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.
[Saber mais] [Inscrever-se na AIM]


NOTÍCIAS

call for articles: Cinematograph for industries and in companies (1890 - 1970)


Cinematograph for industries and in companies (1890-1970): history,
players, uses and configurations

This special issue of /Cahiers d’histoire du Cnam/ looks at gathering
contributions on industrial and business uses of cinema, from
strategical choices such as widening the activities of firms (Antoine
Lumière and sons’ “Society for photographic plates and papers”/Société
de plaques et papiers photographiques), and industrializing sound
recording (Pathé brothers company in the 1890s) or optical and
photographic materials (L. Gaumont company in 1895), to transformations
brought by the generalization of television then video in the 1970s. It
aims at exploring ways in which industry and companies have used the
cinematograph, as well as modes of organization and production this uses
have generated.

Scholars studying from the perspective of cultural history, history of
technology, history of economy, media and communication (non-exhaustive
list) are welcome. Although the call is mostly rooted in French history,
international perspectives are very welcome as well.

Proposals should be submitted until October 22nd to
chcnam_cinema@gmail.com <mailto:chcnam_cinema@gmail.com>. Full articles
are expected by January 19th, 2019. The issue is set to be released in
Fall 2019.

Two formats are accepted:

* Long article: 45,000 to 75,000 characters (as a priority)
* Short articles: 25,000 to 45,000 characters (state of the art of a
question, for instance).


Full rationale and practical details are accessible from this
page :

http://technique-societe.cnam.fr/le-cinematographe-pour-l-industrie-et-dans-les-entreprises-1890-1970--1016663.kjsp

/Cahiers d'histoire du Cnam /is an interdisciplinary open access French
online journal (prints are available too). This will be the second
bilingual issue released.
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CfP: International Journal of Performance Arts and Digital Media



The International Journal of Performance Arts & Digital Media (IJPADM)
is welcoming submissions to our next Open Issue.

Please visit our Open Call
<http://explore.tandfonline.com/cfp/ah/rpdm-journal-performance-arts-digital-media>


Combining the disciplines of technology and art, the /International
Journal of Performance Arts and Digital Media/
<https://tandfonline.com/toc/rpdm20/current> welcomes your latest research.

We welcome submissions of scholarly papers on theatre, dance, music,
live art, computer science, or a convergence of these disciplines,
covering topics such as:

* cultural mediatization
* distributed non-linear performance
* virtual/physical bodies
* interactive performative installation
* realtime music performance interfaces
* and more

Your research will encourage debate and cross-disciplinary exchange
across a broad range of approaches and serve as a forum for critical
scholarship, innovative practice, and creative pedagogy.

The journal is open to a range of contributions, such as traditional
research articles, documents relevant to practice-as-research outputs,
interviews with practitioners, and reviews of books and live events.
We’d like to see a diversity of voices being expressed through this
journal, and would particularly welcome practice-as-research and other
unconventional contributions that experiment with content and form,
while maintaining a rigorous enquiry into their disciplinary frameworks.

For detailed instructions on how to submit to the /International Journal
of Performance Arts and Digital Media (IJPADM)/, please visit our Author
Instructions Site.
<https://tandfonline.com/action/authorSubmission?journalCode=rpdm20&page=instructions>

For any questions please do not hesitate to contact me at:
m.chatzi@lsbu.ac.uk <mailto:m.chatzi@lsbu.ac.uk>
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Lecturer/Senior Lecturer: Film & Media Production Craft Skills - Liverpool John Moores



Liverpool John Moores University are looking to recruit a practitioner
with production skills and a research profile to teach in the Film and
Media departments.

Deadline 5th August
https://jobs.ljmu.ac.uk/vacancy/lecturer-or-senior-lecturer-in-film-and-media-production-craft-skills-358844.html

The Liverpool Screen School seeks a highly motivated individual to work
across the Media Production and Film Studies departments, with expertise
and experience in Film / Media production.

You will be an experienced filmmaker / media producer with the skills to
lead and deliver film/media practice and production-based modules. You
will teach; cinematography, lighting, sound and post production.
Experience of film/media making is essential with an emphasis on
storytelling.

The Liverpool Screen School, part of LJMU's Faculty of Arts,
Professional and Social Studies, offers undergraduate programmes in
Creative Writing, Drama, Film Studies, Journalism and Media Production,
together with postgraduate courses in Documentary, International
Journalism, Writing and Screenwriting. The Film Studies and Media
Production departments are expanding and this post holder will work
across both teams to deliver on undergraduate (BA (Hons) Film Studies
and BA (Hons) Media Production) and postgraduate (MA Documentary) courses.

The Screen school is developing its strategic priorities in research,
postgraduate provision internationalisation, public engagement and
enterprise activity. Reporting to the Programme Leader, you will
contribute to these developments, whilst also undertaking teaching and
administrative duties across the Media Production and Film Studies
portfolio. Current areas of industry practice / research interests in
the department include: Television Drama, Factual Entertainment,
Documentary, Interactive media, new approaches to narrative, 360
filming, participatory culture and multiplatform.

Liverpool, the most filmed in city in the UK outside of London, is an
excellent base to make and teach media, with media city in Salford
nearby. The city boasts a vibrant culture and LJMU is proud of its many
connections with local media and arts organisations, including The
Everyman and Playhouse, The Unity Theatre, The Royal Court Theatre, The
Liverpool Philharmonic, The Liverpool Tate, Lime Pictures, Liverpool
Film Office, ITV and the BBC.

Informal enquiries may be made to Sarah Haynes, Head of Media Production
at the Liverpool Screen School on 0151 231 4770, email: s.haynes@ljmu.ac.uk
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CFP: Spectator (Small Media and Everyday Life: Digital Media Beyond Big Data)



Small Media and Everyday Life: Digital Media Beyond Big Data

Volume 38.2 and Fall 2019


Contemporary discussions on digital media and its effects often tend to
focus on “big data” as the primary locus of conversation. Such
discussions tend to range from the uncritical embracement of the
possibilities of big data in areas such as the advertising and
entertainment industries, to doomsday scenarios of surveillance and
privacy risks under the increasing interconnections between corporate
and state structures. This focus on big data structures often tends to
overlook the numerous smaller changes that have taken place in social
and communication practices with the advent of digital media. Such
changes involve the emergence of “smaller” media forms that integrate
themselves into practices of everyday life through routinized usage and
habit. One caveat here: “smaller” media is not a judgment on the scale
of the media, or their structural complexity, but rather serves as a
pointer to the forms of their adoption and adaptations that elude the
“big” sweep of corporate and state structures. While such media may
indeed be produced by corporations and conglomerations, they may be used
in unintended and even subversive ways by their target audiences.

This issue of /Spectator/ dedicates itself to such forms of adaptations,
repurposing and habit that run counter to the utilitarian motivations
behind the production and distribution of media forms. How have digital
media affected our contemporary conversation styles, both online and
offline? In what ways has the integration of network communication
devices in everyday life changed our experience of urban spaces? How
have online shopping portals and apps changed our practices as
consumers? What is the impact of new media on contemporary forms of
religiosity and faith-practices? What changes in film and televisual
media consumption have taken place with the emergence of both legal
streaming options, and underground access through torrent-sites and
illegal streaming? This issue is also interested in works that look
media practices beyond the West, especially those that diverge from
seemingly “normative” uses of media through re-assemblage and tactical
usage. Works that interrogate digital media forms through an integration
of theory and practice are also encouraged.

Deadline for Submission: November 27, 2018
Spectator is a biannual publication and submissions that address the
above topics in the following areas are now invited for submission.
Possible topics include, but need not be limited to:

* Social media, cellphones and conversation style

* Navigation Apps and everyday life in the city

*“Binge watching” and the new spectator/cinephile.

*Dating Apps and digital intimacy

*Sexting, Camsites and digital-smut

*Digital Media and the organization of protests

*Social media and virtual communities

*Habit, routine and the new-media ecology

*Digital Media, Space and Temporality

*Surveillance and self-tracking practices

*Digital technology and health

*Smart technology, domesticity and the “connected home”

Include your contact information:

* Name
* Address
* Phone
* E-mail

Manuscripts to be considered for publication should be sent to:

Anirban K. Baishya, Issue Editor

The Bryan Singer Division of Cinema & Media Studies

School of Cinematic Arts, Room 320

University of Southern California

Los Angeles, CA 90089-2211

Email: baishya@usc.edu <mailto:baishya@usc.edu>

Submissions should be e-mailed directly to the issue editor. Manuscripts
should include the title of the contribution and the name(s) of authors.
As well as the postal address, e-mail address, and phone numbers for
author who will work with the editor on any revisions. All pages should
be numbered consecutively. Contributions should not be more than 5,000
words. Please include a brief abstract for publicity. Authors should
also include a brief biographic entry.

Articles submitted to the Spectator should not be under consideration by
any other journal.

Book Reviews may vary in length from 300 to 1,000 words. Please include
title of book, retail price and ISBN at the beginning of the review.

Forum or Additional Section contributions can include works on new
archival or research facilities or methods as well as other relevant
works related to the field.

*Electronic Submissions and Formatting.* Authors should send copies of
their work via e-mail as electronic attachments. Please keep backup
files. Files should be Microsoft Word in PC or Mac format, depending on
the editor's preference. Endnotes should conform to the Chicago Manual
of Style.

Upon acceptance, a format guideline will be forwarded to all
contributors as to image and text requirements.

*Current Board for Spectator*

**

Founding Editor Marsha Kinder

Managing EditorWilliam Whittington

Issue EditorAnirban K. Baishya

ContributorsTBD

**

*Subscription Information*

Individual issues cost $10.00. Institutional rate for US and Canada is
$30.00 USD. All others $40.00 USD. Please contact the subscription
editor for bulk discounts. To order a subscription, please send *$15.00*
*for the current volume year to:

University of Southern California

School of Cinematic Arts

Cinema & Media Studies

SCA, Room 320

Los Angeles, CA90089-2211

Attn: Spectator Subscription

Tel:(213) 740-3334

Fax:(213) 740-9471

*If you subscribe now, you will receive one back issue free (based on
availability).For additional back issues, contact subscription manager
and include $12.00 per issue.

Email: Spectator@cinema.usc.edu <mailto:Spectator@cinema.usc.edu>

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CFP: Reminiscing/Reinventing Art History Department Graduate Symposium SAIC



Reminiscing/Reinventing
Department of Art History, Theory, and Criticism Graduate Symposium
School of the Art Institute of Chicago
37 S. Wabash Ave., Chicago, IL 60603

Friday, October 26, 2018


Keynote Speaker: Katharina Niemeyer, Professor of Media Theory at the
Media School (École des médias) Faculty of communication, University of
Québec in Montréal (UQAM).
School of the Art Institute of Chicago’s Department of Art History,
Theory, and Criticism invites graduate students and artists to submit
proposals for 15-20-minute presentations for consideration for its
graduate symposium, “Reminiscing/Reinventing”.

This symposium coincides with the exhibition, Recipes for Madeleines, at
SAIC’s SITE Gallery. The exhibition brings together artists of various
disciplines whose works critically engage the relationship between
nostalgia and media. Although nostalgia as a psychological, social and
political phenomenon has existed for centuries, the current emergence of
nostalgic aesthetics starts to constitute nostalgia as a contemporary
condition, a side-effect of technological advancement and political
uneasiness.
This symposium therefore serves as an occasion to open up a discussion
around our contemporary experiences of remembering, the aesthetics of
which is heavily mediated by the technological apparatus that record and
manifest the past. Russian-American critic, media artist and novelist
Svetlana Boym sees nostalgia as a kind of “defense mechanism in a time
of accelerated rhythms of life and historical upheavals,” a process of
working through and coping with the irreconcilable ideal and reality. We
hope to use the opportunity of this symposium to reflect upon the role
of media not only as platforms for reimagining the past, but also as
ways of working through history for the present. 
Possible Topics Include:

- Media and nostalgia
- The philosophy of memory and remembrance
- Restorative and reflective nostalgias in mediated experiences
- Analog vs. digital
- Archives and (re)collections
- Media archeology
- Television, live news, and broadcast - Emerging and obsolete
technologies - Retro gameplay (e.g. video game console emulator)
- The sense of loss due to displacement, diaspora, and immigration
- The revival of vintage aesthetics and styles (in visual cultures,
fashion, and music)
- Performance and its documentation and reenactment
- Palimpsest, layers, etc.
- Conservation vs. restoration - Preservation of time-based and
web-based art

We seek proposals for traditional academic papers, performance lectures,
or presentations in other experimental formats. Artists whose practices
critically engage new and old media are especially encouraged to apply.
We welcome proposals from various fields, including media studies, film
studies, art history, cultural studies, performance studies, etc.
Experimental and interdisciplinary essays will be warmly considered.

Please submit all proposal materials and any questions to
reminiscing.reinventing2018@gmail.com by August 15, 2018. Applicants
will be notified by August 31, 2018.

Please include the required proposal materials in a single PDF document:
1) Full name, contact information, and institutional affiliation
2) An abstract (or artwork description) of 300 words
3) A short bio of 250 words
4) A curriculum vitae
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CFP: Audiences, Cultures, Histories


Call for papers: /Participations/, Special Section on Audiences,
Cultures, Histories

/Participations/is the pre-eminent peer-reviewed journal dedicated to
audience studies, including all forms of audiencing. It is published
on-line, two issues a year. Each issue includes one or more Themed
Sections focused on a particular topic, and edited by a special editor.
This is a call for papers for a section on Audiences, Cultures,
Histories. The purpose of this themed section is to explore histories of
audiencing, and hopefully reveal something new about the conjunctions of
audiences, cultures and histories.

We are happy to receive a wide range of contributions related to essays
on audience and reception researches. We welcome all kinds of standard
essays (empirical, critical, conceptual and theoretical), as well as
translations or important ‘lost’ or unavailable pieces of work
(providing the author resolves any rights issues). In the interest of
revealing new approaches, we welcome _any and all_ submissions
consistent with the section title.

Topically the section is open to a wide range of proposals. This
includes any situation in which a group of people act as audiences,
short of everyday social interaction. It includes any times from ancient
history to quite recent history, including digital media, and any places
around the world from hunter-gatherers to nation-states. It may also
include histories of discourse about audiences from moral panics to
implied audiences in marketing and government policies.

In addition, proposals may be comparative, e.g. between histories of
different media, or between countries or cultures. Historiographic
submissions may address past progress or limitations and propose new
directions, frameworks, approaches, methods, topics). Critical or
conceptual work in either a history or a historiography, for example,
might explore where and how to draw the topical line between audiencing
and social interaction more generally.

Submit proposals between 300 to 500 words by email to Richard Butsch,
Professor Emeritus, Rider University, butsch@rider.edu
<mailto:butsch@rider.edu>. The email should introduce yourself, describe
your qualifications to produce the proposed paper and your current stage
in this project, with an abbreviated /curriculum vitae/ and the abstract
as attachments. _If you are uncertain_ whether your topic fits the
section, before you submit a proposal, you may email me at
butsch@rider.edu <mailto:butsch@rider.edu>.

After your proposal is accepted, you should anticipate that you will
have four months to prepare and submit your paper. Within six weeks of
its submission, you will receive a decision and any recommendations for
revision. The paper in its final form will be resubmitted in two months,
which will be reviewed and confirmation given within a month. The time
of actual publication will depend upon the time necessary to accumulate
sufficient proposals and paper of satisfactory quality.
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Calls for Proposals: The Oxford Handbook of Children's Film

Edited by Noel Brown (Liverpool Hope University, UK)

Deadlines
• Abstracts (400 words): 31 July 2018
• First Drafts (8,000 to 10,000 words): 31 May 2019

I am seeking proposals for chapters for possible inclusion in the
forthcoming Oxford Handbook of Children’s Film, under contract with
Oxford University Press. Oxford Handbooks are intended to offer
authoritative and up-to-date surveys of original research in a
particular subject area, with essays giving critical examinations of the
progress and direction of debates, as well as a foundation for future
research.

In recent years, the study of films for children has emerged as a
vibrant and diverse field of critical enquiry. This volume in the Oxford
Handbook series will reflect both the plurality of the format and the
methodological diversity evident in current and recent scholarship, and
serve as an authoritative introduction to children’s film. It will
address themes, issues and topics from across the international history
of children’s cinema from the early twentieth century to the present,
aiming to reveal larger patterns, continuities and changes in the form,
and reflect the ways in which children’s film content and reception have
been shaped by major socio-historical events.

The Handbook will be interdisciplinary in scope and I am open to
contributions from across a range of theoretical or methodological
approaches, including film studies, children’s literary and cultural
studies, children’s education, cultural history, and animation studies.
Although I envisage that many of the chapters will focus on
feature-length fiction films, I am receptive to proposals that seek to
examine shorts and non-fiction films.

Possible topics might include (but are not limited to):

• The genre and form of children’s film
• Historical changes and continuities
• Early traditions of children’s cinema
• The relationship between children’s cinema and the state
• Children’s propaganda films
• Children’s film and national identity
• Children’s film programming
• The boundaries of children’s cinema
• Performance and stardom
• Racial/sexual politics
• Fandom and/or paratexts
• Children’s film and transmedia
• Family audiences
• Adaptation
• The reception of children’s film among young people
• Adults’ relationships with children’s film

Please send abstracts of 300–400 words, and a biography of 50–80 words,
to Noel Brown at brownn@hope.ac.uk by 31 July 2018. Please give the
subject header as ‘Oxford Handbook proposal’. Notifications of
acceptance will be sent no later than 31 August 2018. Chapters of 8,000
to 10,000 words will be due by 31 May 2019.
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História da Cultura em Portugal no século XX: Industrialização, massificação, mediações
O Instituto de História Contemporânea (NOVA FCSH), organiza, em Fevereiro de 2019, um Congresso sobre História da Cultura em Portugal no Século XX, aberto à apresentação de comunicações nos temas representados pelos painéis e tópicos sugeridos na proposta de programa, visando recensear recentes pesquisas e estimular a abertura do campo a novas áreas de investigação.

Os painéis temáticos e os tópicos orientadores sugeridos, sem esgotar a amplitude de áreas de abordagem deste Congresso, dão todavia conta do enquadramento interdisciplinar que deve nortear a compreensão da cultura e da sociedade de massas, no pressuposto, antes de mais, de que a história cultural se inscreve no quadro social; e de que, por isso, se aclara no contexto geral de transformações económicas, tecnológicas, políticas e ideológicas precisas.

Desta forma, o Congresso constitui igualmente uma oportunidade para repensar o papel da cultura ao longo do século XX, e em particular a viragem cultural nas ciências sociais e humanas no último meio século, através de três cortes transversais que procuram romper com as hierarquias tradicionais do campo cultural: entre cultura portuguesa e cultura em Portugal, levando em consideração todos os objectos culturais em circulação na sociedade portuguesa, tanto nacionais como estrangeiros; entre cultura popular e cultura erudita, convidando abordagens aos pontos de contacto e cruzamento, bem como à formação de culturas híbridas; entre produção e consumo, abrindo decididamente a história cultural à criatividade dos públicos e ao momentos de recepção.

A contribuição do congresso desdobra-se em dois aspetos gerais que lhe conferem um caráter duplamente unificador: 1 − reunir trabalhos recentes, autónomos e inovadores em áreas disciplinares de pesquisa no domínio dos objetos culturais, dos seus agentes e dos públicos, discursos e seus imaginários, meios e lugares de sociabilidade; 2 − criar na sua transversalidade uma perspetiva de conjunto como horizonte epistemológico que lhes confere nexo, em torno de uma problemática contemporânea de central importância para a compreensão de fenómenos como a Cultura de Massas, a Cultura Popular e as Indústrias Culturais.

Comissão científica:
Ana Teresa Peixinho (CEIS20 – Universidade de Coimbra)
Carla Baptista (CIC.Digital – NOVA FCSH)
Daniel Melo (CHAM – Centro de Humanidades; NOVA FCSH)
Joana Cunha Leal (IHA – NOVA FCSH)
Luís Augusto Costa Dias (IHC – NOVA FCSH)
Luís Trindade (IHC – NOVA FCSH)
Manuel Deniz-Silva (INET-md – NOVA FCSH)
Irene Vaquinhas (CHSC – Universidade de Coimbra)

Comissão organizadora:
Luís Augusto Costa Dias (IHC – NOVA FCSH)
Luís Trindade (IHC – NOVA FCSH)

Linhas temáticas para a chamada de comunicações:
PAINEL 1
CULTURA NA CIDADE
− Mobilidades demográficas e progressos urbanos
− Meios sociais e socioprofissionais
− Cenário urbano e cenário de espetáculo
− Vivências culturais e espaços mundanos

PAINEL 2
APRENDIZAGENS, CRIAÇÃO E SABERES
− Escolarização, autodidatismo, literacia
− Intelectuais e funções intelectuais
− Artes, letras, saberes e massificação
− Da mulher leitora à «mulher de letras»

PAINEL 3
OS PAPÉIS E OS SEUS AGENTES
− Os impressos e os seus agentes
− O jornal e o jornalismo modernos
− Livros, editores, coleções
− Papéis e publicidade: dos cartazes aos mupis

PAINEL 4
A CIRCULAÇÃO DE IMAGENS E SONS
– As imagens em movimento e a música gravada
– Histórias da rádio e da televisão
– Apropriações das imagens e dos sons
– A industrialização da cultura

PAINEL 5
PERFORMANCE E O CORPO
– As artes do espectáculo
– Histórias da dança e da performance
– Cultura e sexualidade: emancipação e submissão do corpo
– Culturas juvenis

PAINEL 5
REPENSAR A QUESTÃO NACIONAL
– O povo e a cultura de massa
– Crítica(s) do(s) Cânone(s)
– Americanização, europeização e globalização
– Imperialismo, colonialismo e o pós-colonial

Normas de submissão de comunicações e entrega de textos:
Até dia 31 de Julho, envio para o seguinte email culturaportugal@fcsh.unl.pt de:
a. Resumo com um máximo de 500 palavras & Abstract;
b. Cinco palavras-chave;
c. Título em Português e Inglês;
d. Línguas de trabalho: português, inglês, francês e espanhol
e. Resumo do CV do(s) autor(es);
f. Filiação institucional e email de contacto do(s) autor(es).

Dia 31 de Outubro: comunicação da aceitação da comunicação.
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CfP: Edited Collection on 'Video Games and Italy'



Please find below a CfP in Italian and English for a forthcoming volume
in Italian.


----------------------------------------------------------------------------

[ITALIAN]

Volume di studi su ‘Il videogioco in Italia’

A cura di Marco Benoît Carbone e Riccardo Fassone

Storicamente mercato di consumo e importazione più che di produzione e
esportazione di videogiochi e media digitali, l’Italia ha espresso una
storia del videogioco caratterizzata da alterne vicende produttive.

Caratterizzato da tensioni tra un carattere globale/transnazionale della
produzione e del consumo del medium e una dimensione locale variamente
implicata in dinamiche di importazione, esportazione e localizzazione di
maestranze e soluzioni tecnologiche e di design, il contesto italiano è
caratterizzato da un arcipelago complesso e spesso frammentario di
professionalità, pubblici e commentatori, nonché di realtà industriali,
istituzionali e di ricerca e sviluppo.

Con questo CfP si invitano studiose e ricercatori a inviare proposte per
un volume di studi dal taglio multidisciplinare sulla produzione e il
consumo dei videogiochi in Italia, la sua storia e ricezione pubblica e
le rappresentazioni del nostro paese in questo medium.


Il volume di studio sarà pubblicato da un autorevole editore italiano
con il sostegno di importanti istituzioni e vi hanno già aderito
affermati ricercatori di vari ambiti disciplinari.

Il presente CfP si prefigge di incoraggiare e valutare ulteriori
proposte in grado di estendere ed arricchire la dimensione storica e di
ricerca empirica e teorica del volume, moltiplicare le prospettive
disciplinari (dall’economia alla sociologia, dalla storia dei media a
quella dello spettacolo e dello sport, dall’analisi visuale e culturale
agli studi culturali e di genere) e diversificare le voci interessate al
dibattito sul videogioco in Italia.


Siamo particolarmente interessati a contributi sulle seguenti aree di
ricerca, applicate a un contesto storico che va dalle origini del medium
al presente:


–– Aspetti relativi alla produzione dei videogiochi in Italia dal punto
di vista industriale e economico, attraverso i quali inquadrare il
consumo del medium in dinamiche transnazionali più ampie in precisi
momenti storici;

–– Aspetti tecnici, tecnologici e artistico-creativi relativi alla
produzione dei giochi in Italia, in particolare dal punto di vista del
rapporto tra piattaforme di sviluppo e la formulazione dei prodotti in
diversi contesti temporali e geografici e nel rapporto con pratiche
artistiche e altri media e ambiti creativi;


–– Aspetti di circolazione transnazionale del videogioco tra l’Italia e
altri paesi in Europa e nel mondo, con particolare interesse per
dinamiche di professionalizzazione, produzione e consumo e politiche di
promozione, importazione e localizzazione;

––Aspetti di rappresentazione, produzione, consumo e ricezione dei
generi e delle identità sessuali (con particolare interesse per parità
di diritti nelle industrie, femminismo e temi LGBTQIA) e etniche;


––Aspetti di rappresentazione relativi alla 'italianità' e al patrimonio
artistico, storico e paesaggistico dell’Italia nei videogiochi prodotti
e recepiti nel contesto nazionale e extra-nazionale.

Le proposte accettate completeranno un volume di sicuro interesse per
l’area in espansione e affermazione degli studi sul gioco in Italia in
diversi settori accademici e di dibattito pubblico sul mezzo nel nostro
paese.


Il volume sarà pubblicato da Mimesis e patrocinato da AESVI
(Associazione Editori Sviluppatori Videogiochi Italiani) e sarà
distribuito nella prima metà del 2019.


Le proposte saranno ricevute sotto forma di abstract di 500/1000 parole
(esclusa bibliografia e nota bio-bibliografica della/e autrice/i) o di
paper completi.


Si prega di inviare le proposte congiuntamente a:

Marco B. Carbone – uclccar@ucl.ac.uk <mailto:uclccar@ucl.ac.uk>

Riccardo Fassone – riccardo.fassone@unito.it
<mailto:riccardo.fassone@unito.it>


Data di scadenza per l’invio delle proposte: 25 luglio 2018.
Data di consegna dei paper finali: Ottobre 2018.

------------------------------------------------------------------------------------------------

[ENGLISH]


Call for Papers

Edited volume (Italian) – “Il videogioco in Italia” (‘Video games and
Italy’)

Edited by Marco Benoît Carbone and Riccardo Fassone


Italy's role in the global economy of video games has historically been
that of a secondary market, where distribution and import mattered more
than production and export. The presence of video games in Italy has
been characterised by tensions between the global/transnational
trajectories of production and consumption and the specificity of local
dynamics of the market, and it can be read as a complex and often
contradictory series of relations between professionals, consumers,
audiences, critics, and companies involved in production, distribution,
support, research, localisation, and development.


With this call for papers, we are encouraging Italian and international
scholars and researchers to contribute to an edited volume on video
games and Italy informed by a multidisciplinary approach. The edited
collection will be devoted to the study of the production and
consumption, history, and reception of video games in Italy, as well as
the representations of this country in games.


The volume is under contract with Italian publisher Mimesis and is
supported by AESVI, Italy's association of video game developers and
publishers. A number of accomplished scholars have already agreed to
participate with a chapter. However, we are interested in broadening the
scope and inclusivity of the volume and possibly opening to
underrepresented voices in Italian academia.


This CFP aims to encourage proposals with a potential to enrich the
historical, empirical, and theoretical scope of the book, expanding its
disciplinary reach with contributions in fields ranging from economics
to sociology, from media history to the history of sports, and from
visual and cultural analysis to gender and cultural studies. We are
particularly interested in submissions that tackle the following areas,
within a broad historical scope:


–– The production of video games in Italy from an industrial and
economic standpoint, especially in relation to wider transnational
dynamics in specific historical contexts and other national markets;

––Technical, technological, and artistic/creative aspects of video game
production in Italy, particularly in regards to the relation between
technical platforms (game engines, middleware) and local/supra-local
video game development;

––The transnational distribution of Italian video games outside Italy,
with a specific interest in processes of professionalisation,
production, consumptions, and strategies of promotion, import, and
localisation.

––The representations, production, consumption, and reception of genders
and sexual identities, especially in regards to fair treatment within
the industry, feminism, and LGBTQIA issues, and ethnicities, especially
concerning to the notion of “Italianness” in video games.

––The representation of Italy's artistic, historical, and natural
heritage, and the country's purported national identity in video games
produced in Italy and abroad.

Accepted proposals will be included in a book that will contribute to
the lively debate on Italian video games within academia and public
discourses.


Proposals will be in the form of 500/1000 words abstracts (excluding
references and author's bio). We will accept proposals in English and
Italian. The final volume will be published in Italian.

Please send your proposal to:


Marco B. Carbone – uclccar@ucl.ac.uk <mailto:uclccar@ucl.ac.uk>

Riccardo Fassone – riccardo.fassone@unito.it
<mailto:riccardo.fassone@unito.it>


Deadline for proposals: July 25, 2018
Deadline for papers: October 2018
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CFP for Cine-Excess XII: I Know What You Starred in Last Summer: Global Perspectives on Cult Performance


The 12th International Conference and Festival on Global Cult Film Traditions
Birmingham City University Presents:

Cine Excess XII
I Know What You Starred in Last Summer: Global Perspectives on Cult
Performance 8th-10th November 2018
Birmingham City University (and related screening venues) 

Confirmed 
Guests of Honour:
Victoria Price (Author of Vincent Price: A Daughter’s Biography)
-Victoria Price will be receiving a posthumous Cine-Excess Lifetime
Achievement Award on behalf of her late father on the 50th anniversary
of Witchfinder General Pete Walker (Director of Frightmare and House
of the Long Shadows)
-Pete Walker will be receiving a Cine-Excess Lifetime Achievement Award
for his contribution to the development of British cult cinema traditions

Over the last 12 years, the Cine-Excess International Film Conference
and Festival has brought together leading scholars with global cult
filmmakers and industry figures for an annual event that combines a
themed academic conference with director interviews and UK theatrical
premieres of upcoming film releases. Previous guests of honour
attending Cine-Excess have included Catherine Breillat (Romance, Sex is
Comedy), John Landis (An American Werewolf in London, The Blues
Brothers), Roger Corman (The Masque of the Red Death, The Wild Angels),
Stuart Gordon (Re-Animator, King of the Ants), Brian Yuzna (Society, The
Dentist), Dario Argento (Deep Red, Suspiria) Joe Dante (The Howling,
Gremlins), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave
(Blow Up, The Devils), Ruggero Deodato (Cannibal Holocaust, House on the
Edge of the Park) Enzo G. Castellari (Keoma, The Inglorious Bast***s),
Sergio Martino (Torso, All the Colours of the Dark), Jeff Lieberman
(Squirm, Blue Sunshine) and Pat Mills (Action Magazine, 2000 AD).

Cine-Excess XII is hosted by Birmingham City University and will
feature a three day academic conference alongside visiting international
filmmakers and a season of related UK premieres and retrospectives
taking place at screening venues across the region. For its 12th annual
edition, Cine Excess focuses on global traditions of cult performance,
as exercised through a wide range of international case-studies and
methodological approaches. By exploring established and new approaches
to cult film performativity, the conference will consider how renditions
of bodily display are mediated through a wide range of film genres. 

These examinations will include how Hong Kong martial arts formats
become embodied through the performances of their male and female stars,
as well as contemplating how iconic enactments, such as that of Boris
Karloff in James Whale’s Frankenstein (1931) have reverberated
intertextually since their inception. In addition to exploring the
importance of gendered performance in the production and reception of
disreputable film genres, other areas of conference analysis will
consider how cult performers such as Gary Oldman nuance their roles
through looks, expressions and gestures, or how performing cult bodies
are rendered compelling in the way that they disappear, only to return
endlessly (such as Michael Myers’ vanishing at the end of Halloween). 

The conference will also take account of the importance of collaboration
between cult directors and iconic stars, dissecting the off-kilter
performances, deviant personalities and anomalous bodies found in the
works of directors that range from David Lynch to Lars von Trier. In
addition, Cine-Excess XII will also seek to analyse the status and
reception of cult stars across differing global territories, as well as
assessing how stardom can either be dismantled or confirmed through
B-movie participation. Also central to certain forms of cult appeal, and
compounding physical presence, is the performer’s voice, extending from
the lyrical mellifluous tones of Morgan Freeman to the disquieting,
sinister and uniquely compelling voice of Vincent Price. In this vein,
we are pleased to welcome author Victoria Price, who will be accepting a
posthumous Cine-Excess Lifetime Achievement in recognition of her late
father’s career, and to coincide with the 50th anniversary of his
influential performance in the 1968 classic Witchfinder General. Also
appearing as a guest with Victoria Price will be the legendary British
horror director Pete Walker, who not only directed Vincent Price in the
1983 film House of the Long Shadows, but was also responsible for a
range of prominent and controversial British shockers that included The
Flesh and Blood Show (1972), Frightmare (1974) and House of Whipcord
(1974). 

In order to explore the central conference themes further,
Cine-Excess XII will examine the importance of cult performativity
across a wide range of genres, formats, national traditions and modes of
critical interpretation. Proposals are now invited for papers that
assess the centrality of the cult performer within these differing
contexts. However, we would particularly welcome contributions focusing
on the following areas:

· Theatres of Blood: Vincent Price In and Out of Cult
· The Flesh and Blood Show: Perverse Performances in the Films
of Pete Walker · Folk Females: Gendered Performances of
Witchcraft and the Supernatural
· 1968 and the Cult Image: Cinematic Performances in an Age of
Revolution
· Screen Queens: Classic and Contemporary Cult Female Icons ·
Witchfinder General at 50: Bleak Images of Vincent Price’s Star
Persona · Actor, Auteur, Icon: Cult Stars as Directors
· Cult Pairings: Filmmaker and Star Collaborations at Cinema’s
Margins · Divas and Dark Avengers: Critical Reinterpretations of
Eurotrash Performers · Queer Scenes: LGBT Interpretations of
Celebrated Performers · The Men and Women From Hong Kong: Asian
Action Stars in Social Context
· Lost and Found Fan Objects: New Audience Studies Perspectives
on Global Cult Icons
· Creativity Masked: Cult Performance Behind Make-Up · On the B
List: Mainstream Stars Reborn Through Bad Movie Appearances
· Bigger Than Bond: Cult Renditions of the Superspy · Weird
World Icons: The Transnational Appeal of Global Cult Performers
· Immortal Icons: Ageing Performers, Dead Stars and their
Enduring Cult Appeal
· Big in Japan: Cult Performers Incorporated into Other National
Traditions · Small Segment Scares: New Perspectives on the
Portmanteau Performance · Cult Stardom Perspectives: New
Methodological Approaches to Cult Film Symbols · Illicit Stars:
Historical and Contemporary Erotic Film Icons Reappraised · Trashing the
Screen Test: Cult Performativity within the Vendetta Film Cycle
Please send a 300-word abstract and a short (one page) C.V. by Friday
7th September 2018 to:
Professor Xavier Mendik
Birmingham City University
xavier.mendik@bcu.ac.uk Dr Fran Pheasant-Kelly
University of Wolverhampton
F.E.Pheasant-kelly@wlv.ac.uk 

A final listing of accepted  presentations will be released on Monday 17th September 2018. 
 Delegate fees for Cine-Excess XII are £100/£60 (concessions). This includes
entrance to the conference, related Cine-Excess screenings and industry
panels. A selection of conference papers from the event are scheduled
to be published in the Cine-Excess e-Journal. For further information
and regular updates on the event (including information on guests,
keynotes and screenings) please visit www.cine-excess.co.uk

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CFP edited collection - ReFocus: The Films of Rachid Bouchareb


ReFocus: The Films of Rachid Bouchareb

Rachid Bouchareb was born in Paris in 1953 to Algerian parents and
became one of France’s first French filmmakers of North African descent.
While his career now spans over thirty years and his diverse films have
garnered both mainstream and critical success, including three Oscar
nominations, there exists no book-length study (in French or English) on
Bouchareb’s body of work. The director’s films are remarkably varied in
their themes, formal elements, and narrative settings, from Senegal,
England, Vietnam, and Algeria, to France, Belgium, Turkey, and the
United States. While diverse in many ways, Bouchareb’s films are also
linked by certain key concerns: the mixing of cultures, engagement with
contemporary political issues and debates, immigration, and identity,
among others. The director achieved national and international
recognition for Indigènes/Days of Glory (2006) and Hors-la-loi/Outside
the Law (2010), which both examine France’s colonial ties to North
Africa, yet Bouchareb’s cinematic corpus extends well beyond this
framework, and the full range of it has not been considered at length.
In addition, Bouchareb’s work as a producer is an important yet often
overlooked part of his career that merits critical attention.


We invite abstracts (~300 words) for essays on the work and career of
Rachid Bouchareb to be published as part of an edited volume in the
Edinburgh University Press ReFocus series (series editors are Robert
Singer, Ph.D. and Gary D. Rhodes, Ph.D.). The volume seeks to highlight
connections between Bouchareb’s films, with a special emphasis on his
lesser-known and understudied films (such as his shorts and
made-for-television films), to explore key influences on his output,
consider theoretical approaches to his work, and shed new light on
well-known films like Indigènes and Hors-la-loi.

Topics may include, but are not limited to, the following:

-Cinematic aesthetics and influences, including genres (road movies,
film noir, spaghetti westerns, war films, gangster movies) and the work
of other directors (such as Martin Scorsese and Sergio Leone)
-Interest in the United States: American landscapes, spaces, and
cultures; American cinema
-Mapping Bouchareb: theoretical approaches and critical frameworks
-Transcultural/cross-cultural elements (American/African American
cultures, others)
-Women and gender dynamics and/or female centered films
-Political engagement (in his films and with regard to his career more
broadly)
-Use of space(s): cities/urban spaces, francophone and other spaces
-Water in Bouchareb’s work
-Use of the same actors/actresses in different films; relationship with
his actors (such as Jamel Debbouze, Sami Bouajila, Roschdy Zem);
collaborations with co-writers and co-producers (Jean Bréhat)
-Work as a producer (feature films, television)
-Projects outside of feature films and téléfilms, such as his
collaborations with historian Pascal Blanchard (Frères d’armes – 50
short films made to be diffused on television)
-Your Suggested Topic/Area of Interest

Essays that focus on films other than Indigènes and Hors-la-loi are
particularly welcome.

Essays included in this refereed volume will be approximately 7,000
words referenced in Chicago endnote style.
The deadline for abstracts (~300 words) is September 1.

Please send abstracts and a short bio as a single attachment to both volume editors,
Leslie Kealhofer-Kemp and Michael Gott: lkealhofer@uri.edu and
gottml@ucmail.uc.edu. The essays would be due by May 1, 2019.

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CFP: Media Fields Journal #14: At the Edge




At the Edge Media Fields Journal University of California, Santa Barbara 

Submission Deadline: September 28, 2018

While researching the Hells Angels in the 1960s, Hunter S. Thompson
wrote “The edge…there is no honest way to explain it because the only
people who know where it is are the ones who have gone over.” Conceiving
of the edge as both a site of orientation and a sharp drop-off, Thompson
gestures towards its dual denotations: as “the line where an object
begins or ends” and “the cutting side of a blade.” Thus, the edge can
act both as a form of speculative orientation that provides boundaries
or points of entry, and as a threshold that offers the possibility of
“going over.”

As contemporary media scholarship continues to think through the
proliferation of internet and screen cultures, their edges remain
crucial to a comprehensive understanding. Scholars such as Adrian
Mackenzie, Lisa Parks, and Mel Hogan have explored media technologies at
or beyond their edges, asking how edge environments or experiences might
alter their ‘typical’ use. Edward S. Casey writes that edges supply “a
species of boundaries, that is, porous edges that take in as well as
give out—in contrast to borders, which act to delimit institutions and
concrete practices in the life-world.” Casey’s provocation suggests that
studying media at the fringes or peripheries of society necessitates a
discussion of the edges that construct their marginality. Additionally,
edges establish relationalities between entities through their capacity
to connect the nodes of distributed networks and complex systems. In
this way, exploring media technologies and practices ‘at the edge’ can
help locate imagined horizons and connections that inform the boundaries
of identity, community, and globality.

Explicit academic engagement with the edge has thus far been situated in
sociology, wherein ‘edgework’ came to be known as the study of
risk-taking within recreational contexts. Stephen Lyng describes in the
introduction to Edgework how leisure practices centered around risk are
paradoxically treated as a form of individuality and resistance to a
neoliberal society that itself demands economic and social precarity
more and more often. Despite this paradox (or perhaps because of it),
both individual and systemic risk—living on the edge—can be viewed as a
means of exploring broad cultural spaces and their boundaries, such as
those between safety and precarity, inclusion and exclusion, and life
and death.

The edge as a heuristic thus brings together scholarly work on
mediatized practices and spaces by examining exactly how their
boundaries actively (re)imagine and (de)construct the dimensions of
their existence. In consideration of the utility of the edge to rethink
conceptualizations of spaces and boundaries, this issue of Media Fields
Journal explores what happens ‘at the edge.’ We invite consideration of
sites, works, practices, and systems via the constitution of the edge
and its role as a permeable, although perhaps invisible, entity. We
welcome work that attempts to locate edges, and/or engages with the
(potentially traumatic) experience of having ‘gone over.’ We further
welcome attention to the sociological methodology of ‘edgework’ and how
it might productively extend to media studies, perhaps involving
industry norms of precarity and the never-ending quest for production on
‘the cutting edge.’

Dimensions of media ‘at the edge’ might include (but are not limited
to): 
 • Cinematic/Televisual Concerns: Elimination of the visual/sonic
edge via wider screens, surround sound, 3-D enhancement, etc.;
consumption of the image in edge spaces; representations of ‘going over
the edge.’ 
• Computational Concerns: Edges and nodes; edges as active
and mediating sites; the edges of interfaces or platforms such as the
Samsung Galaxy Edge or Microsoft Edge; imagined digital spaces and
boundaries. 
• Environmental Concerns: Edges of communities, societies,
and/or shared identities; mediating territorial edges; ecological
impacts of edgeless or wireless media; media in edge environments such
as data centers, server farms, media waste, etc.; edges of technological
reach and possibility. 
• Experiential Concerns: Immersive media: virtual
reality, augmented reality, and the quest for ‘edgelessness;’
risk-taking individuals and practices as a cultural tradition or
rebellion; technologies that mediate risk experiences; sexual practices
of ‘edging.’ 
• Industrial Concerns: Precarity of media labor and
innovation practices; economic motivations to produce on ‘the cutting
edge;’ speculative horizons of media.

For any inquiries, please contact issue co-editors Jeremy Moore
(jmoore@umail.ucsb.edu) and Nicole Strobel (nstrobel@umail.ucsb.edu).
Email submissions to submissions@mediafieldsjournal.org 
For more information and submission guidelines, please visit
http://www.mediafieldsjournal.org

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CFP: NEW APPROACHES TO SILENT FILM HISTORIOGRAPHY: TECHNOLOGY, SPECTATORSHIP AND THE ARCHIVE
NEW APPROACHES TO SILENT FILM HISTORIOGRAPHY: TECHNOLOGY,
SPECTATORSHIP AND THE ARCHIVE

University of Leeds (UK)


18th - 19^th September 2018


Keynote Speakers:

Dr Lawrence Napper_(King’s College London). 

Title: History, lies and the digital archive.
Kieron Webb (British Film Institute).
Title: The Open Road to the Pleasure Garden: silent film restoration in the digital intermediate age

Abstract

In the years following the death of silent cinema and the rise of the
talkies in the early 1930s, there was a supreme lack of interest in
silent film preservation and restoration. Due largely to this lack of
care and, in many cases, deliberate destruction of silent films, the
Library of Congress estimates that about 75% of all silent films are now
lost forever. Many of the silent films that managed to survive in
archives and private collections are incomplete or suffered significant
damage and decay. During the 1980s, owing largely to the launch and
success of home cinema and the establishment of silent film forums and
events (e.g. Pordenone Silent Film Festival), a renewed interest in
silent film developed. More recently, high quality digital restoration
technology has given archives and independent silent film restorers new
opportunities to compensate for substantial filmic losses. In addition
to this, HD home media silent film releases, and internet platforms such
as YouTube, have made numerous silent films readily available to the
public. Although these current developments have arguably improved the
aesthetic qualities of many silent films and made them far more
accessible to the public, they have also raised controversial questions
surrounding the safeguarding of the filmmakers’ artistic intent, the
contextualisation and historical reliability of film experiences, and
the sustainability of digital preservation, amongst other issues. This
conference will analyse the impact of recent technological and
institutional developments on the study, experience, and restoration of
silent films and discuss sustainable ways forward.

Potential topics could include, but are not limited to:

* New narrative or technical analyses of specific silent film
restorations (case studies)
* Silent film restoration ethics (e.g. preserving silent filmmakers’
artistic intent)
* Digitisation, curatorship and reliability of historical evidence
* Silent film experiences, digital archive accessibility and film
scholarship
* Silent cinema journalistic writing (past and/or present)
* Theatrical presentation and distribution of silent cinema (past
and/or present)
* Home cinema, the internet and silent cinema audiences
* Silent film and sustainable analogue and digital preservation
* Silent film copyright
*

_Submission Requirements_

*
*

Send 200-300 word abstracts with three key words on topics related to
the conference’s focus to*silentfilmhist@gmail.com*


We welcome abstract submissions from postgraduate researchers, film
scholars, film preservationists, and curators.

*
*

Deadline for Submission: 10th August 2018


Contact Person/Email: Laurence Carr/silentfilmhist@gmail.com
<mailto:Carr/silentfilmhist@gmail.com>


BOOK ANNOUNCEMENT: We are delighted to announce that we plan to
publish a selection of the best papers in an edited collection and are
currently seeking a publisher. Please submit an abstract for the
conference if you would like to be considered for both the event and the
edited collection.

FREE TO ATTEND


SMALL PGR TRAVEL BURSARIES AVAILABLE (LIMITED NUMBER)

Useful Links:

* Our 2018 silent film conference website:
https://silentfilmhist2018.wordpress.com
<https://silentfilmhist2018.wordpress.com/>

* The 2017 Audiovisual Heritage Meeting website, containing the names
and project titles of all speakers:

http://media.leeds.ac.uk/events/audiovisual-heritage-and-academic-research-at-the-university-of-leeds/__


_The event is a collaboration between the University of Leeds’ School of
Languages, Cultures, and Societies, the Universities of York and
Sheffield, and the Audiovisual Heritage Meeting. The conference is
generously funded by the Arts & Humanities Research Council and White
Rose College of the Arts & Humanities._

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CFP: 21th Century's New Dystopian Imaginary. From George Orwell to Black Mirror. From Big Brother to Big Data.





21th Century’s New Dystopian Imaginary. From George Orwell to Black
Mirror. From Big Brother to Big Data.

The Scientific Committee has decided to expand the deadline: Abstracts
and synopses must be submitted - both in English and in the original
language of the selected works, until July, 20, at 6:00 p.m., to the
email pddemocracy2018@labcom.ubi.pt
<mailto:pddemocracy2018@labcom.ubi.pt>. Author's acceptance notification
will be announced by the end of July. Non-selected proposals will not
receive any notification. Further thrilling and dystopian details here:
http://labcom-ifp.ubi.pt/files/pddemocracy/en.php


<https://www.facebook.com/photo.php?fbid=10214447672599870&set=a.1670942207668.2091269.1060744443&type=3>
A Comissão Científica decidiu prorrogar o prazo: os sumários, sinopses e
descrições dos trabalhos candidatos devem ser apresentados tanto em
Inglês como na língua original em que forem submetidas as propostas, até
às 18 horas do dia 20 de Julho, para o email
pddemocracy2018@labcom.ubi.pt <mailto:pddemocracy2018@labcom.ubi.pt>.
Após o processo de revisão cega por pares, serão seleccionados 45
comunicações e trabalhos a distribuir equitativamente por cada uma das
sessões temáticas da conferência. Os autores com comunicação aceite
serão notificados até ao final de Julho.
Saber mais,muito mais aqui:http://labcom-ifp.ubi.pt/files/pddemocracy/
<https://l.facebook.com/l.php?u=http%3A%2F%2Flabcom-ifp.ubi.pt%2Ffiles%2Fpddemocracy%2F&h=AT2i17u24vHnShLBcaPop87kuE0-qAryguMmis8GrUlnRNaPT7WNCLwXzY_n0YGk6tRLnGi4u4KlUOMmljxyuGfs4gfbHj4SHcaIawPLnMOcwz98OzC3_ejuWlM590vLFO_E95EI-M6cix377F0elvSHJxmb5eNrYA>
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CFP: Edited Collection: Starring Tom Cruise


Tom Cruise is one of the most successful Hollywood film stars of the
last 35 years, with a cumulative worldwide box office of nearly $8
billion dollars. His star image moves across genres and forms, is
product and franchise, and is also connected to ‘serious’ cinema through
his work with auteurs. His private life has warranted a great deal of
attention whether it be through his connection to scientology, his
numerous failed marriages, or the ‘queer space’ he is placed within
through fan work and gossip mongering. Cruise is an action hero and
romantic lead and yet finds himself in homoerotic and homosocial
relationships which unsettle and undermine these heterosexual scripts.
Cruise is also an authentic star, who does his own stunts even as his
aging body wanes, and who brings this embodied verisimilitude to the
roles he takes on. When a film stars Tom Cruise a series of unruly
forces are set in train, which this edited collection intends to assess.

/Starring Tom Cruise/is looking for chapters of 6,000 to 8,000 words in
length to consider the following themes and issues:

* The Cruise star vehicle
* The Cruise franchise
* Gender and sexuality
* Cruise and masculinity
* Queer space
* Desire
* The Cruise performance
* Cruise against ‘type’
* Fandom
* The Cruise monomyth
* American exceptionalism
* Age and masculinity
* Whiteness
* Marketing and promotions
* Specific film textual analysis
* Religion and faith
* Postmodern Cruise
* Cruise and parody
* The Cruise confession
* The Cruise interview
* The Cruise Marriage
* Authenticity and simulacra
* Hollywood and Cruise
* Star, genre, authorship
* Action
* Style
* Transnational Cruise

The edited collection will contain 12-16 chapters, and a publisher has
shown provisional interest in publishing the volume.

In the first instance could you forward 150-200 word abstracts plus
short bibliography to Sean Redmond for Friday 3rd August, 2018:
s.redmond@deakin.edu.au <mailto:s.redmond@deakin.edu.au>

Subsequent writing deadlines will be for 2019.
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12-month 0.5 SL post in Film Studies at UWE Bristol


Senior Lecturer in Film Studies - Ref:1727433 UWE Bristol, Frenchay Campus
Salary: H - £19,416 - £24,574 (0.5 FTE)
Fixed term

Closing date: 12 Jul 2018
UWE Bristol is an ambitious university. Together, our people are working
hard to advance knowledge, inspire people and transform futures. We are
looking for people with the skills and ambition to help us achieve those
aims.
The Department of Arts and Cultural Industries offers a range of
undergraduate programmes in the Arts and Humanities, including the
highly regarded BA(Hons) Film Studies award. We seek to appoint a new
colleague on a part-time (0.5 FTE), fixed-term basis from September 2018
- August 2019 to cover undergraduate teaching.
The main responsibilities will be to lead three undergraduate modules:
Film Style and Meaning (Level 1), Professional Writing about Film (Level
2) and Adaptation: Screenwriting and Narrative Form (Level 2).
Additional responsibilities include supervising a small number of third
year projects, second marking assignments on other modules, and acting
as a personal tutor for a specific group of students. Aside from
teaching, you will also be responsible for the academic development and
wellbeing of students.
Applicants must have an academic background in Film Studies (preferrably
including PhD completion) and some relevant teaching experience.
Detailed knowledge of debates around film criticism, film style, film
narrative and adaptation is essential. Our curriculum embraces a diverse
range of film forms and practices: applicants must be willing and able
to teach non-mainstream, non-western and non-white texts alongside
dominant forms of cinema, in ways that will encourage and inspire
students to widen their horizons. You will also need high level writing
skills and the ability to help students develop their own writing in
different forms, including explaining issues with grammar, punctuation
and expression; a working knowledge of screenplay layout and technique
is desirable, sufficient to introducing second year students to
screenwriting as part of an adaptation project in Semester 2.
Professional experience of film criticism or screenwriting is desirable
but not essential. Experience of teaching and/or marking audiovisual
essays is also desirable, along with PowerPoint and Premiere Pro AV skills.
You can expect to join a supportive and welcoming team and you will be
offered mentoring and assistance in developing teaching materials and
your practice.
This post is based at our lively Frenchay campus where we have invested
in the latest facilities and resources to give our students access to
everything they need to succeed – with £300m being spent on new
state-of-the-art learning spaces and accommodation between now and 2020
to enhance our offer even further. Frenchay campus is within close
proximity to excellent motorway links and within walking distance of two
train stations, making UWE Frenchay Campus the ideal place to work for
those wishing to commute to Bristol.
In addition to progressive pay rates, UWE Bristol offers a wide range of
staff benefits including: • a generous holiday allowance of 35
Days • up to 12.5 bank holiday/closure days per year in addition;
• flexible working; • excellent defined benefit pension
schemes; • option to participate in the cycle to work scheme; •
family friendly policies; • onsite nursery at our Frenchay Campus;
• option to purchase childcare vouchers.
Please see the attached full job description and information for
applicants for the role.
For an informal discussion or if you have any queries, please contact
Mark Bould on 0117 32 84440 or email Mark.Bould@uwe.ac.uk
UWE is committed to supporting and promoting equality and diversity to
create an inclusive working environment. We believe this can be achieved
through attracting, developing, and retaining a diverse range of staff
from many different backgrounds who share our ambition to be a
university recognised for the success and impact of our
practice-oriented programmes; our strong industry networks and our
inclusive global outlook.
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CFPs Journal of Italian Cinema & Media Studies



The Journal of Italian Cinema & Media Studies
<https://www.intellectbooks.co.uk/journals/view-Journal,id=215/>/
invites papers highlighting global intersections and artistic
interconnections: Italian Cinema & Media across times and spaces.

Click here
<https://www.intellectbooks.co.uk/weblog/view-Weblog,name=News/>for the
full CFP

The /JICMS/ is an English-language forum for theoretical, methodological
and critical debate on Italian film and media production, reception and
consumption. It provides a platform for dialogue between academics,
filmmakers, cinema and media professionals. This peer-reviewed journal
invites submissions of scholarly articles relating to the artistic
features, cultural themes, international influence and history of
Italian film and media. Furthermore, the journal intends to revive a
critical discussion on the /auteurs/, revisit the historiography of
Italian cinema and celebrate the dynamic role played by new directors.
The journal includes a book and film review section as well as notes on
Italian film festivals abroad and international conference reports.

We invite proposals for single papers, pre-constituted panels and
roundtables that identify intersections and artistic interconnections
shaping contemporary Italian cinema and media productions in a global world.


Possible topics include, but are not limited to:

- The contemporaneity of Italian auteurs

- Environmentalism and Italian film

- Rhizomatic approaches to Italian film history

- Transnationality in Italian film

- Representations and constructions of identities from the perspectives
of gender, ethnicity and nationalism

- Migrant and refugee filmmaking

- Mobilities within and between diasporas

- Glocal Italy: production and representation of localism, regionalism
and globalisation

- The new Italian documentary

- Italian sound studies

- Future directions for Italian film studies

- LGBTQ cinema

- Fellini for the New Millennium

- Productions and series in the field of literature (Ferrante’s cycle,
Ammaniti’s first series, a sequel of The

Young Pope)

- Historical and contemporary approaches to film remakes in Italy

- Regional film commissions

- Foreign productions in Italy

- Italian productions abroad

- Italian remakes of non-Italian films

- Foreign remakes of Italian films

- Unmade Italian silent films

- Abandoned or halted studio projects

- Abandoned Italian adaptations and screenplays

- Production, distribution and Italian film festivals

- (New) avant-garde, experimental and independent Italian film and
digital video

- Italian cinematic intertextuality

- Italian digital cinema

- Virtual reality in Italian cinema

- Post-cinema

- Animation

- New perspectives on the history/archaeology of Italian cinema and
other media

- The aesthetics of Italian cinema and other media technologies

- Infotainment: newspapers, magazines, radio and television news, all
news channels, online information

outlets, social media

- Emotainment: popular press, reality television, factual programming
and talent shows, branding and

advertising, online videos and spaces

- Politainment: electoral campaigns, spin doctoring, leadership
building, political and public communication

practices, talk shows, online engagement

- Edutainment: Radio and television shows, podcasts

- Media products and transmedia/transnational practices

- Hybridity and media borders

- Television and web seriality

- Electronic games across platforms and genres as well as ludic and
serious online environments

- Old, new and residual media

Second International Conference
The American University of Rome
14-15 June 2019

Deadline for submissions: 30 September 2018
Abstracts for consideration should be submitted to the conference
organizer Flavia Laviosa at flaviosa@wellesley.edu
<mailto:flaviosa@wellesley.edu>
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CF Chapters: This Country: UK comedy cultures

Dr. Jill Marshall, organiser of the 2017 Value of Comedy symposium at
Queen Margaret University, Edinburgh and Dr. Mary Irwin, author (with
Gabrielle Smith) of “Ah hink it's time for suttin blue n a BAILEYS!" -
Subverting Scottish Male Identities in Gary: Tank Commander”,
/International Journal of Scottish Theatre and Screen/ (Special Issue)
TV in /Scotland: Past, Present and Future/ (2018) , “The Rag Trade - A
History of British TV Comedy - Cultural Concepts and Contexts” Jurgen
Kamm and Birgit Neuman (eds) Palgrave (2016 ) and “That’s the Last
Time I Play the Tart for You, Jerry!” /Critical Studies in Television/,
Special Issue: “Acting Up: Gender and Television Comedy” 10:2 (2015) …

… invite proposals for chapter contributions to a new collection which
will bring together work on UK comedy with emphasis on its regions and
cultures.

The UK has a rich, varied history of comedy which consistently
chronicles the details of British lives and experiences. Despite its
often high international profile in the form of television and cinema,
and the extent to which comedy is valued in Britain, UK comedy remains
significantly under-explored and under theorised within the academy.

This call for papers invites scholars working broadly
in the area of UK comedy to contribute to an edited collection which
will explore UK media comedy in more depth.

We are interested in all forms of comedy in the widest
range of electronic media: television, radio, podcasts, cinema and other
films, game or other interactive formats, streamed or available on
internet media platforms, this includes live performance which has been
recorded for broadcast or made available to view online.

/This Country/ is intended to be a multi-layered imagining of Britain
which acknowledges its past, the complexity of its changing social
structures and subcultures and the diversity of its regions and nations
– and the current renegotiation of the relationships between them.

We’re particularly interested in work which explores
what Raymond Williams conceptualises as “structure of feeling” (1954)
encapsulating “the lived experience of the quality of life at a
particular time and place” (1977).

Here are a few indicative examples of texts the collection could include
work on:

·/Billy Liar/ (1963) John Schlesinger and Keith Waterhouse’s comic
addition to Britain’s social realist cinema.

* /Father Ted/ (Channel 4 1995-1998) from an island parish somewhere
off the coast of Ireland and watched everywhere on mainland UK
(we’re not putting a hard border between Northern Ireland and the
Republic).
* /Four Weddings and a Funeral /(1994), landmark British cinema set
in the same England as the /Vicar of Dibley/ (BBC 1994 – 2007).
* Genre-reinventing verité sitcoms /The Office/ (BBC 2001 2003) set in
Slough and Caroline Aherne’s /Royle Family/ (1998 – 2000) from
Manchester.
* /On the Hour/ (BBC Radio 4 1991-2) Chris Morris and Steve Coogan’s
innovative satirical news show.
* /Creature Comforts/ / the /Wallace and Gromit/ series from Nick
Park's Aardman Animations
* Michaela Coel’s BAFTA-winning /Chewing Gum/ (E4 2015)
* Instagrammer 'Chabuddy G' (Asim Chaudhry) from BBC3's BAFTA winning
mockumentary /People Just do Nothing/ about a pirate radio station
in Hounslow.
* Glasgow-based Janey Godley’s YouTube and podcast satires.
And everything from /Goodness Gracious Me/ to /Hebburn/ to /Absolutely
/to /Desmond’s /to /Hitchhiker’s Guide/ to all the other things that
wouldn't fit on our nice, neat list.

Please send abstracts of 300 – 500 words, by 31st July 2018 to:
jmarshall@qmu.ac.uk <mailto:jmarshall@qmu.ac.uk> and / or

mary.m.irwin@googlemail.com <mailto:mary.m.irwin@googlemail.com>

and feel free to run ideas past us.
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CFP: INTERMEDIALITY NOW: REMAPPING IN-BETWEENNESS


INTERMEDIALITY NOW: REMAPPING IN-BETWEENNESS
International film and media studies conference organized by the Sapientia University in Cluj-Napoca (Romania), within the framework of the research project supported by the UEFISCDI,19-20 October, 2018.

Deadline for proposals: June 30, 2018.

Connected to our new exploratory research project "Rethinking Intermediality in Contemporary Cinema: Changing Forms of In-Betweenness" funded by the UEFISCDI, and following up on the topics of our previous conferences, we would like to bring into focus the idea of "in-betweenness" set in a wider context of contemporary visual culture, and to re-evaluate its relevance regarding the state of the art in researches on intermediality.
Digital media have not only prompted a reassessment of the relationship of the "old" and the "new" through their extraordinary capacity for absorption and remediation, but have literally flooded our life with their ubiquity and sheer excess. The technological convergences of devices producing and displaying media, the fusions, expansions, relocations taking place have effectively challenged our perception of media differences. If the idea of intermediality is based on the assumption of a productive interaction of media, then there should be no more pressing issue regarding intermediality studies today than fine-tuning its core concept of in-betweenness to the phenomena of the so called post-media age, in the spirit of Raymond Bellour's concept of l'entre-images (i.e. images-in-between/inter-images), in which novel forms are continuously "hollowed out from within surrounded by the new forces that irrigate it" (2012: 21). On the other hand, however, as recent theoretical approaches imply by viewing media products embedded in their palpable, real-life environment (i.e. in the dispositifs we experience them, in their phenomenology that links them to our bodies, or in their concrete, historical and socio-political context), the relevance of intermediality is not limited to what happens to media, but it extends, even more importantly, to what happens through the in-betweenness of media, and to the agency of in-betweenness in our contemporary multimedia environment. Besides the analysis of new configurations, we should also examine what is inscribed and communicated through various intermedia relations and what new types of passages are established in-between art and life, in-between the emotional, spiritual and the material, as well as the imaginary and the real, and so on.
We invite proposals to unravel the complex new relationships that define our contemporary visual culture, and to map new, relevant areas of in-betweenness that may enrich our knowledge of intermediality today.

We suggest the following tracks along which individual topics (theoretical presentations or case studies) may be proposed:
Classical cinema vs. expanded cinema in the digital age, cinema and other forms of moving images
The cinematic, the photographic, the theatrical, the painterly as transversal concepts (applicable "outside" their media boundaries) in the aesthetic of contemporary art and media
L-entre images (inter-images) today: new passages between the visual arts in the digital age
In-between the real and the intermedial, the immediate and the hypermediated, bodies and media, the sensual and the abstract
Intermedial strategies in the aesthetic or the curating practices of contemporary art and media, the politics of intermediality, the "messages" of in-betweenness
New technologies and experiences of in-betweenness: e.g. 3D, VR cinema, computer games
"In-betweenness" in between theories: concepts of liminality articulated Confirand applied through theories of intermediality, media convergence, transmediality, philosophy, media archaeology and ecology, intersections of media and cultural studies etc.

Confirmed keynote speakers



MARTINE BEUGNET, Professor in Visual Studies at the Paris Diderot University. Her current research interests include: cinema and video art (phenomenology, aesthetics, reception), forms and practices of the moving image in the era of the digital, and the relationship between the arts. She is the author of Claire Denis (2004); Proust at the Movies (with Marion Schmid, 2005); Cinema and Sensation: French Film and the Art of Transgression (2007).
Her latest works are on the aesthetic of the blur in cinema: Indefinite Visions: Cinema and the Attractions of Uncertainty (with A.Cameron and A.Fetveit, 2017) and L'attrait du flou (The Attraction of the Blur, 2017) - see a presentation of this book here.





THOMAS ELSAESSER, Professor Emeritus of the University of Amsterdam and Visiting Professor at Columbia University. Besides publishing over 200 essays in journals and collections, he has authored, edited and co-edited some 20 volumes on film history, film theory, media archaeology and new media. Among his recent books as author are: (with Malte Hagener) Film Theory - An Introduction through the Senses(2010) and Film History as Media Archaeology (2016). He is currently completing a book on European Cinema and Continental Thought: Film as Thought Experiment (2018).
He is also writer-director of the documentary film, The Sun Island (2017) which premiered at the Kassel Documentary Festival in November 2017. The conference will also include a screening of this film. (See a review of this film as a kind of "auto-media-archaeology" here.)
Plenary speakers
LARS ELLESTRÖM, Professor at the Department of Film and Literature, Linnaeus University, Sweden. He is the head of the Linnaeus University Centre for Intermedial and Multimodal Studies (IMS) and chairs the board of the International Society for Intermedial Studies (ISIS).
LÚCIA NAGIB, Professor of Film, Director of the Centre for Film Aesthetics and Cultures, University of Reading, UK. She is the leader of the AHRC-FAPESP funded project, 'Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method' which focuses on cinema's nature as a mixture of arts and media in order to produce the first, groundbreaking intermedial history of Brazilian cinema.
JOACHIM PAECH, Professor Emeritus University of Konstanz (Germany) whose books and articles, the edited collections of essays are among the most influential writings on intermediality of film.
And we are proud to present an exclusive video lecture by:
RAYMOND BELLOUR, the renowned French philosopher, theorist of film and interart relations, whose concept of "in-betweenness" inspired this conference.


Submission of proposals


We invite proposals both for individual papers and pre-constituted panels. Panels may consist of 3 or 4 speakers.

Deadline for the submission of proposals: June 30, 2018.

Please fill in one of the SUBMISSION FORMS below:


INDIVIDUAL PROPOSAL

PANEL PROPOSAL


For additional information you can contact the organizers directly at this e-mail address:

2018.inbetweenness@gmail.com

The official language of the conference is English.

The time for presentations is limited to maximum 20 minutes, followed by a 10 minute debate.

Conference fee (which includes participation, conference buffet and banquet): 120 EUR, special fee for participants from post-communist/communist countries: 70 EUR. The fee is to be paid on arrival at the conference registration desk.

A selection of papers based on the conference presentations will be published in our department's international, peer reviewed journal (Acta Universitatis Sapientiae. Film & Media Studies) indexed in several international databases (e.g. Web of Science Core Collection - Emerging Sources Citation Index ESCI, ERIH Plus: European Reference Index for Humanities and Social Sciences, etc.).

The conference proposes to facilitate academic communication between existing centers of research specializing in film and media studies within different universities, and at the same time, it encourages students on different academic levels to be initiated into scientific research.
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CFP: Colóquio Narrativa, Média e Cognição


Apresentação e Chamada de Trabalhos

O Colóquio Narrativa, Média e Cognição vai na sua quinta edição – depois de se ter iniciado na Universidade do Minho em 2014, passado pela Universidade Católica Portuguesa em 2015, pela Universidade do Porto em 2016 e em 2017 pela Universidade da Beira Interior.

A edição de 2018, que decorrerá entre 9 e 10 de novembro de 2018, será acolhida pelo CIAC –Centro de Investigação, na Universidade do Algarve– em coorganização com o Grupo de Trabalho “Narrativas Audiovisuais” da AIM –Associação de Investigadores da Imagem em Movimento– e a SPVJ –Sociedade Portuguesa de Ciências dos Videojogos. Constitui, assim, mais uma oportunidade para promover as já habituais reflexão e discussão conjuntas em torno de uma temática tão frutífera e inesgotável, situada no cruzamento entre várias áreas científicas. No dia 10 de novembro terá lugar um Workshop em Narrativas Digitais.

Se o ponto de partida é a narrativa no sentido mais lato do termo, não deixará de ser analisado o papel central dos media nesse processo, quer na aceção de meios de circulação das narrativas, quer como impulsionadores de novas estruturas narrativas a partir das linguagens próprias que os compõem.

Este V encontro concederá especial atenção às narrativas marginalizadas (embora não restringindo o foco a esta temática), que se situam num campo de trabalho que o CIAC tem vindo a explorar e cujo debate crítico importa fomentar: as culturas marginalizadas.

Pretende-se, portanto, que os trabalhos incidam de modo particular sobre o estudo, a compreensão e a divulgação de práticas narrativas. Estas serão entendidas enquanto produtos semióticos que convergem no facto de viverem em permanente oscilação quanto ao reconhecimento e aceitação que a cultura erudita lhes dedica ou retira. Correspondem estes fluxos de aceitação/rejeição a períodos cíclicos da História, que, em virtude dos movimentos estético-culturais vigentes, predispõem estes produtos à absorção da cultura de massas e da cultura popular.

São as interseções provocadas pelos movimentos de reconhecimento de práticas narrativas populares pela cultura erudita (muitas vezes em franca concatenação com ideários políticos ou agendas que regem determinados códigos criativos e estéticos) que conferem a grande especificidade a estas manifestações e as distinguem de outras práticas. A título de exemplo, narrativas associadas a um âmbito popular, como a literatura de tradição oral (nos seus diversos géneros literários), granjearam, das elites, em determinadas épocas, um espaço de acolhimento amplo e incontestável, ao qual se seguiram, em fluxos comprovadamente trans-históricos, a sua perda de influência e de interesse por esses centros decisórios de intervenção cultural e política. Por outro lado, estas narrativas suscitaram (e continuam a suscitar) pertinentes questionamentos de âmbito cognitivo, devido aos mecanismos próprios do suporte memorial e da transmissão oral que as dotam de características únicas. Efémeros e volúveis, por vezes fragmentários, os seus padrões narratológicos recordam, segundo o paralelo que é possível traçar, a efemeridade, a performatividade e a instabilidade dos formatos narrativos característicos dos novos média.

Deste modo, a abordagem crítica e teórica das múltiplas modalidades narrativas, na sua vinculação a práticas culturais ou comunicativas de cariz marginal ou de massas, seja numa perspetiva diacrónica como sincrónica, centrada em práticas do passado como do presente, confere a esta edição do Colóquio um interesse abrangente e transdisciplinar. Procurar-se-á, enfim, provocar uma discussão ativa e permanente sobre a criação e a fruição das narrativas em associação com os diversos suportes e linguagens gerados pelos canais mediáticos, sejam eles quais forem.

Assim, a Comissão Organizadora do V Colóquio Narrativa, Média e Cognição convida todos os interessados a submeterem propostas de comunicação (de 20 min.) relacionadas com as áreas temáticas definidas.


Áreas temáticas:

Narrativa e comunicação;
Narrativa no cinema, videojogos, arte interativa, intermedia e transmedia;
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.);
Narrativas e culturas marginalizadas;
Ética, fake news e pós-verdade;
Outros temas relacionados.

Publicação
No final do Colóquio,o CITAR Journal irá organizar um número especial dedicado ao tema Narrativas, Média e Cognição onde serão publicadas as comunicações selecionadas.

Datas Importantes
Submissão das propostas de comunicação: até 31 de julho de 2018.
Comunicação de aceitação das propostas: até 8 de setembro de 2018.
As inscrições são gratuitas e decorrem até 22 de setembro de 2018.

Submissão de Propostas
As propostas de comunicação deverão ser submetidas através do sítio do congresso até ao dia 31 de julho de 2018. Delas constarão o resumo da comunicação (máximo 10 linhas) e 5 palavras-chave, o nome do autor/autores, contactos, afiliação e uma breve nota biográfica (máximo 5 linhas). Os autores deverão seguir as instruções fornecidas no sítio do congresso. As propostas serão avaliadas pela Comissão Científica e a decisão final será comunicada de forma individual aos autores. Aceitam-se trabalhos nas línguas portuguesa, espanhola, inglesa e francesa. Prevê-se a edição de um volume temático com as contribuições do colóquio, cujos pormenores serão fornecidos oportunamente.

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ReFocus: The Films of João Pedro Rodrigues & João Rui Guerra da Mata
With a career that spans over twenty years, João Pedro Rodrigues and João Rui Guerra da Mata are one of the most creative duos in contemporary filmmaking working within the context of Portuguese cinema. Acknowledged by several film festivals (Cannes, Indie Lisboa, Locarno, New York) as major Portuguese directors, and by the Harvard Film Archive as creators whose works “reflect the multifarious history of film, from classic genres to experimental film”, both filmmakers have contributed to the growing interest in Portuguese cinema.

Their works, either individually or collaborative, tell us particular stories of love and human desire, mythologizing places, environments and characters. Rodrigues and Guerra da Mata’s cinema challenge the audience by placing the viewers in hybrid territories where the auteurs explore their own obsessions: from the urban streets of Lisbon (O Fantasma/The Phantom, 2000), to the dark alleys of Macao (A Última Vez Que Vi Macau/The Last Time I Saw Macao, 2012), and to the “natural” world of O Ornitólogo/The Ornithologist (2016).

Together, or individually, they have been delving into different portraits that defy general cinematic conventions and focus on the constant reinvention of cinema and identity. In this sense, the authors’ own journey in cinema is also a journey on the many possibilities of the different identities and cultures that an artist (and a nation) can encompass and inhabit.

Within this context, we are accepting submissions on any aspect of these directors’ oeuvre – from comprehensive approaches (influences, themes, style) to more diverse essays –, but we are especially looking for chapters on the following:
- João Pedro Rodrigues & João Rui Guerra da Mata as auteurs;
- Melodrama;
- Identity;
- Displacements;
- The local and the global;
- Marginal cinema;
- Transnational cinema;
- Oriental cycle (Multiculturalism, Identity);
- Queer Cinema;
- Gender/Genre;
- Contemporary art cinema;
- Mise-en-scène and/or dispositifs;
- Soundscapes;
- Digital filmmaking;
- Artworks and Installations;
- Autobiography/Memory;
- Docufiction;
- Expanded cinema;
- Slow cinema;

The Films of João Pedro Rodrigues & João Rui Guerra da Mata will be one of the scholarly editions to be published by the University of Edinburgh Press in the ReFocus series on international directors. Series editors are Robert Singer, PhD and Gary D. Rhodes, PhD.

Please send your 250-750 word proposal and CV to thefilmsofportuguesecinema@gmail.com by July 2, 2018. We welcome initial email enquiries to discuss possible proposals. Decisions will be sent to authors at the end of July.

Final submissions will be approximately 6000 to 8000 words, in English, referenced in Chicago endnote style, and submitted by November 1, 2018.

Any questions can be sent to
José Duarte & Filipa Rosário
(School of Arts & Humanities, University of Lisbon)
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Two fully funded PhD researchers
Research centre is looking for two fully funded PhD researchers in the framework of a new project on the history of the magic lantern.
I would be most grateful if you would be willing to send around this announcement to potential candidates among your MA students or in any other research network.
Please do not hesitate to forward this announcement to other colleagues who might know interesting candidates.


PhD researcher theatre studies: https://euraxess.ec.europa.eu/jobs/304244
PhD researcher film studies: https://euraxess.ec.europa.eu/jobs/304250

Working language of the project is English (so excellent oral and written skills), having proficiency in French is a plus but not a formal condition.

Deadline for application is July 2.

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CFP: InVisible Culture, "Poetics of Play", Issue 30


Issue 30: “Poetics of Play”

For its thirtieth issue, InVisible Culture: An Electronic Journal for
Visual Culture invites scholarly articles and creative works that
address the poetics and politics of video games. 20 years ago Janet H.
Murray’s Hamlet on the Holodeck and Espen Aarseth’s Cybertext:
Perspectives on Ergodic Literature began a conversation to theorize the
aesthetics of video games. Since these foundational texts, game studies
has sustained an interrogation of political questions concerning games,
such as issues of representation and the configuration of online game
spaces. Video games intersect with industrial practices, embodied
experiences, as well as visual and ludic designs, all of which have
specific political implications. For this issue we encourage
contributors to consider two or more of these factors together,
exploring “how games make complex meanings across history, bodies,
hardware, and code” (Anable 2018, xi).

This issue of InVisible Culture takes a cultural studies approach toward
video games in that the formal aesthetics always register aspects of the
culture that they emerge from. We think of games as an open category
that includes a broad range of media, from mainstream AAA games to art
installations; complex “hardcore” games as well as casual mobile apps;
visually rich to text-based interactions—cutting across a range of
experiences, from the banality of playing an app to the singularity of
wearing a VR headset. We take gaming aesthetics to mean not only the
system of visual, aural, ludic, and narrative configurations of (a)
given game(s) but also the manipulation of these systems: modding,
updating, streaming, etc. We are also interested in what surrounds
games, such as to what degree games afford community building and
collaboration between players. 

Possible topics of exploration include, but are not limited to:
- Games and Representation
- Games and Subjectivity
- Games and Affect, Multisensory Encounters with Games
- Ordinariness/Everydayness of Games, Gamification of Everyday Life
- Materiality/Tactility of Gaming Devices, Embodied Engagements with
Games
- Queer/Feminist Approaches to Video Games
- Games and the Politics of Race, Gender, and (Dis)Ability - DIY
Approaches to Games and Game Making
- Games and Activism
- Genre studies
- Platform Studies
- Games and Sound
- Remediation of Video Game Aesthetics
- Games and/as Contemporary Art, Games in Museums/Galleries
- Games in the Archive, Games as Archive
- Game Communities and Fandom
- Fan-made “How To” and “Let’s Play” Videos, Live Streams
- Character Creation Systems and their Politics (Liberatory vs.
Constraining)
- The Economy of Games, Microtransactions, Loot crates
Creative/Artistic Works Reviews Dialogues 

Please send completed papers (with references following the guidelines
from the Chicago Manual of Style) of between 4,000 and 10,000 words to
invisible.culture@ur.rochester.edu by June 30th, 2018. Inquiries should
be sent to the same address.

In addition to written materials, InVisible Culture is accepting works
in other media (video, photography, drawing, code) that reflect upon the
theme as it is outlined above. Please submit creative or artistic works
along with an artist statement of no more than two pages to
invisible.culture@ur.rochester.edu. For questions or more details
concerning acceptable formats, go to
http://ivc.lib.rochester.edu/contribute or contact the same address.

InVisible Culture is also currently seeking submissions for book,
exhibition, and film reviews (600-1,000 words). For this issue we
particularly encourage authors to submit reviews of games or other forms
of interactive media. To submit a review proposal, go to
http://ivc.lib.rochester.edu/contribute or contact
invisible.culture@ur.rochester.edu. The journal also invites
submissions to its Dialogues page, which will accommodate more immediate
responses to the topic of the current issue. For further details, please
contact us at invisible.culture@ur.rochester.edu with the subject
heading “Dialogues submission.”

* InVisible Culture: An Electronic Journal for Visual Culture (IVC) is a
student-run interdisciplinary journal published online twice a year in
an open access format. Through peer-reviewed articles, creative works,
and reviews of books, films, and exhibitions, our issues explore
changing themes in visual culture. Fostering a global and current dialog
across fields, IVC investigates the power and limits of vision.

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CFP: "Media Industry Studies in Italy: New Perspectives on the Past and the Present of Italian Film and Television"

Call for papers (Volume III, N. 5, June 2019)

MEDIA INDUSTRY STUDIES IN ITALY:
NEW PERSPECTIVES ON THE PAST AND THE PRESENT OF ITALIAN FILM AND TELEVISION

edited by Marco Cucco and Francesco Di Chiara

Deadline for abstract proposal: July 01, 2018
Through the past decade, Media Industries Studies (MIS) has experienced
significant growth. This research field emerged in the late 1970s and
the 1980s thanks to the pioneering work of scholars in film history,
political economy of media, and film studies like Tino Balio (1976),
Janet Wasko (1982) and David Bordwell, Kristin Thompson and Janet
Staiger (1985). Though these scholars adopted different approaches to
film (and media), there were at least two common features in their
works: the focus on production to the detriment of other stages of the
film value chain, and the desire to investigate film in a way that went
“beyond-the-text”.
Today MIS is a consolidated research field of its own, comprised of
several areas of investigation and methodological approaches. In 2008,
for instance, John Caldwell provided a relevant impetus to MIS and
enlarged the scope of the field by suggesting that we investigate
“production cultures”. His aim was twofold: to access the less visible
dynamics of film and television production (such as the role of
below-the-line crew), and to investigate the self-representation
mechanisms of those involved in content production. To do so, he adopted
a “synthetic” approach that combined: a) textual analysis of trade and
workers’ artifacts; b) interviews with film/television workers; c)
ethnographic field observations of production spaces and professional
gatherings, and d) economic/industrial analysis.
Beyond Caldwell’s seminal work, in the past decade other research areas
and approaches have emerged under the broad umbrella of MIS: studies on
film and television policy (i.e. Bondebjerg-Redvall-Higson 2015;
Mingant-Tirtaine 2017), the labour conditions of media workers
(Curtin-Sanson 2016), the formal and informal distribution/circulation
of audiovisual content (Iordanova-Cunningham 2012, Lobato 2012,
Crisp-Menotti Gonring 2015), etc.
This new approach in studying media is taking root in Italy, too
(Scaglioni-Barra 2013, Barra-Bonini-Splendore, 2016; Cucco-Manzoli
2017); however, there is still room for further, in-depth analyses of
the Italian film and television industrial cultures. For that reason,
this issue of “Schermi” invites contributions that take into account the
evolution of the film and television industry in response to the current
scenario (national, supranational and local policies; technological
advancements; old and new players co-operating in the field, etc.).
Moreover, we believe that the insights that have emerged in MIS call for
a re-examination of the history of the Italian audiovisual industry too,
which can now take advantage of new archival material, of the
ethnographic approach, and of the study of previously neglected sources.
We therefore also encourage the submission of articles dealing with MIS
from a historical perspective.

Possible topics may include (but are not limited to):

* The employment of new archival sources or the discovery of new private
archives
* Network analyses of Italian film and television industries
* Film and television policy studies
* Hidden dynamics in film production, distribution, exhibition and
circulation
* Hidden dynamics in the financing, producing and programming of content
by broadcasters
* The working conditions of above and below-the line crew
* Gender balance in the Italian audiovisual industry
* Less visible sectors of the industry (e.g. the porn industry)
* Italian film and television production cultures
* Less visible or ‘hidden’ professionals (e.g. executive producers)

Abstracts of no more than 300 words should be sent, together with a
short bio (max 100 words), to
schermi@unimi.it <mailto:schermi@unimi.it>, marco.cucco@usi.ch
<mailto:marco.cucco@usi.ch> and francesco.dichiara@uniecampus.it
<mailto:francesco.dichiara@uniecampus.it> no later than 01 July 2018.
Acceptance notices will be sent out by 15 July 2018.
Authors will be required to submit articles of 6,000 to 7,000 words in
length (footnotes included) by
30 November 2018. All manuscripts will subsequently go through a
peer-review process.
Articles may be written in Italian or English.

For more information:
_https://riviste.unimi.it/public/journals/69/SchermiCFP5.pdf_





Schermi. Storie e culture del cinema e dei media in Italia

Call for papers (Anno III, N. 5, Giugno 2019)

I MEDIA INDUSTRY STUDIES IN ITALIA:
NUOVE PROSPETTIVE SUL PASSATO E SUL PRESENTE DELL’INDUSTRIA
CINE-TELEVISIVA ITALIANA

a cura di Marco Cucco e Francesco Di Chiara


Nel corso degli ultimi decenni gli studi sull’industria dei media (Media
Industry Studies, MIS) hanno vissuto una crescita significativa. Si
tratta di un ambito di ricerca emerso tra la fine degli anni Settanta e
l’inizio degli Ottanta grazie al contributo di studiosi come Tino Balio
(1976), Janet Wasko (1982), David Bordwell, Kristin Thompson e Janet
Staiger (1985) provenienti da diverse tradizioni di ricerca (film
history, political economy of the media, film studies). Nonostante una
chiara diversità di approccio, ci sono almeno due punti di contatto tra
questi primi, pionieristici, lavori: il focus sulla produzione a
discapito di altri stadi della filiera cinematografica e il desiderio di
studiare il cinema andando al di là del testo filmico.
Oggi i MIS costituiscono un consolidato campo di ricerca che raccoglie
diversi oggetti di studio e approcci metodologici. Nel 2008, per
esempio, John Caldwell ha conferito un significativo slancio ai MIS e ha
ulteriormente allargato la loro portata, invitando allo studio delle
cosiddette “culture produttive”. Il suo obiettivo era duplice: da una
parte, accedere alle dinamiche meno visibili della produzione
cinematografica e televisiva (ad esempio quelle che riguardano le
professioni tecniche), e dall’altra, indagare i meccanismi di
autorappresentazione delle figure coinvolte nella produzione di
contenuti. A tale scopo, Caldwell ha elaborato un approccio “sintetico”
che combina analisi testuale, interviste, osservazione sul campo e
analisi economico-industriale.
Al di là dell’influente lavoro di Caldwell, nel corso dell’ultimo
decennio anche altre aree e altri approcci di ricerca sono emersi sotto
l’ampio e inclusivo ombrello dei MIS: studi sulle politiche audiovisive
(Bondebjerg-Redvall-Higson 2015; Mingant-Tirtaine 2017), sulle
condizioni di lavoro dei professionisti dell’industria dei media
(Curtin-Sanson 2016), ma anche sulle forme di distribuzione/circolazione
formali e informali dei contenuti audiovisivi (Iordanova-Cunningham
2012, Lobato 2012, Crisp-Menotti Gonring 2015), ecc.
Questo nuovo campo di studi sui media sta emergendo anche in Italia
(Scaglioni-Barra 2013, Barra-Bonini-Splendore, 2016; Cucco-Manzoli
2017), dove sono però ancora ampi i margini per ulteriori lavori e
approfondimenti sulle culture industriali in ambito cine-televisivo.
Proprio per tale ragione, questo numero di Schermi desidera raccogliere
contributi sull’evoluzione dell’industria cine-televisiva in relazione
al contesto attuale (politiche nazionali, sovranazionali e locali,
sviluppo tecnologico, vecchi e nuovi operatori del settore, ecc.). Le
conoscenze e gli approcci maturati in questi anni nell’ambito dei MIS
invitano tuttavia anche a ri-esaminare la storia dell’industria
audiovisiva italiana e a condurre ricerche che oggigiorno possono
giovarsi di un inedito approccio etnografico, di nuovi materiali
d’archivio e dell’utilizzo di fonti che nel tempo sono state trascurate.
Sono dunque incoraggiate proposte riconducibili ai MIS anche in una
prospettiva storica.

I contributi possono riguardare i seguenti temi (senza necessariamente
limitarsi ad essi):
* Utilizzo di nuovi materiali d’archivio o di nuovi archivi privati
* Network analysis relative all’industria cine-televisiva
* Politiche audiovisive
* Dinamiche nascoste di produzione, distribuzione, esercizio e
circolazione cinematografica
* Dinamiche nascoste di finanziamento, produzione e programmazione di
contenuti da parte di broadcaster televisivi
* Condizioni lavorative dei professionisti dell’industria audiovisiva
* Dinamiche dei settori meno visibili dell’industria audiovisiva (ed
esempio, l’industria del porno)
* Professionalità meno visibili dell’industria audiovisiva (ad esempio,
il produttore esecutivo)
* Le culture produttive dell’industria audiovisiva

Le proposte (max. 300 parole), accompagnate da un breve profilo
biografico (max. 100 parole), devono essere inviate a schermi@unimi.it
<mailto:schermi@unimi.it>, marco.cucco@usi.ch
<mailto:marco.cucco@usi.ch> e francesco.dichiara@uniecampus.it
<mailto:francesco.dichiara@uniecampus.it> entro e non oltre l’1 luglio
2018. L’accettazione delle proposte sarà̀ comunicata entro il 15 luglio 2018.
I saggi, la cui lunghezza dovrà̀ essere compresa tra le 30,000 e le
35,000 battute (note incluse), dovranno essere consegnati entro e non
oltre il 30 novembre 2018. Tutti i contributi saranno poi sottoposti a
procedura di peer-review. I contributi possono essere sia in italiano
sia in inglese.

Per maggiori informazioni:
_https://riviste.unimi.it/public/journals/69/SchermiCFP5.pdf_
(info atualizada em ~~~ItemPubShortDate~~~)

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CFP: Replacement and replaceability (UCP, Lisbon)



REPLACEMENT AND REPLACEABILITY
VIII Graduate Conference in Culture Studies
6–7 December 2018 | Universidade Católica Portuguesa – Lisbon

_
Deadline Extension_

We are happy to announce that the deadline for handing in abstracts
concerning the call below has been extended. The earlier deadline was
June 15th 2018. This has now been changed to June 30th 2018. We are
looking forward to your proposals, and would still like to encourage you
to hand in your abstracts as soon as possible because that would help us
with some of the logistics. For more information concerning the event,
go to replacementconference.wordpress.com
<http://replacementconference.wordpress.com>. Should any questions
arise, you can reach us at replacementconference2018@gmail.com
<mailto:replacementconference2018@gmail.com>.


Call for Papers

We call for papers for the 8th Graduate Conference in Culture Studies.
This edition will be on the theme of Replacement and Replaceability and
takes place in Lisbon on the 6th and 7th of December 2018. The
conference is organized by The Lisbon Consortium in conjunction with the
Research Centre for Communication and Culture at the Universidade
Católica Portuguesa.

We aim to discuss the ways in which the concept of ‘replacement’ can be
understood and productively used for the study of contemporary culture.
Replacement has been one of the central concepts in the study of culture
for quite some time, and, at the risk of overstating this claim, one
could say that replacement is a concern in all fields of knowledge
dealing with the study of culture today. It is, however, rarely the
central focus in academic discussion and this event aims to contribute
to a more detailed analysis of the uses, misuses, and usefulness of this
particular concept for the study of cultural objects.

Hearing the words replacement and replaceability, one naturally wonders:
Who or what is being replaced? Who is doing the replacing? What counts
as replaceable? Is there a logic of replacement? What happens when
bodies are deemed replaceable for other bodies? Or for machines? How
does replacement communicate with other, related, concepts, such as
translation, repetition, reiteration, quotation, citation, metaphor,
metonymy, synechdoche, and displacement? And how does it acquire meaning
in connection to other concepts like false-consciousness, workforce,
precariousness, simulacrum, spectacle, and ideology? How can replacement
or replaceability be made useful for the study of cultural objects?
Which objects warrant their use? It is on these and related questions
that we invite abstracts to be presented at our conference.


Background

Theoretical understandings of power tend to highlight the importance of
controlled reproduction of human beings, or subjects, in order for power
to function. One may think of a wide-ranging number of theorists here,
from Karl Marx, through Louis Althusser, and on to Michel Foucault. In
the study of bureaucratic modes of power exertion, documents can
function as the irreplaceable expression of an identity or a right, as
in the cases of identity cards, passports, and diplomas.

In translation studies, the notion of translation as a specific act of
replacement is of central concern. In media theory and the study of
visual culture, the notion of representation can be understood as a
moment in which the image replaces the ‘original.’ In literary studies,
concepts such as metaphor and metonymy are examples of replacing one
word for another, a procedure considered essential to the production of
meaning through language.

In Lacanian psychoanalysis, the mirror-stage functions as a scene in
which the physical body is temporarily replaced by an imaginary double.
Feminist- and queer theorists have often critiqued heterosexist and
heteronormative approaches to otherness as failed, or attempted copies
of heterosexual male life. In posthumanist discourses, the very notion
of the human undergoes a moment of replacement by some kind of being
that is no longer fully human and all too often celebrated as beyond the
human in a teleological way. And post- and de-colonial theorists have
read colonial activities of ‘Western powers’ as forced replacements of
one culture for another.


Practicalities

For more information, updates and details,
seereplacementconference.wordpress.com
<http://replacementconference.wordpress.com/>


We invite proposals for contributions by academics (from different
fields including but in no way limited to cultural studies, cultural
analysis, comparative literature, media- and communication studies,
translation studies, etc. etc.) in the form of 20-minute presentations
in which replacement or replaceability are used either as concepts of
analysis, put into dialogue with a cultural object, or in which the
concepts themselves come under theoretical scrutiny.

Proposals should be no longer than 250 words and have to be sent
toreplacementconference2018@gmail.com
<mailto:replacementconference2018@gmail.com> no later than June 30th
2018.
Your abstract will be peer reviewed and you will receive
notification of acceptance as soon as possible thereafter, but no later
than the end of July 2018. Upon acceptance you will be requested to
register and provide some personal details to finalize your registration.

The conference will be a two-day event, taking place at the Universidade
Católica Portuguesa. It is scheduled to take place on the 6th and 7th of
December 2018.



Registration fee: €50,00 (this includes lunch, coffee breaks and
conference materials).

For The Lisbon Consortium students and members of CECC, there is no
registration fee.
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