to relationships with and between women.

The subject of women and their relationships is a regular motif in Allen’s work. He has pointed out too that, ‘it became fun for me to write from the female point of view […] it was fresh’ (Allen qtd in Lahr, 1996:156). From mothers and daughters in /Interiors /(1978) and sisters in /Hannah and Her Sisters /(1986) to wives, best friends, girlfriends, mothers, hookers, evil queens and the Devil’s mistress, some of the most influential and commanding actresses of stage and screen have worked alongside Allen from Diane Keaton and Mia Farrow to Muriel Hemingway, Meryl Streep, Goldie Hawn, Diane Wiest, Madonna, Scarlett Johansson, Christina Ricci, Kate Blanchett, Emma Stone, and so, very many others.

Potential topics include, but are certainly not limited to:

·Mothers and siblings

·Person types

·Feminism

·Men writing women

·Relationships between men and women

·Relationships between women and women

·Themes of gender and sexuality

·Recurring actresses

·Jewishness

·Intersectionality

·(Auto)biography

·Collaboration

·Women and industry

·Industrial perspectives on writing and filmmaking

·

Proposal abstracts should be approximately 300 words and be accompanied by a 150-word author biography. All submissions must be in English and included as a single Microsoft Word or PDF attachment.

PLEASE INDICATE WHETHER YOU WOULD LIKE TO BE CONSIDERED FOR INCLUSION IN THE PROPOSAL FOR THE EDITED VOLUME

Submissions close September 29th 2017

Please submit all abstracts and any questions to our conference organiser at the following email address:

woodyallenwomen@gmail.com <mailto:woodyallenwomen@gmail.com>

Twitter: @WomenOfWoody

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CfP "Italian Cinema, Italian Identity" (International Conference)



We remind you that September 10, 2017 is the deadline for submitting proposals for the international conference “Italian Cinema, Italian Identity” (November 28-29, 2017 - University of Rome “Roma Tre”).

CfP International Conference “Italian Cinema, Italian Identity. Visual Culture and National Imaginary between Tradition and Contemporaneity"

The 23th edition of the International Conferences of Film Studies, organized since 1994 by the Department of Media and Performing Arts of Roma Tre University (now Department of Philosophy, Media and Performing Arts), addresses Italian identity and its cultural traits as represented in cinema, media and visual culture, considering the Italian tradition as well as the contemporary context.


Italian cinema, photography, television, and the recent narratives and aesthetic forms proposed by new media produce an anxiety-ridden national identity as historically problematic, as an unreconciled dimension.
The tormented search for a national tradition and for a perfect epos has nurtured the most intense moments of Italian iconic and audiovisual culture. This was signaled even at the beginning of the 20th century – when cinema was in its early stages – by broad nationalizing processes, when institutions posed Italian identity and characteristics at the center of cultural discourses.


From that moment on, cinema and each of the other media systems that could influence public discourses were progressively configured as “spaces of memory”, “hyperspaces”, or «collectors for multiple previous cultural, iconological and ideological systems» (Brunetta), that collected some of the most significant symbols and archetypes of national identity. Cinema hence embodied the perfect device for the realization, at an imaginary level, of the incomplete mission to make the Italians, or in other words to finally give a solution to the problem of the creation of an Italian subject (Stewart-Steinberg).



Italian film history testifies to how the «necessity to forge and unify an uneven population, with little self-consciousness» (Patriarca) has been progressively substituted by an anxiety which, sometimes in the form of a true existential anguish, reiterates in many, varied ways the idea of the Italian specificity as an undecided and “schizophrenic” condition, between modernity and backwardness.
Embodied therefore with drifting mythologies of identity re-foundation and the multiplication of identities and dis-identities, national cinema, media and visual culture, reaffirm again and again the antinomic status of Italian specificity and history, i.e. the laborious attempt to be open to the future, preserving at the same time a «basic caution toward modern civilization» (Bollati).



Possible areas of research, which could be addressed from a theoretical perspective or through specific case studies, include (but are not limited to):



*
History, memory and national identity
*
Italian politics and temperament
*
Epics and anti-epics: genres “Italian style”
*
Dis-identities in Italian cinema
*
“Italiani brava gente”: the myth of the “buon italiano”
*
Aesthetics of realism in the national tradition
*
Masks of Italian-ness
*
Journeys to Italy: between mythology and documents
*
Portraiture and self-portraiture
*
Screenplays “Italian style”
*
The rhetoric of beauty and the idea of Italian-ness: bodies and landscapes
*
Regionalisms and the national dimension: cultures and languages between the local and global
*
National identity and European policies
*
Italian stardom: cinema and the faces of Italian-ness
*
The “Italian style” of acting
*
Cinema and the economy of Made in Italy, from the sixties to the present
*
Italian-ness and its images in international cinema
*
Italian professionals and their role in international film and media industries
*
Migration, imaginaries, and Italian identity
*
Diversity in contemporary Italian film and fiction
*
Women professionals and female subjectivities in Italian film and media industries
*
Representation of Italian feminisms and their relations with cultural production
*
Italian identity and documentary practices
*
Italian identity and “film works of cultural interest”

Please send 300-500 word proposals, including 5 keywords, 3-5 bibliographic references and a short biography, by 10 September 2017 to cinemaitaliano@uniroma3.it <mailto:cinemaitaliano@uniroma3.it>

Website: https://cinemaitaliano8.wixsite.com/cinemaeidentita

The results of the selection will be communicated by 30 September 2017.


Official languages of the Conference: English, French, Italian.


Conference fees:

Early registration (before 15 October 2017):

70€ (lecturers and professors).
40€ (independent scholars).

Late registration (after 15 October 2017):

90€ (lecturers and professors);
60€ (independent scholars).
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Base de dados de investigações científicas sobre Imagem em Movimento
No âmbito de uma parceria já noticiada entre o LabCom, a UBI e a AIM, está já disponível o sítio "Base de dados de investigações científicas sobre Imagem em Movimento", localizado em bdim.org.pt. Este sítio virtual pretende recolher os dados de todas as dissertações e teses académicas produzidas em Portugal ou por portugueses no estrangeiro sobre temáticas próximas da imagem em movimento.



Gostaríamos, por isso, de solicitar aos nossos membros - que cumpram os critérios assinalados em cima - a contribuição com os dados das suas próprias dissertações ou teses para esta Base de Dados, que se quer cada vez mais um local de pesquisa académica na área de trabalho da AIM.

Para contribuir, por favor siga esta ligação.

A base de dados foi criada em 2006 no âmbito do Projeto Teoria e Estética do Documentário, financiado pela FCT (PTDC/CCI/69746/2006), e continuada pela parceria entre Labcom.IFP – Comunicação, Filosofia e Humanidades, UBI - Universidade da Beira Interior, e AIM - Associação de Investigadores da Imagem em Movimento.

Para informações ou dúvidas, por favor contacte-nos em bdim@aim.org.pt.


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SAVE THE DATE: VIII Encontro Anual da AIM | 16, 17, 18 e 19 de maio de 2018
O VIII Encontro Anual da AIM irá decorrer nos dias 16, 17, 18 e 19 de maio de 2018 nas instalações da Universidade de Aveiro. Esta edição do Encontro Anual da AIM será co-organizada pela AIM - Associação de Investigadores da Imagem em Movimento e pelo Departamento de Línguas e Culturas da Universidade de Aveiro. O Encontro Anual da AIM é uma conferência internacional onde todas as propostas são submetidas a revisão por pares e serão publicadas atas em formato eletrónico.

Mais informações e a Chamada para Comunicações em breve.
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Lecturer in Digital Film Production


The School Of Computing and Digital Media are inviting applications for the post of Lecturer in Digital Film Production (Enterprise and Professional Practice).

Details can be found here:

http://www.jobs.ac.uk/job/BDU009/lecturer-in-digital-film-production-enterprise-and-professional-practice.

Lecturer in Digital Film Production (Enterprise and Professional Practice)
London Metropolitan University - School of Computing and Digital Media
Location: London
Salary: £33,975 to £41,442 (Inclusive of London Allowance)
Hours: Part Time
Contract Type: Permanent
Placed on: 24th August 2017
Closes: 7th September 2017
Job Ref: 17SCDM0803

Part Time (0.5FTE/17.5 hours per week)

Location: Aldgate Site

About Us

London Metropolitan University is committed to making education available to people from all walks of life and plays an important role in society and our local community. We offer a diverse range of courses across a range of disciplines in three locations across London.

The University is a key London provider of undergraduate, postgraduate and professional training.

Our courses are planned in consultation with employers and examining bodies in commerce, industry, the world of art and design, the financial services industries and the professions.

The Creative Technologies and Digital Media Subject Area in the School of Computing and Digital media invites applications for a Lecturer in Digital Film Production - Enterprise and Professional Practice.

The school provides a vibrant, stimulating and supportive study environment where students can choose from a range of flexible courses taught by world-leading experts. Our courses are well-resourced and technologically informed. They are strongly linked to the world of employment, particularly in the digital media and creative industries sectors. They lead to outstanding career-building opportunities.

Our location in central London and the public, private and voluntary sector connections of our lecturers and professors mean that our students have the very best work placement opportunities. We maintain very strong relationships with partner organisations and professional bodies which recognise and accredit many of our courses.

About the Post

You will make a major contribution to the teaching of Enterprise and Professional Practice in the area of media production on the BA Film and Broadcast Production and the Creative Technologies and Digital Media Subject Area. Particular areas of expertise should include drama and/or documentary production.

You will be appropriately qualified and will ideally have teaching experience at HE level, be familiar with the HE learning and teaching environment and be fully committed to enhancing the student experience with special reference to achievement and progression of BAME students. You should also have experience of filmwriting and/or screenwriting and/or storyboarding and/or dramatic development and/or production design.

You will make a contribution to developing a creative teaching and learning environment and graduate employability with strong industry links. You will play an active part in developing capacity and capability for external income generation and external partnerships. You will also develop and maintain industry ties with the rest of the team and continue development of current skills and vocational projects; strengthen industry relations and be an integral part of the course(s) degree shows, exhibitions and competitions; contribute to the development of the Enterprise & Entrepreneurship network of visiting lecturers, business advisors and assessors.

The post involves improving student retention, progression and achievement and contributing to the department’s creative and research output and profile. You will be an excellent teacher, colleague, team-worker, technician, professional, administrator, and ambassador for the course and university.
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Programa do International Symposium ‘Women in Iberian Cinema’
O programa do International Symposium ‘Women in Iberian Cinema’ já está disponível em http://www.comparatistas.edu.pt/images/women%20in%20iberian%20cinema%20-%20programme%20%20%20v1_25.07.pdf

KEYNOTE SPEAKERS
Begoña Soto (Universidad Rey Juan Carlos, Madrid, Spain)
Hilary Owen (University of Oxford/Manchester University, UK)

ORGANIZAÇÃO
Anabela Morais (CEC, FLUL)
Elena Cordero (CEC, FLUL)
Mariana Liz (ICS-UL)
Filipa Rosário (CEC, FLUL)

Actividade realizada no âmbito do projecto Cinema and the World: Studies on Space and Cinema, do grupo THELEME.
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Pós-graduação em Argumento da ESMAD
A nova Pós-graduação em Argumento da ESMAD oferece um currículo de especialização avançada em escrita criativa, destinando-se a profissionais da indústria cinematográfica, televisiva e multimédia.

Ao longo de dois semestres, cada formando será orientado no desenvolvimento de projetos de argumento que satisfaçam os padrões de qualidade do standard profissional.

Inserida no Departamento de Artes da Imagem (DAI) da Escola Superior de Media Artes e Design (ESMAD), esta pós-graduação vem responder a uma lacuna na oferta formativa da especialidade ao nível de programas de estudo avançado a partir do 2º ciclo de estudos, conferindo equivalências a unidades curriculares do Mestrado em Comunicação Audiovisual na mesma escola.

A pós-graduação contará com a participação presencial de um vasto leque de profissionais ligados à área: Daniel Ribas, Fátima Chinita, Filipe Martins, Guilhermina Castro, Henrique Oliveira, Jerónimo Rocha, João de Mancelos, Jorge Palinhos, José Alberto Pinheiro, José Carlos de Oliveira, José Miguel Moreira, Luís Campos, Maria João Cruz, Nelson Zagalo, Nuno Tudela, Pedro Alves, Pedro Flores, Pedro Lopes, Tiago R. Santos… entre outros.

PERÍODO DE CANDIDATURAS (2º FASE)
21 DE AGOSTO A 15 DE SETEMBRO DE 2017

INFORMAÇÕES
https://www.esmad.ipp.pt/cursos/pos-graduacao/400001574

VÍDEO INSTITUCIONAL
https://vimeo.com/212716938

CANDIDATURAS
https://www.esmad.ipp.pt/cursos/candidaturas

Envio do formulário de candidatura | Informações académicas
Serviços académicos ESMAD - Patrícia Alves patriciaalves@sc.ipp.pt

Coordenação
Filipe Martins crdm@esmad.ipp.pt
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