PT/EN

A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VII Encontro Anual irá decorrer de 10 a 13 de maio de 2017, na Universidade do Minho (Braga). Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
[Saber mais] [Inscrever-se na AIM]


NOTÍCIAS

CFP: Lusophone Journal of Cultural Studies, vol. 4 (nº1) - "Visual culture flows and paths"

Lusophone Journal of Cultural Studies (LJCL)

Vol. 4, nº 1 | /Visual culture flows and paths

www.rlec.pt <http://www.rlec.pt/>


The Lusophone Journal of Cultural Studies invites researchers to submit articles for Volume 4 (nº1) on "Visual culture flows and paths".
In this issue, we critically interrogate the multiples transformations enhanced by the increasing dialogue between digital visual technologies and the on-going rise of social networking platforms. This dialogue brought new forms of visuality and, consequently, new practices, within and across a variety of fields, online and off-line. We are especially interested in exploring the creative and collaborative potential of these “new” forms of image-making and their significance as generators of possibilities for new identities, social relations and forms of participation in the visual culture of everday life, as well as of institutional sites, such as the street, museums, art galleries, education, science, medicine, media and fashion.


More information: www.rlec.pt


IMPORTANT DATES


*Submission deadline: 28th February 2017

*Notification of acceptance: 15th April 2017

*Publication date: June 2017
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CFP: Song, Stage and Screen XII: Musical Multiplicity


CALL FOR PAPERS: SONG, STAGE AND SCREEN XII

19 – 22 JUNE 2017

At GUILDFORD SCHOOL OF ACTING, UNIVERSITY OF SURREY, GUILDFORD, UK.


MUSICAL MULTIPLICITY

In recent years the influence of singer-songwriters, tv shows, jukebox musicals and politics have challenged the perceived homogeneity of musical theatre, showtunes and the Hollywood musical.

in a period in which societal diversities are under threat, musical theatre and film exhibits new multiplicities of subject matter, modes of storytelling, and production styles. Simultaneously, artists with varied backgrounds from singer-songwriters to practitioners in verbatim or physical theatre are creating musical theatre which challenges accepted methodologies for creating musicals. Additionally, digital media allows for new platforms for the performance, delivery and marketing of musical theatre; raising a challenge to the very nature of the artform.

This conference considers and celebrates all facets of multiplicity in musical theatre and musical film; from staging concepts challenging the traditional proscenium, to musical styles from /Hamilton/ to /La La Land/. Papers might consider how diversities have created developments in musical storytelling throughout history, and how revivals are informed by later innovations unimaginable at the time of the original production.

Topics for papers and presentations may include, but are not restricted to:

* Musical multiplicities
* Diversities of platform; beyond the stage and screen
* Staging diversities
* Choreographic multiplicities
* The challenge to societal diversity and the response of musical
theatre/film
* Gender diversities in the musical,
* The challenge to the traditional ‘showtune’
* Diverse methodologies of developing musicals; beyond the workshop
* Developing new audiences in musical theatre

Papers should be designed to last no more than 20 minutes. Please send an abstract of no more than 200 words for blind peer review (your name should not appear anywhere in the proposal) to the conference convenor, Julian Woolford, Head of Musical Theatre at GSA: j.woolford@gsa.surrey.ac.uk <mailto:j.woolford@gsa.surrey.ac.uk>with the subject heading “Song, Stage and Screen XII”.

The deadline for proposals is Saturday, February 4 2017.

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CFP: 'You Talkin' to Me?': Dialogue and Communication in Film


Call for Papers: IFVCR Network Conference
'You Talkin’ to Me?’: Dialogue and Communication in Film

5^th –6^th June 2017


You are invited to submit a proposal to the conference ‘You Talkin’ to Me?’: Dialogue and Communication in Film, organized by the Interdisciplinary Film and Visual Culture Research (IFVCR) Network. The conference will take place at Cardiff University in the School of Journalism, Media and Cultural Studies on 5^th –6^th June 2017.

The aim of the conference is to provide a platform for researchers and practitioners to present new research and developments relating to the comparatively underrepresented areas of dialogue and communication in film.

We are interested in language-centered readings of films and we encourage novel theoretical perspectives and methodologies for the analysis of film dialogue.

All are welcome to submit proposals, but we are particularly keen to receive submissions from PhD students.

Topics may include but are not limited to:

· Tools for film dialogue analysis

· Functions of dialogue in film

· Characterization through dialogue

· Film dialogue and gender stereotypes

· Film dialogue economy

· Improvisation

· Dialogue as a means to increase realism

· Differences between real conversations and dialogue in film

· Philosophy of communication through film

· Teaching and learning communication through film

· Communication in mainstream versus independent cinema

· Miscommunication and misunderstanding in film

· Intercultural and multilingual communication in film

· Mediated communication in film

· Written communication in film

· Non-verbal communication and body language in film


Confirmed Speakers

Prof. John Mowitt

Dr. David Sorfa


Guide for Authors

Presentations will be 20 minutes.

Proposals of 200 words and a biographical note of 100 words should be sent to ifvcr@cardiff.ac.uk <mailto:ifvcr@cardiff.ac.uk>


Important Dates
Deadline for submission: 28^th February 2017

Notification of acceptance: 7^th March 2017

Conference date: 5^th –6^th June 2017


For any enquiries regarding the conference, please contact Evelina Kazakevičiūtė: kazakeviciutee@cardiff.ac.uk <mailto:kazakeviciutee@cardiff.ac.uk>

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Post-Doctoral Research Fellowship within Media Aesthetics - University of Oslo


Post-Doctoral Research Fellowship within Media Aesthetics

A Post-Doctoral Research Fellowship in Media Studies in the area of Media Aesthetics is available at the Department of Media and Communication, University of Oslo (see http://www.hf.uio.no/imk/english).

Media Studies is defined here as the interdisciplinary study of the modern media, their form and content, institutions and use, their political, social, cultural and aesthetic contexts, using approaches from the Social Sciences and the Humanities.

Media Aesthetics is defined here as an inter-disciplinary research field within media research, and addresses the relationship between media technology (materiality), perception (aesthetics), and mediation. Documentation of advanced competence in media aesthetic theory and analysis is required.


The position is available for a period of four years. There is a 25 % component of the position that is devoted to teaching, student supervision and administrative duties. These duties include obtaining basic teaching qualifications.


Requirements:

* PhD or similar qualifications within Media Studies with a
specialization in Media Aesthetics
* The candidate's research project must be closely connected to Media
Aesthetics research area
* Personal suitability and motivation for the position

We offer

* Salary level NOK 486 100 - 567 100 per year, depending
on qualifications
* A professionally stimulating working environment


Submissions

* Application letter
* Curriculum Vitae with grades listed
* List of publications
* Project description (approximately 3-5 pages). The project
description must present a feasible progress plan. It is expected
that the applicant will be able to complete the project during the
period of appointment.

Application Deadline: February 1st 2017

Apply online http://uio.easycruit.com/vacancy/1744857/62047?iso=gb
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X Jornadas Cinema em Português, UBI, 15-17 de Maio de 2017

Ao longo da última década, o cinema português - a sua história e estética - tem sido uma preocupação central dos cursos de licenciatura e mestrado em Cinema da UBI, contribuindo para uma reflexão sobre o passado, o presente e o futuro da prática cinematográfica entre nós.
As Jornadas de Cinema em Português, cuja primeira edição data de 2008, têm como enfoque a discussão de cinematografias de territórios onde o português é língua oficial ou dominante, procurando integrar estas obras como um exemplo das novas dinâmicas artísticas, culturais e sócio-económicas que têm marcado os anos mais recentes.
Para além da natural importância para os alunos e investigadores de Cinema da UBI, as Jornadas de Cinema em Português têm-se consolidado, nacional e internacionalmente, como um fórum privilegiado e reconhecido de debate sobre problemáticas actuais que reúnem investigadores de diversas áreas científicas.
Reafirmando o seu próprio histórico, a décima edição das Jornadas de Cinema em Português pretende trazer a debate problemáticas actuais e pertinentes para a reflexão sobre os cinemas dos diversos países que falam em português, procurando reunir esforços para ensaiar hipóteses de leitura conjunta e complementar.
Para a décima edição pretendemos destacar a cinematografia moçambicana procurando reunir cineastas, investigadores, críticos e programadores que pretendam discutir e reflectir sobre a produção e a cultura cinematográfica de Moçambique.

EIXOS TEMÁTICOS
Cinema moçambicano;
Cinema português;
Cinemas dos países de língua portuguesa;
Discursos e representações da "portugalidade" ou da "lusofonia";
Documentário, identidade e memória;
Produção audiovisual;
Políticas públicas;
Conceitos e teoria dos cineastas;
Cinema em Espanha.

CALENDARIZAÇÃO
10 de fevereiro 2017: data limite de apresentação dos resumos das propostas (abstracts).
10 de março 2017: notificação de comunicações aceites.
20 de março 2017: divulgação do programa das X Jornadas.
14 de maio 2017: entrega dos textos para publicação nas Actas.
15, 16 e 17 de maio 2017: X Jornadas.

Mais informação em http://www.cinemaportugues.ubi.pt/

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VI Congreso Internacional de Investigadores Audiovisuales


Estimados investigadores,

Desde la Organización del VI Congreso Internacional de Investigadores Audiovisuales les deseamos una feliz entrada de año y le recordamos que el día 30 de enero concluye el plazo para presentar la propuesta/resumen de comunicación para participar en el congreso. http://www.ucjc.edu/congreso-internacional-investigadores-audiovisuales/#utab-pane-0-3

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Dear Researchers,

From the organization of the VI International Congress of Audiovisual Researchers we want to wish you a happy new year and remind you that on January 30 we reach the deadline for submitting the communication proposal necessary to participate in the congress.http://www.ucjc.edu/congreso-internacional-investigadores-audiovisuales/#utab-pane-0-3
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CFP: Workshop on Extras, bit-players, and historical consultants in media history


WORKSHOP ON EXTRAS, BIT-PLAYERS, AND HISTORICAL CONSULTANTS IN MEDIA HISTORY

Date of the workshop: 17 - 18 July 2017
Potential contributions: Papers, videos, films
Location: Potsdam, Germany
Organization: Master seminar «Film extras and bit-players in media history,» Film University Babelsberg /KONRAD WOLF/
Funding: International Association for Media and History (IAMHIST)

We welcome submissions from advanced scholars, early-career researchers and doctoral students.
Artists are also encouraged to participate. Paper proposals of 300 to 500 words, accompanied by a short biography (100 words), can be submitted via email (a.kiss@filmuniversitaet.de <mailto:a.kiss@filmuniversitaet.de>).

Submission deadline: 10 February 2017
For details and the CFP pease visit:
http://iamhist.org/wp-content/uploads/2016/12/CallforPapers_ExtrasBitPlayersHistoricalCunsultans.pdf

Thank you for sharing this information with others you know who might be interested in participating in the workshop.

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Novo número e chamadas Revista ECO-Pós


Car@s colegas:

Queremos comunicar a todos a publicação da nova edição da Revista ECO-Pós: "Cultura Pop": https://revistas.ufrj.br/index.php/eco_pos.

A última edição de 2016 teve como editor convidado o Prof. Thiago Soares (UFPE).

Este é o último número sob o comando dos Professores Michael Herschmann (ECO-UFRJ) e Victa de Carvalho (ECO-UFRJ). A nova comissão editorial da revista será formada pelas Professoras Anita Leandro (ECO-UFRJ) e Janice Caiafa (ECO-UFRJ).

Aproveitamos a oportunidade para abrir as chamadas dos dossiês de 2017: "Gilbert Simondon", "Imagens do presente" e "Comunicação urbana" - as chamadas e seus prazos seguem abaixo.

A submissão de artigos deve ser realizada na plataforma da revista: http://www.revistas.ufrj.br/index.php/eco_pos

Para o Dossiê, a Revista ECO-Pós aceita somente artigos de autoria de doutores ou em coautoria com doutores. Essa exigência não se aplica a seção Resenha.

A revista não está neste momento aceitando artigos para a seção Perspectivas.

A ECO-Pós é avaliada como B1 no WebQualis da Capes.

Cordialmente,

Michael Herschmann
Victa de Carvalho
Julio Bezerra



20.1 - Gilbert Simondon


Faz pouco mais de uma década, quando a lista dos nomes centrais da filosofia francesa do pós-guerra parecia encerrada, surgiu Gilbert Simondon (1924-1989). Embora tenha sido reconhecido cedo como um importante filósofo da arte e exercido uma influência considerável sobre o seu colega Gilles Deleuze, Simondon foi redescoberto em todas as suas dimensões apenas alguns anos após a sua morte. Seu pensamento original sobre a técnica, e, sobretudo, sua complexa teoria da individuação, dialogando com temáticas capitais do mundo contemporâneo como cibernética e teoria da informação, foram sendo recuperadas quase simultaneamente na França, na Inglaterra e nos Estados Unidos, bem como na América Latina. A simondialisation, um termo cunhado por Jean-Hugues Barthélémy e Vincent Bontems para se referir a uma globalização simondoniana, é um dos fatos mais marcantes da cena filosófica contemporânea, particularmente em relação ao campo da comunicação, sobre o qual Simondon dedicou muitas de suas reflexões. Em seu próximo dossiê, o primeiro de 2017, a revista ECO-Pós adere a este processo e convida os inúmeros pesquisadores latino-americanos interessados em Simondon a submeter artigos que se dediquem a esses temas (não exclusivos, apenas como uma espécie de guia): o pensamento da arte; crítica filosófica e científica da cibernética; o lugar da informação e da comunicação; os simondonianos projetos educacionais e sua relação com o enciclopedismo; a teoria da individuação; o problema da individuação psico-coletiva; afetividade e emotividade dentro da individuação psíquica coletiva; individuação de vida e ciências da vida; a relação entre técnica e afeto; leituras políticas contemporâneas em torno de Simondon; o legado simondoniano na filosofia contemporânea.

Editor convidado: Pablo Esteban Rodriguez - Universidade de Buenos Aires (UBA)
Prazo para as submissões: 3 de março de 2017


20.2 - Imagens do presente

Nossa experiência contemporânea do tempo, mediada pelas imagens, parece sujeita a uma dupla ameaça: crise do futuro e desaparecimento do passado. Ela acontece em meio às ruínas do eterno presente, omnipresente, tempo chamado, hoje, na historiografia, de “presentismo” (Hartog), por contraposição ao futurismo de Marinetti. Vivemos num fluxo contínuo de imagens fugazes. Se, com o aparecimento das mídias sociais e digitais, os meios de produção e as plataformas de difusão das imagens da atualidade se socializam e se diversificam, por outro lado, o controle da informação e dos processos de armazenamento de dados torna-se cada vez mais concentrado. A Revista ECO-Pós convida o campo da Comunicação a formular questões na fronteira desse duplo fenômeno.

Com que instrumental estético e político, o espectador contemporâneo assume o triplo papel de produtor, arquivista e montador das imagens de seu tempo? Num contexto marcado pela multiplicação dos meios de produção e de acesso às imagens, como se posiciona, historicamente, a grande mídia e, em particular, a televisão brasileira? Que relações entre imagem e poder se estabelecem nas coxias do presente? Como a forma de tratamento das imagens nas mídias sociais dá acesso às diferentes camadas temporais dos fatos mais imediatos? Na produção atual de imagens, em que consiste adotar um ponto de vista interno aos acontecimentos? O que tem sido retido e o que se perde em termos de registros visuais e sonoros de fatos recentes no Brasil e no mundo? São perguntas iniciais, que podem ser retomadas em estudos provenientes de diversos campos: televisão, internet, imprensa, cinema, fotografia, artes...

Edição: Anita Leandro (ECO-UFRJ) e Consuelo Lins (ECO-UFRJ)
Prazo para as submissões: 19 de maio de 2017



20.3 - Comunicação urbana

Podemos considerar a cidade a partir das vias de comunicação de diversos tipos que a atravessam e a produzem como meio caracteristicamente heterogêneo: ruas, trilhos, estradas, rios e mares, cabos, espaço aéreo. Nessas vias trafegam incessantemente pessoas, bens e informação. Como mostra o historiador Lewis Mumford, desde o início, o tecido urbano assume consistência em função de uma circulação. Se a partir do século XIX essa comunicação urbana se realiza cada vez mais na figura rede, hoje as tecnologias de comunicação e informação, sobretudo com o advento do digital, modificam por sua vez esse movimento reticular, produzindo formas de circulação, sociabilidade e subjetivação nos meios urbanos.

Este número da Revista ECO-Pós convida os pesquisadores a contribuírem com trabalhos que, na diversidade de suas metodologias e recortes, abordem o fenômeno urbano sob um viés comunicacional. Assim, acompanhando as direções que essa construção já vem assumindo, acolheremos, por exemplo, textos que abordem:

1. Os modos de organização comunicativa em sua relação com a ocupação do espaço urbano, explorando o papel das salas de cinema, da televisão, da comunicação por computador e, mais recentemente, das mídias móveis e aplicativos na produção da vida social nas cidades e as incidências no espaço construído; a cidade tecnológica ou “smart city”, processos de mediatização que a caracterizam e formas de gestão urbana nesse contexto, incluindo a cidade-negócio, muita vezes palco de megaeventos internacionais.

2. Redes/circuitos/sistemas de transporte e trânsito, enfocando a comunicação face a face, a circulação de pessoas e mensagens em diversos modais e nas ruas das cidades, e ainda o problema das câmeras de vigilância e o controle da mobilidade.

3. Interferências estéticas/políticas no espaço das cidades — abrangendo pichações, grafites, artes de intervenção, performances, publicidade — e outras construções semióticas, e ainda a cidade reinventada em imagens em diversas mídias.

Cruzamento sensível de problemas e possibilidades, a cidade atrai e requer pensamentos/ativismos diversos para uma compreensão de sua importância no contemporâneo.

Edição: Janice Caiafa (ECO-UFRJ)
Prazo para as submissões: 31 de agosto de 2017

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PhD Scholarships 2017/18: Winchester School of Art, University of Southampton


Winchester School of Art is currently offering funded opportunities for PhD candidates whose research interests connect with one or more of the following areas: Fine Art, Curation, Design, Fashion, Media, Luxury, and Serious Gaming. Deadline: 31 January 2017

NB. Both practice-based and critical/historical research methods welcome.

As a School of the University of Southampton (a Russell Group research-intensive university), Winchester School of Art has a growing reputation as an international centre for research in global art and design, culture and communication, with nearly 80% of its research judged world-leading or internationally excellent according to the REF 2014 exercise. The School welcomes research students engaged in creative and critical practices across a wide range of interests in the domains of fine art, graphic arts, media and cultural studies, fashion?and textile design, marketing, branding, art management and contemporary curatorship. NB. We particularly welcome applications that align with the School's key research groups, which includes the Luxury Research Group; Archaeologies of Media and Technology, and Critical Practices (in Art and Design).

To find out more about the programme and current PhD research at the School see: http://blog.soton.ac.uk/wsapgr/ | For specific instructions on how to apply, see: http://blog.soton.ac.uk/wsapgr/apply-for-phd/<https://www.findaphd.com/common/clickCount.aspx?theid=958&type=186&DID=1421&url=http%3a%2f%2fblog.soton.ac.uk%2fwsapgr%2fapply-for-phd%2f>


Two types of studentship award are available: Faculty PhD Scholarships; Vice-Chancellor (VC) Awards

• Faculty PhD Scholarships will provide a maintenance allowance of £14,000 per annum, in addition to payment of tuition fees (tuition fees will be paid in full by the School). Successful candidates will normally be expected to contribute up to 40 hours per year of teaching activities, at the discretion of the Head of School. NB. These awards are available for full-time study only (if a studentship is awarded and the award holder transfers to part time registration, then the holder will be deemed to have withdrawn from the studentship).

• Vice-Chancellor (VC) Awards worth up to £7,000 per year to either contribute to international fees or to cover Home/EU fees plus contribution towards living costs (for three years of full-time study). NB. The VC Awards are available for full- or part-time study (the latter calculated pro-rata).

To be eligible for consideration, the full application must be submitted by the deadline of 31 January 2017. This includes the standard application form, research proposal, CV, and other supporting documentation (transcripts, reference letters, IELTS certificates where necessary, etc., and for practice-based applicants a portfolio of work). For the avoidance of doubt, if any of the documents listed have not been submitted by the closing date you will not be eligible for the scholarship.

All shortlisted applicants will need to be available for interview (either in person or via Skype). Interviews are likely to be scheduled for the first week in March.

For all administrative queries, including admissions information, please contact:

PGR Student Administration Team
Faculty of Business, Law & Art
University of Southampton
Highfield Campus
Southampton, SO17 1BJ
Tel: +44 (0)23 8059 2562
Email: pgrapply.fbl@southampton.ac.uk

For academic enquiries, including preliminary discussion of research proposals contact:

Dr. Sunil Manghani
Director of Doctoral Research
Winchester School of Art
Park Avenue
Winchester, SO23 8DL
Email: s.manghani@soton.ac.uk
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Call For Papers: Transnational Monstrosity in Popular Culture

Saturday 3^rd June 2017, York St John University

This one-day conference will explore the figure of the monster in transnational popular culture, across cinema, television, games, comics and literature, as well as through fandoms attached to global monster cultures. It is our intention to bring together researchers to consider how transnational monstrosity is constructed, represented and disseminated in global popular culture.

Since the popularisation of monster narratives in the nineteenth century, the monstrous figure has been a consistent border crosser, from Count Dracula’s journey on the /Demeter/ from Romania to Whitby, to the rampaging monsters of Godzilla movies across multiple global cities. In folklore, such narratives have long been subject to specific local and national cultures, such as the shape-shifting Aswang of Filipino folklore or the Norwegian forest Huldra, yet global mediacapes now circulate mediatised representations of such myths across borders, contributing to a transnational genre that spans multiple media. Aihwa Ong has referred to ‘the /trans/versal, the /trans/actional, the /trans/lational, and the /trans/gressive’ in /trans/national ‘human practices and cultural logics’, and each of these categories can encompass the scope of /trans/formations imagined within cross-border constructions of monstrosity.

There has been significant recent interest in the ways in which transnationality, particularly in film studies, has depicted flows of people and demonstrated lines of cultural flow. This conference will explore cultural flow as it relates to the construction of a transnational genre (by producers and audiences), but will also explore the ramifications of representations of monstrosity in socio-political terms. The event also intends to engage with the ways in which monsters metaphorically represent forms of social and political otherness as they relate to cross-cultural or transnational forms and social groups, either directly or indirectly. Monstrosity has long been explored in a number of ways that connect gender, sexuality, class, race, nationality and other forms of otherness with depictions of monsters or monstrosity. The representation of refugees across Europe has been just one example of the ways in which cross-border monstrosity and otherness are culturally fused, with media outlets and political figures contributing to the repeated representation of refugees as a monstrous ‘swarm’ moving into and across European borders.

While the study of monsters in fiction is nothing new, the examination of the figure of the monster from a transnational perspective offers the opportunity to better understand: issues of cultural production and influence; the relationship between national cultures and transnational formations; hierarchies of cultural production; diasporic flows; the ethics of transnationalism; as well as the possibility to explore how shifting cultural and political boundaries have been represented through tropes of monstrosity. Hence, this conference seeks to offer new insights into the nature of transnational cultures and help us to understand how one of the oldest fictional metaphors has been transformed during the age of globalisation.

We welcome proposals for 20-minute papers, on topics around transnational monsters and monstrosity. Possible themes might include (but are not limited to):

*Monstrous-genders/sexualities/ethnicities: transnational approaches to femininity and/or sexuality as monstrous or othered; interpretations of otherness in cross-cultural or comparative approaches.

*Monster fandoms: transnational fandoms around monsters, or representations of monstrosity, which might include Whitby Dracula pilgrimages, /kaijū eiga/, or /Pokemon/.

*Transnational horror and the monster: approaches to investigating particular monster tropes in comparative national cultures or across media that might include the figure of monsters in the slasher film, or the transnational appropriation of folkloric monsters in horror games such as the Wendigo//in /Until Dawn/.

*The transnational monster genre: theoretical explorations of the genericity of monster narratives and their relationships with national and transnational cultures (including regional approaches to affinitive transnational areas, such as Scandinavia or Latin America).

*Reimagining monsters: cross-cultural appropriations of specific monster figures; issues of cultural power and difference within appropriations that might include Dracula, Godzilla, King Kong or zombies.

*Monster as metaphor: cultural metaphors relevant to the figure of the monster as it relates to transnational, cross-border concerns, which might include the reflection of concerns about migration in /The Walking Dead/ and the potential impact of those metaphors.

*Proposals are welcomed on any other relevant topics*

Please send proposals of 300 words, along with a brief biography (50 words), to transnationalmonsters@gmail.com <mailto:transnationalmonsters@gmail.com> by Wednesday the 1^st of March 2017.

We will be announcing details of our invited speakers early in 2017.

Follow @TNMonstrosity <https://twitter.com/TNMonstrosity> on Twitter.
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PhD studentship opportunity: horror and exploitation cinema beyond the national


The deadline for applicants is 20 January 2017, with a prospective start date of 2^October 2017.

The project is being considered for studentship funding in competition with other projects, available to applicants worldwide. The studentship includes a full stipend, paid for three years at RCUK rates for 2017/18 (this is yet to be set, in 2016/17 this is £14,296 pa) and fees (Home/EU £4,350 / International £13,000 / International Lab-based £16,000). Additionally, as Northumbria celebrates its 25th anniversary as a University and in line with our international outlook, some projects may also be offered to students from outside of the EU supported by a half-fee reduction.

Project Description

It has been commonplace within film scholarship to examine different horror and exploitation films principally in relation to their “primary country of production”. While a number of scholars have sought to rectify this issue by examining specific films in relation to a range of “transnational” elements, more needs to be done if we are to fully understand the ways that different horror and exploitation films (or their makers) have a) historically challenged notions of “the national” and b) still continue to do so to this day.

It is the aim of this project to investigate horror and/or exploitation cinema in relation to more broader, cross-cultural and transnational factors, including the content of specific films themselves (i.e. the presence of various cultural inflections), and/or issues concerning contexts of production, distribution and exhibition. We are interested in receiving applications which address any historical context, from the beginnings of cinema to the present.

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

·Transnational cultural inflections within specific horror and/or exploitation films

·Industrial concerns such as production (including the phenomenon of the co-production), distribution and exhibition contexts.

·Horror/exploitation films beyond the West, e.g. from Asia, Africa.

·The marketing of “national” horror/exploitation films in other countries, e.g. the transnational distribution trajectories of “British” horror films in Europe, etc.

·Transnational horror/exploitation film cycles

·Transnational horror/exploitation remakes and sequels

·How new technologies have facilitated transnational processes (VHS, DVD, VoD, camcorders)

Based in the Department of Social Sciences, this PhD studentship builds upon the extensive research into horror and exploitation cinema already undertaken at Northumbria University. The department also houses the Popular Film and Television Collection, which includes film-related items ranging from trade magazines and production notes to promotional materials. The successful candidate will have full access to this material.

Eligibility and How to Apply

Please note eligibility requirement:

·Academic excellence of the proposed student i.e. 2:1 (or equivalent GPA from non-UK universities [preference for 1st class honours]); or a Masters (preference for Merit or above); or APEL evidence of substantial practitioner achievement.

·Appropriate IELTS score, if required.

For further details of how to apply, entry requirements and the application form, see
https://www.northumbria.ac.uk/research/postgraduate-research-degrees/how-to-apply/ <https://www.findaphd.com/common/clickCount.aspx?theid=81642&type=184&DID=1151&url=https%3a%2f%2fwww.northumbria.ac.uk%2fresearch%2fpostgraduate-research-degrees%2fhow-to-apply%2f>

Please ensure you quote the advert reference above on your application form.

Deadline for applications: 20 January 2017
Start Date: 2 October 2017

Northumbria University is an equal opportunities provider and in welcoming applications for studentships from all sectors of the community we strongly encourage applications from women and under-represented groups.

Informal enquires can be directed to johnny.walker@northumbria.ac.uk <mailto:johnny.walker@northumbria.ac.uk>

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CFP: Spiral Film and Philosophy Conference: Love and Death



York University

Toronto, Canada

May 12-13, 2017

The modern fact is that we no longer believe in this world. We do not even believe in the events which happen to us, love, death, as if they only half concerned us. It is not we who make cinema; it is the world which looks to us like a bad film.
—Gilles Deleuze, Cinema 2

One of the few North American events specifically devoted to exploring the intersections of film, media and philosophy, the Spiral Collective seeks submissions for its second annual conference, organized, this year, around the theme of “Love and Death.”

Can the much-discussed and debated “death of cinema” introduce, through its very negation of a future of/for cinema, a renewed love for the cinematic? Can cinema bring us into an encounter —perhaps an amorous one —with something beyond human experience, and by extension, beyond mortality and death? Love and death have been primary concerns in philosophy, from its pre-classical origins to the present, finding a multitude of complex and contradictory sets of interrelations. Indeed, the fraught, and perhaps integral, relationship between love and death has been a recurrent, even obsessive feature of both philosophical reflection and cinematic representation that shows no signs of letting up. From romantic, existential, metaphysical, and phenomenological meditations on morality, mourning and grief to transgressive depictions of the erotics of violence or the aesthetic formalization of sexuality and mortality, philosophy and cinema have both passionately and coldly considered the deep ties and bubbling surfaces between the two highly suggestive terms.

In taking on the cognition of death — that of others and of one’s own — and the affective and emotive intensity of love, or, alternatively, the affective charge of morbidity and the rationality of commitment (romantic, political, or otherwise), philosophy and cinema both find and construct a vital zone of encounter and confrontation. To this end, contemporary developments in cinema and media respond to transformations in the political and cultural meanings of love and death just as philosophy maintains its relevance, or not, in relation to how it approaches both timely and timeless issues of life, love and death relative to other concepts like truth, morality, world, and community. Influential philosophical traditions persist in theoretical debates on the concepts of love and death, some arguing for pure affirmation and difference and others for negativity and nothingness. Cinema inscribes mortality into its very images: it reanimates and creates in the same gestures of disappearance and destruction. Digital cinema and media further complicate the dynamics of love and death.

We seek papers for 20 minute presentations on, but not limited to, any of the following topics, themes and concepts:

•existentialism, nihilism, death drive;

•romanticism, the sublime, morbidity, the gothic;

•materialism, decay, death;

•negativity and negation;

•mourning and melancholy;

•vitalism, difference, life;

•phenomenology of love and death;

•religion, theology, sacrifice and ritual;

•intimacy, sexuality, infatuation;

•pornography and eroticism;

•affect and affect theory;

•psychoanalytic approaches to love and death;

•suicide, martyrdom, end-of-life issues;

•terror, horror, shock, delirium;

•biopolitics, immunization and wounds;

•femininity and feminist approaches to love and death;

•queer theory and love and death;

•cultural reproduction, transmission and survival;

•cinephilia and the death (and/or afterlife) of cinema;

•the aesthetics of love and death;

•cinematic bodies, cinematic deaths, cinematic loves;

•media and morbidity

We welcome papers that engage with the work of specific philosophers and theorists who think about love and death from any variety of perspectives and further relate them to questions of cinema and media studies. We also welcome filmmakers, media practitioners, and activists to present and discuss their work.

The confirmed Keynote Speaker for “Love and Death”is Eugenie Brinkema, Associate Professor of Contemporary Literature and Media at the Massachusetts Institute of Technology. She is the author of The Forms of the Affects, published with Duke University Press in 2014. Her articles have appeared in numerous anthologies and journals including /Angelaki/, /Camera Obscura/, /Criticism/, /differences/, /Discourse/, /The Journal of Speculative Philosophy/, /The Journal of Visual Culture/, /Qui Parle/, and /World Picture/.

“Love and Death” will be held at York University, Toronto, Canada May 12-13, 2017.

Please send a 350 word abstract, brief bibliographyand bio (with institutional affiliation, if applicable) in a single document to yorkfilmphilosophy@gmail.com by January 28, 2017.

Conference Registration Fee:

Conference Attendance: $100 (Canadian)

Graduate Students and Underemployed: $50 (Canadian)

Conference website: https://yorkfilmphilosphy.wordpress.com/

Organized by the Spiral Film and Philosophy Collective in collaboration with the department of Cinema and Media Studies, York University.
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CFP: For a Cosmopolitan Cinema (Alphaville: Journal of Film and Screen Media)


CFP: For a Cosmopolitan Cinema

Alphaville: Journal of Film and Screen Media

Issue 14 (Winter 2017)


The 14th issue of Alphaville aims to address the recent cosmopolitan turn in film studies in an attempt to investigate the international orientation of contemporary cinema in this age of intense cross-cultural contact, transnational dislocations, and consumption of ethnicity. In a globalised context marked by the normalisation, and mediation of foreignness in everyday life, cinema has been established as a fundamental cosmopolitan agent due to its ability to promote transcultural access to places, spaces and subjectivities.

In this regard, by proposing the idea of cosmopolitan cinema, we wish to articulate the migratory and mobile aspect of world cinemas, by focusing on how cinematic texts negotiate their cultural specificities and forge intercultural connections in order to encourage border crossing. Also, our conception of cosmopolitan cinema embraces a possible practice or perspective that engages with notions of cultural diversity, otherness, and hybridity with a positive and open disposition, rather than succumb to the specificities of a national cinema, or restrict ourselves to binary oppositions that separate self and other.

A cosmopolitan perspective for film studies, thus, cherishes difference by mapping the trajectories of interactive becomings between cultures as a mode of critical practice that moves beyond the singular goal of universalism, and towards a mediation of contemporary interactions. Paul Willemen (2006) suggests a mode of outsideness or in-betweenness, which would forge a safe space from which to critically engage with personal and cultural dispositions. This, in turn, poses a number of interesting questions concerning modes of address. To whom is a cosmopolitan cinema being addressed? Can it manifest the internal struggle between self and other, through open cultural interactions? Does it concern those of no address or fixed abode, occupying a space that lies between the laws that govern city and state?

The forthcoming issue of Alphaville, to be published in Winter 2017, will be guided by such ideas, welcoming articles interested in approaching cosmopolitan cinema, questioning how it relates to a globalised context marked by postnational states, neoliberalism, postcolonial relationships, bureaucratic, (il)legal, and virtual modes of migration, transnational encounters, the weakening of national identities and modes of being, and more. Finally, we also aim to cover how the multiple projects, imaginations and understandings of cosmopolitanism shape representational, aesthetics and stylistic cinematic discourses, also considering the recent return to virulent nationalism, the shutting down of borders, and the current rejection of supranational values in postindustrial countries.


The editors are seeking some articles to complement the current selection, and are keen to receive proposals on topics and issues including, but not limited to:

- Cinephilia and cosmopolitan audiences: promoting the cult of world cinemas, stars, and strangeness

- World identities: authorship and star trajectories in contemporary cinema

- Cosmopolitan institutions and the brand of national cinemas: exploring the role of film festivals, distributors, etc.

- Films across borders: cosmopolitan cinema as a strategy of internationalisation and border crossing

- Representing worldliness: virtual and real conceptions of world and communities

- Aesthetic, stylistic and narrative notions of cosmopolitanism

- Documenting the cosmopolis: nonfiction cinema and the transnational imagination

- Aesthetic cosmopolitanism and the dialogue between production and consumption

- Cosmopolitanism and national cinemas: multiple belongings and the relativisation of the local

- Cosmopolitan spaces of circulation: digital and virtual migration

- Hybridism, multiculturalism and postcolonialism: perspectives to approach cosmopolitan cinema

- Narratives of the crossing: intercultural contact, migrations, and exiles



Potential contributors are invited to submit a 250/300-word abstract, and a biographical note by January 30, 2017 to the Issue Editors, James Mulvey, Laura Rascaroli and Humberto Saldanha, at the following address: issue14.alphaville@gmail.com. Authors will be notified of editors’ decision by 17 February 2016. Following acceptance, authors will be required to submit their completed articles of 5,500–6,000 words that fully adhere to Alphaville Guidelines, MLA and House Style by May 1, 2017.
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Call for Papers: Science Fiction Film and Television Special Issue
Science Fiction Film and Television is seeking articles for a special issue on Women & Science Fiction Media, intended to mark the 200^th year anniversary of the publication of Mary Shelley’s /Frankenstein/.

Although sf was once stereotyped as a male genre, more recently women’s contributions as authors, fans, editors, and more have become more widely acknowledged. Central to this new understanding of women’s contributions to sf has been the realization that *women have always been a part of the genre*, resisting another stereotype that links women’s emergence in the field to the feminist fiction of the 1960s and 1970s. In recognition of the bicentenary of the publication of /Frankenstein/ (1818) by Mary Shelley, arguably the first sf novel, we seek essays that recognize, interrogate, respond to and *celebrate women’s contributions to media sf*. We are interested in reviewing any work that explores this topic, but we are particularly interested in contributions on the following topics:

·Female directors of sf film and television

·Female sf showrunners

·Female scriptwriters in sf

·Gender and Mary Shelley’s legacy in sf’s imagination of created beings

·/Frankenstein/remakes, adaptations, reboots and reinventions

·Gender and casting, and character arc in media sf

·Gender in sf fandom and criticism

Articles should be _7000 to 9000 words in length_, including footnotes and bibliography. Submissions (in word or rtf, following MLA style) should be made via our website at http://mc.manuscriptcentral.com/lup-sfftv.

Any queries should be directed to the editors, Mark Bould (mark.bould@gmail.com <mailto:mark.bould@gmail.com>), Gerry Canavan (gerrycanavan@gmail.com <mailto:gerrycanavan@gmail.com>) and Sherryl Vint (sherryl.vint@gmail.com <mailto:sherryl.vint@gmail.com>).

The deadline for submissions for this special issue is March 15, 2017.
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Additional chapters requested; CFP: New Heart and New Spirit: Perspectives on the Modern Biblical Epic


[This is a follow up to a previous CFP.]


CFP: New Heart and New Spirit: Perspectives on the Modern Biblical Epic

The extreme profitability of Mel Gibson’s /The Passion of the Christ/ in 2004 came as a great surprise to the Hollywood establishment, particularly considering its failure to find production funding through a major studio. Since this time, the big-budget mainstream biblical epic, long thought dead in terms of widespread marketability, has become a viable Hollywood studio product with regards to seeking both profits and critical acclaim, as well as outlets for auteurist ‘passion projects’ such as Gibson’s film, Darren Aronofsky’s /Noah/ (2014), and Ridley Scott’s /Exodus: Gods and Kings/. With this year seeing two new fiction films featuring depictions of Jesus, the crucifixion, and resurrection [/Risen /(dir. Kevin Reynolds) and/ Ben-Hur /(dir. Timur Bekmambetov)], academic consideration of the modern biblical epic is both timely and highly relevant.

Proposals can address, but are not limited to:

- Theological perspectives on modern religious cinema

- Considerations of Genre

- Historical and political contexts

- Industrial efforts to capitalise on this trend (see the short-lived Fox Faith studios in the mid 2000s and its products)

- Intersections of, or discord between, faith and fandom

- Representations of race and gender

- Philosophical and more broadly theoretical approaches to these films and this trend.

Please contact Wickham Clayton at wickscripts@hotmail.com <mailto:wickscripts@hotmail.com> as soon as possible. Also feel free to email for expressions of interest and questions regarding the project.



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CFP: Un/Social Cinema


Call for Papers: /Participations: Journal of Audience and Reception Studies/
Abstracts due 30 January 2017

Pre-eminent English-language journal in audience and reception studies /Participations/ announces a call for papers for a special themed section on ‘Un/Social Cinema: Audience Decorum Revisited’ co-edited by Dr Tessa Dwyer (Monash University) and Dr Stephen Gaunson (RMIT University).

Despite filmgoing having always been a social activity, recent shifts to fan behaviour, technology, film exhibition, and the films, have seriously brought into question issues around social behaviour and general decorum at the cinema. What exactly is unsociable behaviour? By considering historical and contemporary cinemagoing, this special themed section will examine the ways that audience behaviour and interaction is considered social and unsocial.

We are interested in audience participation screenings from cult ‘call backs’ during midnight movies like the /Rocky Horror Picture Show/ to mums-and-bubs sessions, sing-a-longs and sensory-friendly screenings for families with special needs. We are also fascinated by movies that incorporate ‘second screening’ into their design (such as /Angry Birds/ and /APP/) as well as exhibition beyond the auditorium including ‘secret cinema’, drive-ins and outdoor screenings.

Further to this, the editors are interested in how ‘good’ audience behaviour changes across different countries (i.e. India, Iran, Japan, China, Australia, America) and eras (nickelodeon period, silent cinema, mobile phone era). The editors hope to expand previous topics covered in Participations, by adding a number of perspectives to this controversial and contentious issue of filmgoing decorum (if such a thing could ever exist).

Topics may include but are not limited to following:

• Hecklevision and ‘barrage cinema’
• Sensory-friendly screenings
• Sing-a-long screenings
• Mums-and-bubs sessions
• Cult movie practices and ‘call backs’
• 3D/4D cinema audiences
• Texting and tweeting during screenings
• Drive-in, outdoor and unusual cinemas
• ‘Secret cinema’ and similar phenomenon
• Performance and cosplay at the movies
• Apps and ‘second screening’ at the movies
• Live translation in the cinema
• Early film ‘talker’ troupes like Humanovo
• Benshi and Byonsa traditions

Submissions will be reviewed according to the journal’s practice of open refereeing. Please include a short biographical note with your submission (for each author), giving job title and institution, a sentence or two on ongoing research interests, and a contact email.

Abstract submission deadline: 30 January 2017
Article submission deadline: 3 July 2017
Publication date: November 2017


Please send abstracts and questions to the Section Editors: Tessa Dwyer (tessa.dwyer@monash.edu <mailto:tessa.dwyer@monash.edu>) and Stephen Gaunson (stephen.gaunson@rmit.edu.au)
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CFP: Gorizia Spring School 2017 - Porn Studies Section - Video (R)Evolutions


CALL FOR PAPERS / DEADLINE EXTENSION!
Gorizia Spring School 2017
29 March – 1 April, Gorizia
PORN STUDIES SECTION

Video (R)Evolutions

The aim of the section is to explore the historical impact of video technologies on pornographic production, representation and consumption. Starting from the second half of the 1980s, the video revolution dramatically hit the adult business, changing forever the way in which audio-visual pornography was created and experienced.

This process implied first of all the gradual and relatively quick shift from a mostly public form of porn consumption (in movie theatres and arcades) to the privacy of home video viewing, and the subsequent total and irreversible reconversion to video of the major Western porn companies.

The expressive possibilities allowed by video technologies also had important consequences on the development of new forms of pornographic production and representation. The lower production costs and the enhanced user-friendliness of such technologies created an unprecedented spread of amateur pornography, “in which (presumably) ordinary folks originally exchange video-taped sexual performance” (Williams 1999: 303). Moreover, the necessity to renovate and diversify the pornographic market – dominated by repetitive films “that featured plumbers, pizza delivery boys and other tissue-paper thin plots” (Pipe 2004) – brought some directors and producers to a more sophisticated use of video technologies in so-called gonzo pornography. According to Peter Alilunas, in fact, “gonzo films creatively incorporate[d] the economic and technological characteristics of video production and reception to turn them into an aesthetic practice” (2016: 206) demonstrating the “internalization of the conditions of production” (James 1989: 12). Pornography was also heavily influenced by the aesthetics of television sub-genres such as video-clip and advertising: authors like Andrew Blake and Michael Ninn produced high budget features, “enhanced by a dreamlike and elegant style of direction that enclose[d] the sex act in a composition dominated by visual elements, similar to the style of computer graphic” (Adamo 2004: 13). Finally, the simplification and “domestication” (Juffer 1998) of pornographic production and distribution paved the way for a multiplication and differentiation of pornography in relation to different market niches. This process of sectorization allowed new, militant subjects into the market, with their different set of pornographic discourses targeting previously “neglected” audiences – especially heterosexual and homosexual women.

Drawing on these premises, we invite papers that reflect on:

− the pornographic video era, from its origins to its developments in the digital era
− transformations of the feature-length narrative hard-core film during the 1980s, 1990s, and early 2000s
− new pornographic video genres and subgenres
− pornography and television, music, fashion
− arty porn (Andrew Blake, Michael Ninn, Gregory Dark, …)
− from film loop to video vignette
− from wall-to-wall to gonzo
− gonzo pioneers (Jamie Gillis, John Stagliano, Rodney Moore, Ed Powers, Ben Dover…)
− gonzo evolutions, from Buttman to Bang Bros
− from polaroid and 8mm to the birth of the “video amateur”
− the birth of alternative pornographies during the 1980s
− new bodies, races, genders in video and early digital pornography
− the pioneers of feminist pornography (Femme Productions, Fatale Video, …
− from the arcade to the video rental shop: changes in pornographic consumption and distribution

References
Adamo, Pietro. 2004. Ιl porno di massa. Percorsi nell’hard contemporaneo. Milan: Raffaello Cortina.
Alilunas, Peter. 2016. Smutty Little Movies: The Creation and Regulation of Adult Video. Berkeley: California University Press.
James, David. 1989. Allegories of Cinema. Princeton: Princeton University Press.
Juffer, Jane. 1998. At Home with Pornography: Women, Sex and Everyday Life. New York: New York University Press.
Pipe, Roger T. 2004. “Adventures of Buttman, The.” Rogreviews, February 22. Accessed 15 April 2016.
Williams, Linda. 1999. Hard Core: Power, Pleasure, and the “Frenzy of the Visible”. Berkeley: University of California Press.
The organizers invite single papers and panel proposals

New Deadline for proposals: January 8, 2017
Authors will be notified by January 10, 2017 if their proposals have been accepted.
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.

Submit proposals to: goriziafilmforum@gmail.com

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ESRC funded doctoral studentships in Communication and Media: University of Leicester


The School of Media, Communication and Sociology at the University of Leicester (http://www2.le.ac.uk/departments/media) welcomes applicants for ESRC funded doctoral studentships in Communication and Media.

The deadline for the applications is the 24^th of January 2017.


The Department of Media and Communication began as the Centre for Mass Communication Research (CMCR) at the University of Leicester, which has, since its establishment in 1966, played a leading role nationally and internationally in all aspects of media and communications research.

The School has a large, vibrant and cosmopolitan post-graduate community working on subjects ranging from social The School of Media, Communication and Sociology at the University of Leicester (http://www2.le.ac.uk/departments/media) welcomes applicants for ESRC funded doctoral studentships in Communication and Media.

The Department of Media and Communication began as the Centre for Mass Communication Research (CMCR) at the University of Leicester in 1966 which has, since its establishment in 1966, played a leading role nationally and internationally in all aspects of media and communications research. The School has a large, dynamic and cosmopolitan post-graduate community working on various subjects ranging from cultural industries, traditional and new media to cultural sociology.

The School of Media, Communication and Sociology is a part of the communication and media pathway of the ESRC Midlands Graduate School doctoral training partnership, a consortium of six research intensive universities based in the English Midlands. Full details of how to apply can be found here: https://www2.warwick.ac.uk/fac/cross_fac/mgsdtp/

Midlands Graduate School ESRC DTP <https://www2.warwick.ac.uk/fac/cross_fac/mgsdtp/>

www2.warwick.ac.uk <http://www2.warwick.ac.uk>

Midlands Graduate School ESRC DTP

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Call for Participation: Symposium on Media, Communication, and Film Studies Programs at Liberal Arts Colleges (MCFLAC)



May 23-24, 2017, Colby College, Maine


Deadline for submissions: February 10, 2017


Media, Communication, and Film Studies Programs at Liberal Arts Colleges (MCFLAC) invites proposals for papers, panels, and exhibits for a two-day symposium, to be held at Colby College in Waterville, Maine. The symposium will bring together faculty engaged in the scholarly and pedagogical praxis of media, communication, and film studies in the liberal arts context for two days of resource sharing, student-work showcases, workshops, and panel sessions.
Building off the momentum of last year’s inaugural symposium, at Muhlenberg College, this year’s theme is “Revolutions.” We have chosen this theme in keeping with Colby College’s Center for the Arts and Humanities year-long focus, which is broadly conceived to encompass revolutions in the “political, literary, artistic, cultural, social, scientific, … conceptual,” and, we suggest, pedagogical and institutional realms.

We invite proposals (250 to 500 words) that engage with our theme, including:
* Revolutionary approaches to teaching
* Teaching about revolutions--past and present * Revolutionizing the (increasingly neoliberal) institutional structures in which we are located * Mobilizing theory and pedagogy to facilitate revolutionary thinking
* Analyzing the impact of ongoing revolutionary changes (sociocultural, economic, epistemological) upon our work in liberal education, including ideas for redirecting, capitalizing and/or adapting
* Interrogating the “revolutionary” rhetoric around higher education, with the liberal arts college said to be ripe for “disruption”
* Responding to the Trump “revolution” and its reverberations on our campuses


Preference will be given to submissions that fit the symposium theme, but we welcome submissions on all topics reflecting MCFLAC’s unique emphasis on praxis in liberal arts settings. We seek to bring together a diverse group of teachers, scholars, and students, from different backgrounds with various life experiences, teaching styles, and intellectual orientations.
Presentation formats include:


* individual paper abstracts

* panel session abstracts (identifying three to four participants)
* student-work showcases (featuring scholarship, media work, and/or hybrids in digital or other formats)
* pedagogy workshops (on core assignments, capstone courses, and/or pedagogical techniques)

* research workshops (on projects, strategies, publishing models, and/or research/exhibit and tools)
* additional formats considered

*** In addition to these formats, we invite submissions for 3-minute “short cuts”: lightning fast presentations in which participants give a quick run-down of innovative or useful tech tools, assignments, teaching strategies etc. The presentations are three minutes long and we ask you to use one slide per minute. Please label your “short cut” submissions accordingly.
Please include a brief bio and note any technology requirements with your proposal. Include your bio, proposal, and tech needs in one PDF document and attach to an email addressed to Beth Corzo-Duchardt, bcorzo-duchardt@muhlenberg.edu. If you are submitting a “short cut” proposal in addition to another proposal, please attach as a separate document.

Deadline for submissions: February 10, 2017.


Questions? Contact Beth Corzo Duchardt, bcorzo-duchardt@muhlenberg.edu
For more information: mcflac.com
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CFP - Body Politics: Representing Masculinity in Media and Performing Arts


BODY POLITICS.
REPRESENTING MASCULINITY IN MEDIA AND PERFORMING ARTS
International conference
Università degli Studi di Torino, June 6-7, 2017

Curated by:
Giaime Alonge, Giulia Carluccio, Federica Mazzocchi, Maria Paola Pierini, Antonio Pizzo, Alessandro Pontremoli

The conference aims at investigating the interaction between masculinity and the languages of media and performing arts, both from a historical standpoint and from a theoretical perspective. The sessions of the conference will feature a series of presentations informed by the main theoretical and methodological currents in the relevant fields (cinema, video art, television, fashion, advertising, digital and social media, dance, theatre, opera, music, etc.).

The conference will welcome contribution from the following AREAS:
Choreography/Mise-en-scène/Direction
Narratives/Genres
Acting/Performance
Gaze/Image
Spectator/Audience/Consumption
Production

Topics include, but are not limited to:

-BODY
Body spectacle
Mutation of the body
Bodybuilding

-POLITICS
Power
Militancy
Conflict
Hegemony
Class

-ECONOMY
Consumerism
Industry
Marketing
Merchandising

-IDENTITY
Straightness
Race/Nation
Homosexuality
Homophobia
Queerness

-SEXUALITY
Masculine/Feminine
Eroticism
Seduction
Pornography

Deadline for proposals: January 10, 2016

Notification of acceptance: February 10, 2017
Mail to: centroricerche.crad@unito.it <mailto:centroricerche.crad@unito.it>

Proposals are accepted both in Italian and English
Proposals must include a short abstract (2.000 characters), which should specify the addressed topics (not necessarily those found in the CFP), and a list of essential references (min. 5 titles).
Admission fee for the speakers is €50. The fee is waived for doctoral students and candidates.

Scientific board:
Antonio Attisani (Università degli Studi di Torino), Sandro Bellassai (Università di Bologna), Ramsay Burt (De Montfort University), Lucia Cardone (Università di Sassari), Richard Dyer (King’s College London), Massimo Fusillo (Università degli Studi dell'Aquila), Ronald Gregg (Yale University), Catherine O’Rawe (University of Bristol), Peppino Ortoleva (Università degli Studi di Torino), Veronica Pravadelli (Università degli Studi Roma Tre), Jacqueline Reich (Fordham University), Sergio Rigoletto (University of Oregon), Karl Schoonover (University of Warwick), Emanuele Senici (Università La Sapienza di Roma).

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Vacancy: 3 year post-doc position in media research & methods at "Locating Media" graduate school
The graduate school “Locating Media” at the University of Siegen <https://www.uni-siegen.de/start/index.html.en> has a post-doc vacancy for 3 years with the possibility of extension. “Locating Media” focuses on studying media ‘in motion’ and ‘in situ’ and aims to develop inventive mobile and digital methods for media research: www.locatingmedia.uni-siegen.de <http://www.locatingmedia.uni-siegen.de/>


The University of Siegen is an innovative institution with an emphasis on an interdisciplinary orientation and has about 20,000 students and 2,000 employees, including 1,200 academic positions. There is a broad spectrum of departments, ranging from liberal arts, social sciences, and economics through to natural sciences and engineering, and the University of Siegen provides an outstanding teaching and research environment with numerous inter/transdisciplinary research projects. The University of Siegen offers diverse options for combining professional and family life. For this reason, it has been certified as a family-friendly university since 2006 and provides a dual career service.

Starting on April 1st 2017,
*one full-time (100% fte) post-doctoral post*
(salary category TV-L 13)

is available at the University of Siegen in the German Research Foundation (DFG) Graduate School, GRK 1769 "Locating Media", for the fixed-term period of three years, with the possibility for extension (according to DFG standards). The duration of the contract complies with the Wissenschaftszeitvertragsgesetz.

*Locating Media*
The Graduate School "Locating Media" was set up in 2012 and has focused on researching historical and current media practices 'in motion' and 'in situ'. The main objective of “Locating Media” is to facilitate a methodological re-orientation of interdisciplinary media research by engaging with locational and situational analyses and the development of new methods for the analysis and design of mobile digital media. In the second phase of funding, the existing expertise in ethnographic methodologies will be expanded to include digital and mobile methods, to investigate the increased mobility and distributed spatiality of media and data processes.

The German Research Foundation (DFG) Graduate School provides an international environment for inventive and interdisciplinary media research by offering an intensive training programme, joint events with collaboration partners, training in relevant ethnographic, digital and mobile methods and the possibility of field research and research abroad. The research program will be realised in close collaboration with international partners and supporters, such as the Digital Ethnography Research Centre in Melbourne (RMIT), the Digital Methods Initiative (University of Amsterdam), the Centre for Interdisciplinary Methodologies (Warwick University), Centre for Science Studies and Mobilities Lab at Lancaster University and other collaborators.

More information on the profile and program can be found here: www.locatingmedia.uni-siegen.de <http://www.locatingmedia.uni-siegen.de/>


Job description:

We expect:
– attendance of the Research Training Group events such as workshops, international conferences, intensive workshops and summer schools.
–regular presentation of interim findings of individual research projects during internal events (Research Colloquium, Lecture Series) and during conferences.
– co-organisation of workshops and international conferences in collaboration with our international partners
– publication of the research project in relevant specialist journals and supervision of publications.


This is a position for obtaining further academic qualifications (Habilitation), for which the ongoing media research in Siegen, for instance in the context of the collaborative research centre 1187 "Media of Cooperation" <https://www.mediacoop.uni-siegen.de/en/> provides a stimulating environment. The opportunity for this is provided within the scope of official duties.

Your profile:

− outstanding doctoral degree in one of the following areas of study: media studies, history, information science, cultural studies, literary studies, linguistics, ethnology, political science, sociology, Science and Technology Studies.
– outstanding scholarly achievements.
– research project in one of the areas of study listed above (10-page project prospectus including timetable).
– familiarity with media research and social science methods and interest in methodological innovation.
– willingness to participate in the Graduate School’s activities and to contribute toward their conceptual development.
– good spoken and written German and English.

The University of Siegen is an equal opportunity employer. In accordance with its policy of increasing the proportion of women in this type of employment, the University actively encourages applications from women. The University facilitates a viable combination of professional and family needs.

For candidates with equivalent qualifications, preference will be given to people with physical disabilities.

For further information, please contact Herr Dr. Pablo Abend (Tel.: +49 271/740-2080)
E-Mail: abend@locatingmedia.uni-siegen.de <mailto:abend@locatingmedia.uni-siegen.de>
Homepage: www.uni-siegen.de/locatingmedia <http://www.uni-siegen.de/locatingmedia>

Please send application documents (CV, copies of diplomas and certificates, letter of recommendation from a professor concerning the research project, approx. 10-page project prospectus, including task schedule) in duplicate by January 5^th 2017 with reference number 2016/I/Locating Media/WM/264 to the program address: Dr. Pablo Abend, Universität Siegen, DFG-Graduiertenkolleg „Locating Media“, Artur-Woll-Haus, Am Eichenhang 50, 57076 Siegen, Germany.

Information on the University of Siegen is available online: www.uni-siegen.de <http://www.uni-siegen.de/>.

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CFP: Edinburgh International Film Audiences Conference Returns



Edinburgh International Film Audience Conference (EIFAC)
30-31 March 2017, Edinburgh

<http://www.eifac.com>
www.eifac.com<http://www.eifac.com>

<http://www.eifac.com>
Edinburgh International Film Audience Conference (EIFAC) returns in 2017 with a new conference team and official affiliation with Queen Margaret University, Edinburgh. The two-day conference continues EIFAC’s proud tradition of bringing together empirical film and media researchers to discuss, debate and explore audience engagements with moving image past and present. EIFAC showcases the small, yet mounting, pool of film scholarship that moves away from classical textual modes of research to include empirical fieldwork. We also welcome work from media areas outside of Film Studies – Communication Studies, Games Studies, Television Studies, and Media Studies. As such, we invite research papers on non-film subject matter or indeed empirical research on film/cinema emerging from non-film disciplines (i.e. Sociology, Tourism, Cultural Studies). We are particularly interested in new directions in audience research within the broader digital media landscape.

EIFAC provides an arena where new and experienced researchers in academia can come together to share their enthusiasm for audience research in a friendly and supportive environment. Whilst the conference may well appeal primarily to academics, it invites contribution from those working in the film industries (production, distribution, exhibition, policy-making). Industry-academic collaborations have been developed at past EIFAC conferences, and it is the continued aim of the organising team to further enhance dialogue between academics and industry professionals. The conference will be a platform where researchers can better understand the challenges faced by practitioners in ‘knowing and engaging their audience,’ where practitioners are shown the value of empirical scholarship as a cost-effective resource available to them, and where collaborative partnerships can come to life.

The conference will include a keynote address (TBC), invited industry panel, series of 20-minute research papers, and short presentations for research-in-progress (targeted at PG students).

Papers
All papers should be concerned with empirical research on film/media audiences. We are particularly interested in papers that explore the following issues/themes, however, we also welcome papers on other interesting topics:

* Text and audience in empirical research
* New methodological directions in audience research
* Online audiences
* Film event audiences
* Curated media experiences
* Child and youth audiences
* Transnational film audiences
* Transnational and diasporic audiences
* Screen tourism and audiences
* Rethinking cinephilia
* Contemporary cinema audiences
* Fan audiences
* Cult audiences
* Taste culture

Work in Progress

We continue to offer a showcase for work in progress. This is a great opportunity for Masters and PhD students to share research they are working on and receive helpful feedback from their peers. Work-in-progress papers will be delivered in the usual presentation format, only as shorter talks (15 mins).

Submitting Abstracts

Paper proposals should include title, abstract, 3-5 key bibliographical references, and the name/s of the presenter/s and institutional affiliation/s, which collectively should be no more than 300 words. We also ask potential presenters to include a short biography (maximum 100 words).

Work in progress proposals should include title, short abstract, 2 key bibliographical references, and the name of the presenter and institutional affiliation, which should collectively be no more than 200 words. We also ask work in progress presenters to include a short biography (maximum 50 words).

Abstracts should be submitted as virus-free Word or PDF attachments to Lesley-Ann Dickson ldickson@qmu.ac.uk<mailto:ldickson@qmu.ac.uk> no later than Thursday 5th January 2017. Please note the category you are submitting for in the email subject line (‘Paper Proposal’ or ‘Work in Progress Proposal’).

Referees will review abstracts and all contributors will be notified of the outcome by late January 2017. Abstracts that are longer than prescribed will not be considered.

Student Award

There will be an award for the best student paper, which can include undergraduates as well as postgraduates (subject to proof of status).

Conference Dates and Location

The conference will take place over two days (30th and 31st March 2017) in the heart of Edinburgh. One of the main attractions for participants is that we only run single track sessions – no more difficult decisions about who to go and listen to or the awful experience of presenting to just a couple of people whilst everyone else has gone to hear the famous speaker! Everyone is guaranteed a decent audience plus 20 minutes to present their paper followed by 15 minutes of questions. We operate a strict time-keeping policy and all papers must remain within the allocated 20 minutes (or 15 minutes for work-in-progress papers).

Key Dates

* CFP Submission Deadline – Thursday 5th January 2017
* Acceptance/Decline Notifications – Late-January 2017
* Preliminary Conference Programme – Late-January 2017
* Conference Registration Deadline – Friday 24th February 2017
* Final Paper/PowerPoint Submission – Friday 24th March 2017
* Conference Dates - Thursday 30th and Friday 31st March 2017


Organising Committee

* Dr Lesley-Ann Dickson
* Dr Marty Zeller-Jacques
* Dr Michael Stewart
* Robert Munro
* Jordan Phillips
* Katrina Macapagal



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CFP Reality and screen, a postmodern mirror, IX International Conference on Communication and Reality / Abierta convocatoria /Convocatòria oberta


Este mensaje sigue en castellano

Aquest missatge segueix en català


Subject: CFP Reality and screen, a postmodern mirror, IX International Conference on Communication and Reality, Barcelona, 8 – 9 June, 2017. Blanquerna School of Communication and International Relations, Ramon Llull University

Deadline for abstract submission: 9th January, 2017

Please pass this message on to your department and to colleagues who may be interested in our conference.


Dear Colleague,

We are pleased to announce that registration for the IX International Conference on Communication and Reality, entitled Reality and screen, a postmodern mirroris now in progress. The complete Call for Papers is posted in English, Spanish, and Catalan on our conference web site: http://cicr.blanquerna.edu/en/presentation.


We invite you to submit individual abstracts and complete panel proposals, and to peruse further information posted there.


In the last decade the screen has acquired a centrality that implies a cultural change and marks a tipping point in the massive process of digitalization. The screen itself is a singular phenomenon that deserves a specific and differentiated attention because it modifies the very nature of the information. Screen implies connection and, increasingly, interaction, both with information (e.g hypertext) and with people who produce it (e.g. social networks).The contemporary role of screen is not comparable to previous cultural changes, as those produced by Gunter’s printing press, photography or hertzian waves. Screen goes beyond, as it contains all formats: we read texts on a screen, we look at photos on a screen, we listen to the radio interacting with the screen of different devices, etc. The main feature of this transformation of the late postmodernity roots, thus, in the centrality and pervasiveness of the screen, which ceases to be a means to become a mediator.


For the 2017 edition, themedReality and screen, a postmodern mirror,we welcome scholars, practitioners, and students to provide new ideas and offer alternative, unorthodox, outside-the-box explorations of the issue, thus contributing to shaping the question of the role the screen is going to have in the cultural imaginary and cutlural practices of the future.

We look forward to hearing from you and receiving your comments at cicr@blanquerna.url.edu <mailto:cicr@blanquerna.url.edu>.


Sincerely,


The organizing Committee

Ferran Sáez, Ph.D.

Lluïsa Llamero, Ph.D.


Blanquerna School of Communication and International Relations

Universitat Ramon Llull

Pl. Joan Coromines, s/n

Barcelona

______________________________________________________

Asunto: Convocatoria Realidad y pantalla, un espejo postmoderno, IX Congreso Internacional Comunicación y Realidad, Barcelona, 8 y 9 de junio de 2017. Facultad de Comunicación y Relaciones Internacionales Blanquerna, Universidad Ramon Llull

Fecha límite para la recepción de resúmenes: 9 de enero de 2017.
Por favor hagan difusión de este mensaje en su departamento y entre sus colegas que puedan estar interesados en este congreso.


Apreciado/Apreciada,


La organización de la IX edición del Congreso Internacional de Comunicación y Realidad, que se celebrará los días 8 y 9 de junio de 2017 en la Facultad de Comunicación y Relaciones Internacionales Blanquerna-URL de Barcelona con el título Realidad y pantalla, un espejo postmoderno, le comunica que ya está abierto el plazo para enviar las propuestas de comunicación o de panel mediante la web del Congreso: http://cicr.blanquerna.edu/es/presentacion/.Asimismo encontrará, entre otras primeras informaciones, la convocatoria o call for papers.


La centralidad que ha adquirido la pantalla en la última década implica un cambio cultural de carácter cualitativo, y marca un punto de inflexión en el proceso masivo y generalizado de digitalización. La pantalla en sí misma es un fenómeno que merece una atención diferenciada y específica ya que modifica la misma naturaleza de la información. La pantalla implica conexión y cada vez más, también interacción, sea con la información (hipertexto) o bien, directamente, con las personas que la generan (redes sociales).

Invitamos a académicos, profesionales y estudiantes a hacer un ejercicio de prospectiva que dé respuesta a preguntas como: ¿Cuáles son las perspectivas de futuro de este nuevo estadio de la sociedad de la información? Se trata de cambios irreversibles o, como ha ocurrido con el regreso del vinilo, aún pueden ser objeto de un replanteamiento? Podría ser que, a largo plazo, la pantalla se convirtiera la vía de acceso a la información de los pobres, mientras que las clases acomodadas optaran por el libro de papel en vez del pdf o por el disco en vez de un archivo mp3?


Esperamos su participación agradeciendo de antemano la atención prestada.

Reciba un cordial saludo,

El comité organizador

Dr. Ferran Sáez

Dra. Lluïsa Llamero


Facultad de Comunicación y Relaciones Internacionales Blanquerna

Universitat Ramon Llull

Plaza Joan Corominas, s/n

08001 Barcelona

Tel: (34) 93 253 31 08

Fax: (34) 93 253 31 23

cicr@blanquerna.url.edu <mailto:cicr@blanquerna.url.edu>


______________________________________________________

Assumpte: Convocatòria Realitat i pantalla, un mirall postmodern, IX Congrés Internacional Comunicació i Realitat, Barcelona, 8 i 9 de juny de 2017. Facultat de Comunicació Blanquerna, Universitat Ramon Llull

Data límit per a la recepció de resums: 9 de gener de 2017.
Si us plau feu difusió d’aquest missatge en el vostre departament i entre els vostres col·legues que puguin estar interessats en aquest congrés.


Benvolgut/Benvolguda,

L'organització de la IXa. edició del Congrés Internacional de Comunicació i Realitat que es celebrarà els dies 8 i 9 de juny de 2017, a la Facultat de Comunicació Blanquerna-URL de Barcelona amb el títol Realitat i pantalla, un mirall postmodern, us comunica que ja està obert el termini per enviar les propostes de comunicació o bé de panell mitjançant el web del Congrés: http://cicr.blanquerna.edu/ca/presentacio/on trobareu, entre d'altres primeres informacions, la convocatòria o call for papers.

La centralitat que ha adquirit la pantalla en la darrera dècada implica un canvi cultural de caràcter qualitatiu, i marca un punt d’inflexió en el procés massiu i generalitzat de digitalització. La pantalla en si mateixa és un fenomen que mereix una atenció diferenciada i específica ja que modifica la mateixa naturalesa de la informació. La pantalla implica connexiói cada cop més, també interacció, sigui amb la informació (hipertext) o bé, directament, amb les persones que la generen (xarxes socials).

La propera edició del Congrés Internacional de “Comunicació i Realitat” 2017, proposa el temaReality and screen: a postmodern mirror. Convidem a acadèmics, professionals i estudiants a fer un exercici de prospectiva que doni resposta a questions com: Quines són les perspectives de futur d’aquest nou estadi de la societat de la informació? Es tracta de canvis irreversibles o, com ha passat amb el retorn del vinil, encara poden ser objecte d’un replantejament? Podria ser que, a llarg termini, la pantalla esdevingués la via d’accés a la informació dels pobres, mentre que les classes benestants optessin pel llibre de paper en comptes del PDF o pel disc en comptes d’un arxiu mp3?

Esperem la vostra participació i agraïm per endavant l'atenció prestada.

Rebeu una cordial salutació,


El comité organitzador

Dr. Ferran Sáez

Dra. Lluïsa Llamero


Facultat de Comunicació I Relacions Internacionals Blanquerna

Universitat Ramon Llull

Valldonzella, 23

08001 Barcelona

Tel: (34) 93 253 31 08

Fax: (34) 93 253 31 23

cicr@blanquerna.url.edu <mailto:cicr@blanquerna.url.edu>
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Tenure-track assistant professorship in Media Studies

The Department of Media, Cognition and Communication, Faculty of
Humanities, University of Copenhagen (UCPH), Denmark, invites applications
for a tenure-track assistant professorship in Media Studies to be filled
by 1 August 2017 or as soon as possible thereafter.
The Department of Media, Cognition and Communication (http://mcc.ku.dk)
offers research-driven educational programmes within Film and Media
Studies, Communication and IT, Philosophy, Education and Rhetoric. The
Department focuses on the fundamental aspects of human cognition and
communication as they are manifested in various institutions and media,
and in various historical and social contexts.
The assistant professorship will be affiliated with the Department¹s
Section of Film, Media and Communication
http://mcc.ku.dk/research/filmandmedia/

Job content


The position contains research and research-based teaching within Media
Studies as well as administration and management according to current
standard requirements at the Faculty of Humanities, University of
Copenhagen. The ideal candidate will have an excellent research record or
outstanding research potential in one or more of the following areas in
media studies: media sociology, journalism, and/or media history.
Experiences with different media and cross-media communication as well as
interdisciplinary collaboration will be considered strength.

The job description includes development, planning and administration of
the BA and MA programmes in Film and Media Studies and/or the executive
master in Cross Media Communication - as well as teaching within central
areas in these programmes. At the Department of Media, Cognition and
Communication, teaching excellence has a high priority and we are striving
for synergy between education and research. The assistant professor is
expected to contribute actively to this agenda as well as to the general
quality development of our educational programmes. The assistant professor
is also expected to contribute actively to the development of a collective
research environment.

The general expectation is that the appointed candidate will be able to
teach in Danish and in English and within a reasonable period of time
(max. 2 years), non-Danish-speaking appointees are expected to acquire
proficiency in Danish sufficient to teach in Danish as well as interact
with colleagues and students.

A tenure-track assistant professorship is a six-year, fixed-term academic
position involving both research and teaching. The successful candidate
will be obliged to complete a teacher-training course designed especially
for assistant professors, and will be expected to be able to take part in
all the activities of the Department, including examinations and
administration.

Approximately six months before the end of the six-year period as
assistant professor, a committee set up by the Dean will assess whether
the assistant professor can be considered for promotion to a tenured
position as associate professor.
Read more about the tenure-track program at the UCPH at this homepage:
http://employment.ku.dk/tenure-track/tenure-track-at-ucph/

Qualification requirements

Applicants must have a PhD degree or its equivalent within the area
advertised. Furthermore, it will be considered an advantage if applicants
can demonstrate teaching experience at university level.
The duties of the position are evenly distributed on tasks related to
teaching and tasks related to research (including relevant administration
and knowledge-sharing). Documented competences in both of these main
fields of activity, as well as the ability to reflect on them, will be
weighted in the assessment process (see further below).

Furthermore, emphasis will be placed on the following academic and
personal qualifications:

* Research qualifications, which will be assessed in relation to the
period of active research, the degree of originality, and academic output,
e.g. number of publications published in internationally recognized,
peer-reviewed journals or in comparable high-ranking series published with
internationally recognized publishing houses.

* The applicant¹s scientific record, academic breadth and depth, rigour,
thoroughness, and accuracy

* Teaching qualifications. See also our Educational Charter at
http://www.humanities.ku.dk/about/vision_and_goals/educational_charter/
* Experience and qualifications with regard to dissemination of research,
knowledge-sharing and engagement with the wider public, the media and the
world of politics
* Documentation of possible administrative qualifications

Tenure-track assistant professors must hold an academic record
demonstrating internationally competitive research, and/or have
internationally recognized potential to make a future impact.


Assessment of applicants will primarily consider their level of
documented, internationally competitive research. Teaching qualifications
are not mandatory, but documented teaching qualifications and teaching
experience will be taken into account. Applicants¹ outreach
qualifications, including the ability to attract external funding, will
also be considered.

For further details about the qualification requirements for assistant
professorships, please refer to the job structure for academic staff
http://ufm.dk/lovstof/gaeldende-love-og-regler/uddannelsesinstitutioner/job
-structure-for-academic-staff-at-universities-2013.pdf

For further information about the position, please contact Head of
Department Maja Horst, e-mail: horst@hum.ku.dk
See also: http://jobportal.ku.dk/videnskabelige-stillinger/?show=877327


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Call for Application: Media@McGill Postdoctoral Fellowship

Description: Media@McGill is a hub of interdisciplinary research,
scholarship and public outreach on issues in media, technology and
culture, located in the Department of Art History and Communication
Studies at McGill University in Montreal, Canada. To see the list of
postdoctoral fellowships, click here

<http://media.mcgill.ca/en/content/mediamcgill-postdoctoral-fellowships>.

Media@McGill’s residential postdoctoral fellowships are awarded to
scholars from the humanities and social sciences, working on any
historical period. The 2017-2018 fellowship is dedicated to the
theme of “Migrant Media.”
<http://media.mcgill.ca/en/content/2017-2018-theme-migrant-media>

Fellows are provided with a workspace, and are expected to take an
active role in the research activities and academic life of
Media@McGill (participation in conferences, seminars, etc.). They
may also have the possibility of teaching a course within the
Department of Art History and Communication Studies at McGill.


Eligibility: The Media@McGill Postdoctoral Fellowship is open to
both national and international scholars who have completed their
doctoral degree in a university other than McGill no earlier than
June 1, 2013. Candidates must have defended their dissertation and
received their PhD by May 1, 2017. Fluency in English is essential;
working knowledge of French is an asset.


Value and Duration: The stipend for the Media@McGill Postdoctoral
Fellowship is $45,000 CAD for 12 months (this includes a travel
research stipend) beginning in September 2017.


Application Process Deadlines: Media@McGill will be offering one
Postdoctoral Fellowship for 2017-2018.

1. In a cover letter, applicants must stipulate how their research
is related to Media@McGill’s mission statement
<http://media.mcgill.ca/en/mission> and Media@McGill’s 2017-18
theme: *Migrant Media*
<http://media.mcgill.ca/en/content/2017-2018-theme-migrant-media>.
Applicants should also identify a potential faculty supervisor from
the McGill Department of Art History and Communication Studies, who
is a member of Media@McGill <http://media.mcgill.ca/en/members> and
whose research is closely tied to that of the applicant. Please do
not contact the potential supervisor at this stage.

The following should be included in all statements of interest and
be sent in a single pdf (the application will not be accepted
otherwise).  The documents’ order follows the list below:

1. a cover letter;
2. a research proposal (750 words);
3. a Curriculum Vitae (maximum 5 pages).


Deadline: Completed statements of interest should be sent to
sophie.toupin@mcgill.ca <mailto:sophie.toupin@mcgill.ca> by Friday,
February 3, 2017 at 4:00 p.m. E.S.T. 


2. Statements of interest will be reviewed by the Media@McGill
potential supervisor, and candidates will be notified of results
shortly after. If successful, the short-listed applicants will be
asked to provide the following additional documents:

1. official copies of transcripts during graduate studies;
2. three letters of recommendation (one of which is by the
potential Media@McGill faculty supervisor);
3. a writing sample (maximum 20 pages).


Deadline: Completed statements of interest should be sent to
sophie.toupin@mcgill.ca <mailto:sophie.toupin@mcgill.ca> by Friday,
March 24, 2017 at 4:00 p.m. E.D.T.
Applications will be reviewed by
Media@McGill’s Steering Committee, and candidates will be notified
of results in early May 2017.

For additional information, please contact sophie.toupin@mcgill.ca
<mailto:sophie.toupin@mcgill.ca> or call (514) 398-8364.
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