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 VI Encontro Anual irá decorrer de 4 a 7 de maio de 2016, na Católica Porto. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
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Two Professor and Six Lecturer positions at Loughborough University
We are seeking to recruit to eight positions in the new Centre for
Research in Communication and Culture (CRCC) in the School of Social,
Political and Geographical Sciences, Loughborough University.

The Centre will enhance the defining characteristic of our work at
Loughborough: namely, the investigation of a broad spectrum of
communication and culture informed by an extensive, interdisciplinary
intellectual base.

Our research ranges across journalism, new and social media, cultural
sociology, discursive psychology, conversation analysis, political
communication, media history, globalisation, media and cultural
industries, and the analysis of other sites of communication, such as
tourism, popular music, migration, nationalism and memory.

*Closing date for applications: Monday 7 December 2015*

For more information please contact Professor John Downey, Director of
the CRCC (>)

John Downey

Professor of Comparative Media

Communication, Culture and Citizenship Research Challenge
(info atualizada em 01/12/2015)


Conference Pre-Call: ECREA's 6th European Communication Conference
European Communication Research and Education Association (ECREA)
and Charles University in Prague cordially invite you to the 6th
European Communication Conference (ECC) to be held in Prague 9 -
12 November 2016. The call for proposals will be launched on 1
December 2015.

The conference, due to take place in Prague from 9 to 12 November 2016,
has chosen as its overarching theme /Mediating (Dis)Continuities:
Contesting Pasts, Presents and Futures/.

The call for proposals will be launched on *1 December 2015 and will
close on 29 February 2016*.

Proposals for panels, individual papers and posters can be submitted to
one of the 21 ECREA sections
<> from 1 December 2015 to 29
February 2016 through the ECREA's 6th European Communication Conference
conference website <>.

The host organisers:
Dr. Irena Reifová (Chair of the Local Organising Committee)
Markéta Štechová (General Coordinator of the Local Organising Committee)
E-mail Contact:>
(info atualizada em 01/12/2015)


NWC PhD studentships at the University of Salford in Media and Cultural Studies
Please find below information about applying for 2015-2016 NWC DTP PhD
Studentships at the University of Salford.

We warmly invite expressions of interest further to applications for PhD
studentships (full and part-time) from the Arts and Humanities Research
Council’s North West Consortium Doctoral Training Partnership, in the
Media and Communications and Cultural Studies Pathways.

The Studentship covers all PhD fees, provides an annual stipend for the
duration of your study (£14,057 for the coming academic year for
full-time students), and access to addition funding for field research
and further training.

Deadline for Expression of Interest: Friday 4th December 2015

The University of Salford is a member of the North West Consortium
Doctoral Training Partnership (NWC DTP), which includes non-HE
institutions such as the BBC, Home/Cornerhouse, Tate Liverpool, Opera
North, FutureEverything, and FACT (Liverpool). In 2014, the Partnership
was awarded £14 million of funding from the Arts and Humanities Research
Council (AHRC) to deliver postgraduate supervision, training and skills

The School of Arts and Media at the University of Salford has an
international reputation for cutting edge research, both theoretical and
practice-based, and is especially strong in the area of Media and
Communications, as demonstrated by its performance in the 2008 RAE and
2014 REF in the Communication, Cultural and Media Studies, Library and
Information Management area of assessment (ranked 21^st nationally,
according to the power ranking).

Our media research environment is based at the heart of MediaCityUK,
allowing for a unique access and engagement with media institutions like
the BBC and ITV, reinforced by a rich programme of research events with
both an industry and academic focus. NWC PhD students will be invited to
work with our non-HE partners, so as to engage in research, placements
and internships. We particularly welcome applications that seek to
engage with our non-HEI partners in research / industry / showcase /
training capacities (see <>)

Media research within the School of Arts and Media is diverse,
interdisciplinary and collaborative and has seen numerous
internationally recognised outputs from academics as well as successful
PhD completions and publication outputs.

Areas of expertise of our academic staff include: Film practice; Film
history and theory; Media policy; Journalism studies; Celebrity studies;
Media theory; Digital culture; Social media; Radical and alternative
media; Internet regulation and governance; Television studies; Media
politics; Transnational media; Urban cultures; Creative industries;
noise; Celebrity studies; Cultural studies; Popular culture; Popular
music and media; Cultural theory.

Notable Salford media academics include: Prof Seamus Simpson, Professor
Garry Crawford, Dr Michael Goddard, Dr Andy Willis, Dr Kirsty
Fairclough-Isaacs, Dr Lloyd Peters, Dr Carole O’Reilly, Dr Sharon Coen,
Dr Steve Ward, Dr Anthony Smith and Dr Richard Hewett.

How to Apply:

Prospective applicants who are interested in applying ­and eligible for
funding ­will need to submit a draft PhD proposal by Friday the 4th
December, 2014. Please send this directly to the Salford NWC media
pathway rep Dr Michael Goddard (>) and>

We would expect you to have a first degree, and a completed or current
MA, or equivalent professional experience.

Following that it will be necessary to complete a formal application for
PhD study at the University of Salford by the 22^nd of January, 2016,
which is available
here: and
ultimately an application to the Northwest Consortium before 5PM, on the
12^th of February.

For further information, please see our AHRC funding

and further information is available, including eligibility criteria and
scholarship stipend rates, at NWC DTP site:

If you have further queries about the research specialisms in media or
cultural studies in the School of Arts and Media, and the potentials for
working with our non-HE partners, please contact the media pathway
leader Dr Michael Goddard:>

If you have any questions regarding the formal application procedure
please contact
(info atualizada em 01/12/2015)


IJFMA vol. 1 no. 2, New Forms / Apparatus of Documentary: Interactivity and Fine Art
The International Journal of Film and Media Arts
( <>)is an online
semiannual publication focusing on all areas of film and media arts
research and critique, namely animation, television, media arts, video
games, fine arts, sound and their varied social and cultural forms of
expression and materialization.

The IJFMA is accepting submissions of full papers, book reviews and
curatorial articles for its second issue, to be published in the Spring
of 2016, on the general theme of new forms of documentary.

Call for papers: vol. 1, no. 2
The second number of the International Journal of Film and Media Arts is
dedicated to New Forms / Apparatus of Documentary: Interactivity and
Fine Art. Its purpose is to reflect on the emergence of two new
documentary languages – the webdocumentary and the documentary as a
video/film installation.

The notion of documentary film has expanded since new forms of
narratives have been developing along with digital media. We need to
rethink the relation film/screen/viewer, in the contemporary era of
documentary narrative.

Documentary festivals increasingly include sections for trans/cross
interactive media works, e.g., IDFA DocLab in Amsterdam or FIDLab in
Marseilles. Interactive documentaries like Alma, A Tale of
Violence(2012) or Prison Valley(2010) have proved that webdocumentary
has its own languages and aesthetic qualities. We must also question
whether the webdocumentary terminology includes too many subgenres (from
IDOC to Cross Platform) and if the designation interface-film, proposed
by Marida Di Crosta (2009), is accurate.

Alongside the rise of webdocumentary, documentaries are increasingly
exhibited in galleries, museums and spaces suited for the Fine Arts
(Païni, 2002). On the one hand, there are artists who are interested in
the documentary (Harun Farocki, Anri Sala, Ursula Biemann) and on the
other hand there are many documentary filmmakers who present or
transpose their work to video installations (Wang Bing, Bill Morrison,
Avi Mograbi, Pedro Costa, Susana de Sousa Dias and others). They are
part of the recent category "Exposed Cinema".

In both webdocumentary and exposed cinema, documentary integrates
multimedia as video, photography, graphic design, animation and 3D.

It is now essential to rethink cinematic experience in its practice and
in its perception because documentary works are often transversal and
multiform. However, Raymond Bellour (2014) said that film can not be
fragmented, neither in its presentation, nor in its perception. Is this
argument legitimate, since the objectsturn out to be different?

Can we consider that the nature of documentary is not the same?

Can we separate the documentary film from webdocumentary or from
documentary as video installation when it comes to practice (in the act
of creation) or to perception (passive or (inter)active)?

Are the artists who use documentary as artistic media the new

The IJFMA is accepting papers that reflect on documentary as
webdocumentary and documentary as film/video installation; analyses of a
particular work; and testimonies or interviews with directors who work
in this genre or use this language.

Curatorial section
The curatorial section provides researchers and artists with open,
experimental and creative presentation tools of media arts' research and
provides readers with interactive research experiences. It combines
inter-media modes of display using multiple text design mixed with
image, motion and sound linking solutions. Contributions regarding
international / Portuguese webdocumentary and documentary as video
installation are welcome.

Manuel José Damásio (ECATI, ULHT)
Paulo Viveiros (ECATI, ULHT)
Guest Editor: Inês Gil (ECATI, ULHT)

Publication schedule
Call for papers: 15 September to *15 December 2015*.
Communication of decision to authors: 15 February
Publication: *May 2016*
Early submission is encouraged.

Please refer to Author Guidelines
and the Call for papers announcement
for further information or visit
Other inquiries should be sent to
(info atualizada em 01/12/2015)


Junior Professorship (W1) "Communication and media studies with a focus on media society"
New job vacancy at the ZeMKI, Centre for Media, Communication and Information Research, University of Bremen:

Junior Professorship (W1) "Communication and media studies with a focus on media society". Application deadline: 3rd December 2015

The University of Bremen, a mid-sized university with 250 professorships and 19,000 students, offers a broad range of disciplines and competes internationally in top-level research. With an ambitious institutional strategy the university was successful in the Excellence Initiative as one of eleven universities in Germany.The university will now strengthen research and development by awarding temporary professorships in a number of defined dynamic areas. One of these areas is the main research field of “Media Change”, which investigates the communicative figurations of mediatized cultures and societies.The University of Bremen, Faculty 9 Cultural Studies invites applicants for the following position:

*Junior Professorship
*Pay grade: W1
for the duration of 3 years
(with a renewal option of further 3 years, depending on a successful interim evaluation)

Communication and media studies with a focus on media society (Code number: JP 892/15)

Applicants should have expertise in media and communication research with a focus on social communication and medial moulding of social processes. The research should focus on a cross-media perspective within at least two of the following main areas: appropriation and user practices of digital media; cultural, social and economical contexts of digital media; opportunities and risks of data collection; digital methods/computer-assisted collection and analysis procedures. An engagement within the main research field “Media Change” within the Faculty of Cultural Studies, the acquisition of third-party funding and interdisciplinary research cooperation within the Centre for Media, Communication and Information Research (ZeMKI) and its research group “Communicative Figurations of Mediatized Worlds” are expected. Teaching is dedicated to the BA and MA programs of the Institute for Historic Journalism, Communication and Media Studies (IPKM) and should include thematic courses in social communication and medial moulding of social processes as well as basic principles of communication and media studies and their methods. An interest in further establishing postgraduate programs is also expected.

In addition to the pre-conditions of civil service law, a relevant doctoral dissertation and other relevant academic achievements of outstanding quality are required. A further requirement is that the successful candidates can evidence their pedagogical-didactic suitability by documented teaching experience. Applicants are expected to have acquired teaching skills in the German language after a period of 2-3 years. Junior professors will be unburdened from teaching in the initial stage to further qualify themselves academically. The teaching duties account for 4 semester periods per week.

The University of Bremen has received a number of awards for its diversity policies. We strive to increase the number of female researchers and particularly solicit applications from suitably qualified female candidates. International applications and applications on the part of academics with a migration background are explicitly welcome. Disabled persons with the same professional and personal qualifications will be given preference.

For further information please contact the head of the Centre for Media, Communication and Information Research (ZeMKI), Prof. Dr. Andreas Hepp (

Please send your application by 3rd December 2015 including CV, a list of publications and teaching experience, research profile and relevant certificates citing the reference number to:

Dean of Faculty 9 – Cultural Studies
Prof. Dr. Dorle Dracklé
University of Bremen
Postfach 330 440
28334 Bremen

Further information can be found on the ZeMKI website:
(info atualizada em 30/11/2015)


Shakespeare in Modern Popular Culture
International Symposium – Arras, Université d’Artois – June 15-17, 2016

Convenors : Guillaume Winter (Université d’Artois), Vincent Roger
(Institut Catholique de Lille), Julie Assouly (Université d’Artois).

Symposium organized by Textes & Cultures (Université d’Artois, EA 4028)
and Laboratoire Pluridisciplinaire des Sciences de l’Homme et de la
Société (Institut Catholique de Lille), under the aegis of the Société
Française Shakespeare.

Keynote speakers :
-Prof. Sarah Hatchuel (Université du Havre) and Prof. Nathalie
Vienne-Guerrin (Université Paul-Valéry, Montpellier)
-Prof. Douglas Lanier (University of New Hampshire)

Four hundred years after his death, Shakespeare is more alive than ever.
In a globalized marketplace, his works reach new audiences every day
through online media that have become innovative places of creation and
adaptation (O’Neill, Shakespeare and Youtube). The Bard has long since
been the object of illustrations and transpositions, but it seems that
the appropriation of his poems and plays by popular culture has taken a
new turn over the last forty years, from cameo appearances of characters
and famous lines to full rewritings or parodies for a
pop-culture-conscious audience (Doescher, William Shakespeare’s Star
Wars). The man behind the plays has left the world of Bardolatry once
associated with ‘high’ culture to become a pop icon, transfigured into a
hip character with his own Twitter and Facebook accounts. But just how
relevant are contemporary popular adaptations and avatars to the
reception and interpretation of the poet? Do they contribute to a new
understanding of Shakespeare, or do they merely testify to the
ever-growing commodification of his works, and of the writer as a public
persona? With the new millennium came fresh appraisals of Shakespeare’s
place in our modern age (Burt ed., Shakespeare after Mass Media). This
conference will be the opportunity to question the validity of
Shakespeare as a popular commodity and the status of the texts in recent
adaptations and transpositions.

We welcome proposals broaching the following topics (non-exhaustive list):
-theatrical and other live performances
-music and dance
-radio, TV and film
-advertising and commercials
-written fiction and biography
-comics and manga
-illustrations and photography
-the Internet and digital media
-social networks

Academic Committee:
Anne Besson (Université d’Artois)
Sarah Hatchuel (Université du Havre)
Peter Holland (University of Notre Dame)
Douglas Lanier (University of New Hampshire)
Delphine Lemonnier-Texier (Université de Rennes 2)
Guillaume Winter (Université d’Artois)

*Deadline for proposal submission: 20 December 2015*

Papers may be delivered in French or English. Please send an abstract
(200-300 words) and a short biographical note to

Julie Assouly
Vincent Roger
Guillaume Winter

Selected papers will be published in a peer-reviewed volume.
Textes & Cultures (Université d’Artois, EA 4028)

Laboratoire Pluridisciplinaire des Sciences de l’Homme et de la Société
(Institut Catholique de Lille)

Société Française Shakespeare
(info atualizada em 30/11/2015)


Digital Age in Semiotics & Communications On behalf of Kristian Bankov
Within the research program of the Southeast European Center for
Semiotic Studies, aimed at new forms of knowledge, of social and
linguistic interaction, and cultural values arising after the advent of
the internet, we are pleased to invite you to submit an article for the
first issue of the periodical /Digital Age in Semiotics & Communications/.

The purpose of forthcoming issues will be to provide a collaborative
work field for every scholar interested in researching new phenomena in
the dynamic digital world.

We are interested in working with scholars from different research and
applied fields, such as semiotics (both applied and theoretical),
communication studies, marketing and advertising, linguistics and
literature studies, anthropology and ethnography, cognitive science and
psychology, computer science.

Contributions on the following topics would be particularly welcome:
· New forms of knowledge;
· E-consumption;
· New forms of social relations in the time of social media;
· Transfer of experience arising from new media;
· New habits of communication and self-expression/representation;
· Online corporate communications;
· Digital narratology;
· Digital and e-fiction;
· Digital grammatology;
· Internet linguistics.

But we also welcome other topics within our journal’s framework.

The working languages of the journal are Bulgarian and English, and
papers in either language will be considered for publication.

This journal uses double-blind review, which means that both the
reviewer and author identities are concealed from the reviewers, and
vice versa, throughout the review process.

The journal will be published bi-annually by NBU Press.

Prof. Kristian Bankov, PhD
Secretary General of the International
Association for Semiotic Studies IASS/AIS
Head of the
Southeast European Center for Semiotic Studies
at New Bulgarian University
21 Montevideo str.; office 111
1618 Sofia
_kbankov@nbu.bg_<_ a="" href="">>
(info atualizada em 30/11/2015)


Interactions: Studies in Communication and Culture (issue 7.3), 'Chinese Media Histories'
Guest Editors:
- Gabriele BALBI, USI-Università della Svizzera italiana (Switzerland)
- Changfeng CHEN, Tsinghua University (China)
- Jing WU, Peking University (China)

Media history has largely focused on North American and single European countries’ media and, among them, especially on the history of broadcasting. This special issue aims to enlarge media history under two perspectives. Geographically, it aims to enlarge “classic†borders focusing on China and it would like to reconstruct the development, the role, and the controversies of Chinese media over time. Temporally, starting from the 19th century, this issue adopts a longue durée approach and, besides broadcasting, aims to integrate communication technologies such as printing press, telegraphy, telephony, photography, movie industry, digital media, and other media. This would help to enlarge classic media history into plural media histories and to bring attention to complex interrelationships between media and modernization process in China since the 19th century.

Articles for this special issue ‘Chinese Media History’ could, for example, address the following ideas:
- Which are the “constitutive choices†(Star 2004) that built Chinese media systems?
- Which was the impact of Western technologies and polices over the development of Chinese media system?
- How did new media technologies, institutions and practices influence the process of modernization in China’s social, cultural and political life?
- Which is the role of Chinese media history in the international media history? To what extent the history of Chinese media system differs from Western ones?
- How can history help in better understanding the media in China today?

Contributors can come from a wide range of disciplines: media and communication studies, telecommunications, political economy, political sciences, cultural studies, social history, geography of communication, and others. The three editors would like to collect papers broad in theoretical analysis and even informative in empirical case studies, in order to provide to European readership a comprehensive and maybe didactical issue on the development of the media in China in the last two centuries. Papers will be also selected with this scope in mind.

Submissions of no more than 7.000 words in length are to be original, scholarly manuscripts formatted according to Intellect House Style guidelines ( ).

Notes should appear as endnotes and cited works listed in alphabetical, then chronological, order in a separate ‘References’ section at the end of the article. Submissions should be in Microsoft Word .doc/.docx format ONLY and sent as e-mail attachments to the guest editors, at
All inquiries should also be addressed to Professor Balbi at

- abstracts of 250 words can be submitted until 15 December 2015
- accepted authors will have to submit the full papers by 15 April 2016
- the issue is scheduled for publication in Autumn 2016.
(info atualizada em 30/11/2015)


Thursday, 14 January and Friday, 15 January 2016
University of London, Senate House, Malet Street, London WC1E 7HU

Programme below and available here:

Thursday, 14 January 2016, Room 104 (first floor)
16.00 Film Screening: Yvone Kane (Margarida Cardoso, 2014)

18.00 Q & A with Margarida Cardoso chaired by Sally Faulkner and Mariana
Liz; drinks reception

Friday, 15 January 2016, Room 243 (second floor)
09.50 Welcome and Introduction by Sally Faulkner and Mariana Liz

10.00 Panel 1: Representations of (Anti-)Colonialism
Maria do Carmo Piçarra (Minho / Lisbon / ISCTE-UL): ‘Ultramarine blues:
“image-flashes” of Portuguese (anti-)colonialism’
Ros Gray (Goldsmiths, London): ‘To unhinge a look, a gesture, a sign:
unleashing the revolutionary use-value of Portugal’s colonial film’
Alison Ribeiro de Menezes (Warwick): ‘Out of the Labyrinth? Depois do
Adeus as Potentially Productive Nostalgia’

11.30 Coffee

12.00 Panel 2: The Cinema of Miguel Gomes
Lúcia Nagib (Reading): ‘Colonialism as Fantastic Realism in Tabu’
Hilary Owen (Manchester): ‘Filming Ethnographic Portugal - Miguel Gomes
and the Last Taboo’

13.00 Lunch
14.00 Panel 3: The Cinema of Margarida Cardoso
Antonio da Silva (Kent): ‘Rebuilding colonial memory through archive in
the work of two Portuguese women filmmakers: Margarida Cardoso and
Filipa César’
Sally Faulkner and Ana Martins (Exeter): ‘Intermedial Dialogue in The
Murmuring Coast (Lídia Jorge 1988 / Margarida Cardoso 2004): Novel;
Photography; Film’
Mark Sabine (Nottingham): ‘The Celluloid War: Images in conflict in the
cinema of Margarida Cardoso’

15.30 Coffee

16.00 Roundtable discussion chaired by Margarida Cardoso
Attendance is free, but advance registration is required. To register
please email
> by
6 January 2016 or register online at

Event organised by Sally Faulker (Exeter) and Mariana Liz (Leeds).

Supported by the IMLR, Instituto Camões, The Leverhulme Trust,
University of Exeter and University of Leeds.
(info atualizada em 28/11/2015)


Popular Communication: The International Journal of Media and Culture
Special Issue: Self-(Re)presentation Now
Guest Editor: Nancy Thumim
Call for Papers
The editors of Popular Communication: The International Journal of Media and Culture invite submissions for a special issue on the topic of Self-(Re)presentation.

We welcome critical approaches in new media, film, television and cultural studies; media and communication studies; museum studies and allied fields. We seek manuscripts that examine the politics, practices and aesthetics of self-(re)presentation and that engage critically with questions of conceptualization and methodology.

From a time when self-(re)presentation was arguably a marginal, often political, practice at the edges of media culture, we are at a moment in media and cultural spaces in diverse local and national contexts where we are seeing:
1) An explosion of individual and group self-(re)presentations;
2) an explosion of popular and media discussion about the practice, possibilities and promise for presenting and representing the self and others;
3) a corresponding explosion of academic research tackling different kinds of presentations, performances and representations of individual selves and communities.

This special issue of Popular Communication: The International Journal of Media and Culture aims to showcase intersecting, contradictory, complementary and critical approaches to self-(re)presentation. We are aiming for a multi-disciplinary issue that will showcase excellent scholarship on self-(re)presentation with the aim of highlighting key areas of debate and contention in research that invokes the concept of self-(re)presentation.

We welcome proposals for articles addressing topics including (but not limited to) the following:
·Questions of methodology and conceptualisation of self-(re)presentation
·Historical approaches to self-(re)presentation
·Visual studies of self-(re)presentations
·Audiences /for /self-(re)presentations
·Practices and uses of self-(re)presentation by particular individuals, groups and communities
·The relationship of audio visual and digital self-(re)presentation to political representation and questions of citizenship
·Self-(re)presentation and Big Data
·Self-(re)presentation, surveillance and sousveillance
·Self-(re)presentational photography and film making as political practice for groups and communities
·Community Media and self-(re)presentation
·Self-(re)presentation and documentary
·Self-(re)presentation and photography
·Invited, facilitated and co-produced self-(re)presentation
·Digital storytelling

Submitted papers should be *6,000 -7,000 words* in length (inclusive of all elements). The deadline for submission is *30^th December 2015*. Peer review and author responses to peer review will then be completed by *30th December 2016*, *with anticipated publication of the special issue in early 2017*. Nancy Thumim welcomes email queries before this date. Instructions for submitting your article can be found at manuscripts may not be sent out for review if deemed inappropriate for the journal.

Popular Communication provides a forum for scholarly investigation, analysis, and dialogue on communication symbols, forms, phenomena and systems within the context of popular culture across the globe. Popular Communication publishes articles on all aspects of popular communication, examining different media such as television, film, new media, games, print media, radio, music, and dance; the study of texts, events, artifacts, spectacles, audiences, technologies, and industries; and
phenomena and practices, including, but not limited to, fan, youth and subcultures, questions of
representation, digitalization, cultural globalization, spectator sports, sexuality, advertising, and consumer culture.

(info atualizada em 27/11/2015)


Promises of Monsters
Promises of Monsters
28-29^th of April 2016
University of Stavanger, Norway

Confirmed keynote speakers:
Professor Margrit Shildrick (Linköping University, Sweden)**
Assistant Professor Surekha Davies (Western Connecticut State
University, US)

Monsters are back, or perhaps they never went away. They haunt popular
culture and social media. They lurk as images of dread and terror in
politics, and figures of thought within academia. As shadows of the past
they reappear as thepotential biotechnological realities of today. They
roam the in-between, makingborders and boundaries tremble and shatter;
whether these be borders of nation states or bodies, or categories of
race, gender, sexuality, ability, class, self and other. In this sense,
the monster seems to embody a promise of disturbances and change, as
Donna Haraway argued in her 1992 text “The Promises of Monsters”.

Haraway’s text heralds the 1990s rapid increase in academic engagement
with figures of ghosts and monsters, the spectral and the monstrous,
encompassing publications such as Derrida’s Spectres of Marx (1994) and
Jeffrey Jerome Cohen’s anthology Monster Theory (1996). Now, on the
other side of the millennium-threshold, the popularity of monsters has
flared up again, inspiring publications such as for example Ashgate’s
Research Companion to Monsters and the Monstrous (Mittman and Dendle
2012). 20 years after Haraway’s essay, “The Promise of Monsters” (2012)
is evoked yet again, this time by Cohen, to point to the strange
temporalities and disturbing messages of the figure of the monster as it
haunts the margins of reality and human subjecthood. Messages that may
well be promises, but of what?

The interdisciplinary conference Promises of Monsters invites
contributors to think critically with and through the figure of the
monster. What does the monster promise? What contradictions,
uncertainties, anxieties, desires and disturbances haunt the shifting
landscapes of monsters? How might the monster help unsettle and rethink
traditional ontology, epistemology and ethics? In other words: how might
the monster help one think and imagine the world differently? Indeed,
what does the monster index in a rapidly developing technological globe
where inequalities are ever-more apparent and expanding? How do monsters
come to represent the very racialised, sexualised, able-ist, gendered
and homophobic injustices of historical and contemporary modes of
belonging and migrating? And how do monsters haunt disciplines
differently and why?

Promises of Monsters invites all, including researchers, artists and
practitioners, to engage on an interdisciplinary level with the subject
of monsters and the monstrous. As well as traditional academic style
presentations, we also welcome creative submissions across all genres
and forms.

The following are possible themes for panels, papers and artistic
contributions, but we welcome you to think beyond these suggestions:
Animal studies
Art, popular culture
Critical race theory
Digital technologies and social media
Disability studies
Gender and feminist theory
(Im-)materiality, embodiment
Medical humanities
Postcolonial studies
Queer and sexuality studies
Science fiction, horror, and fantasy
Technology, medicine
Xenophobia, the Other

We accept submissions for papers and panels. Please get in touch about
artistic submissions.

Send your abstract (250 - 300 words and a 50 word bio) and/or questions
to: promisesofmonsters [at] gmail [dot] com
For updates, see our website:
Deadline for submissions: 15^th December 2015

Promises of Monsters is organized by The Monster Network. You can find
and join us on Facebook.
(info atualizada em 27/11/2015)


Funded Film and Digital Media PhDs, Royal Holloway
The Department of Media Arts at Royal Holloway, University of London, is inviting applicants to our PhD programme. The Faculty of Arts and Social Sciences at Royal Holloway is a member of TECHNE, a consortium that has been awarded an AHRC Block Grant Partnership. This provides studentships of three years maintenance at £16,057 per year and three years full-time fees for UK students and full-time fees for European students.

Royal Holloway has also been awarded Leverhulme Magna Carta scholarships for interdisciplinary doctoral training on the theme of Freedom and the Rights of the Individual in the Digital Age. These scholarships are funded at the same level as the TECHNE awards.

Students who apply for these awards will also be considered automatically for College Scholarships.

The department has a wide variety of recognized strengths in research, ranging from modernist art practices to British cinema to TV history and aesthetics. Applications are welcomed for doctoral research by traditional scholarly methodologies and by creative practice. You may consult our list of staff and their research interests for guidance on possibly supervisory expertise

For the Techne award we particularly seek proposals in the aesthetics of cinema and digital media, modernism and film, Hollywood history, Asian cinemas, and transnational and diasporic cinemas. For the Leverhulme scholarship suggested topics include the ethical challenges in the collection, use, dissemination and destruction of data; and developing new opportunities for enhancing democracy and debate using digital communications.

Applicants for funded research are asked to submit a preliminary research proposal of at least 1500 words and a current CV to the department’s Director of Postgraduate Research, Mandy Merck, by December 11, 2015, in order to prepare final applications by the Leverhulme Magna Carta deadline of 27 January 2016 and the TECHNE deadline of 7 February 2016.
(info atualizada em 26/11/2015)


Big Data: Critiques and Alternatives
Event date: Thursday, June 9, 2016, Hilton at Fukuoka, Japan
Deadline for proposals (500 words): December 15, 2015
Deadline for discussion papers (3500-5000 words): May 9, 2016

Please upload proposals to:

Organizers: Greg Elmer (Ryerson University), Ganaele Langlois
(York University), Alison Powell (London School of Economics),
Alessandra Renzi (Northeastern University)

The relationship between big data and the social science and humanities
is, to say the least, contested. Big data – the automated collection,
bundling together and algorithmic processing of massive datasets– at
first answers to the historical limits of the social scientific
approach: it seemingly overcomes sampling biases and allows for
transdisciplinary research into complex questions. For instance, big
data helps understand the consequences of global warming and the
outcomes of armed conflicts and economic crises. At the same time, the
cooptation of big data by corporate1 and state interests2 for purposes
of surveillance and manipulation highlights a crucial limitation: big
data is being developed as a tool of predictability and therefore as a
tool for social and economic control. It is envisioned mostly as a means of establishing certainty about the present and the future, and of punishing statistical outliers and so-called risky behaviours. 3

The goal of this preconference is to reflect on alternatives to big data
as a predictive model for population control, management and
manipulation. Can we envision a framework through which big data will
cease to be necessarily surveillant or personally intrusive? What would
constitute an ethics of big data use? Beyond control, what kinds of
relations between humans, between humans and their environment, and
between humans and non-humans could be built through big data? What
might be the consequences of placing different actors –
citizens, activists, or even animals and plants – at the centre of data
collection paradigms? We are seeking original, unpublished contributions
that explore critical and alternative paradigms, theories, methods
(including arts-based methods) and case studies that work against the
predictive, managerial uses of big data. We are particularly interested
in contributions that not only critically examine the claims
of predictability, but also engage with alternative concepts such as
unknowability, uncertainty, serendipity and possibility. We are also
seeking contributions that examine the relationships between researcher,
data and the public, and that challenge the claim of neutral objectivity
of big data to replace it with questions of care, involvement and
engagement in many modes of communication and in relation to many forms
of power.

We envision that the pre-conference will cover the following themes:
public accountability; big data commons; and big data activism. Examples
follow below.
1. Bringing public accountability to big data
– Uncovering the political economy of big data initiatives
– Critiques of data extractivism
– Mapping networks of influence and power in big data uses
2. Big data commons
– ethics of big data
– participatory big data projects
– grassroots big data initiatives
3. Big data and Activism
– Activist research methods in data-driven projects
– Activism, art and big data
– Alternative data visualization

Please upload 500 words proposals to by December 15, 2015.

Selected participants will be asked to submit their discussion papers
(3500-5000 words) on May 9, 2016 for circulation among participants.
Organizers will invite selected presenters to contribute to a
publication. Please direct any questions to:> and>
(info atualizada em 26/11/2015)


Visiting faculty position announcement
I would like to post the below announcement to the ECREA mailing list,
it is for a visiting faculty position in media studies:
*Visiting Professor of Media Studies – American University of Beirut*

The Media Studies Program in the Department of Sociology, Anthropology
and Media Studies at the American University of Beirut invites
applications, at open rank, for a one semester visiting position to
begin January 26, 2016.

Media Studies is a newly established and growing program that currently
offers both undergraduate and masters degrees, and is seeking a scholar
trained in critical, humanistic or social scientific approaches broadly
conceived. The visiting scholar will be expected to teach two courses,
(one each at the undergraduate and graduate level), in areas including
but not limited to: political economy, global media and communication,
cultural studies, and media activism. Applicants should mention courses
they would plan to teach in their cover letter.
(info atualizada em 25/11/2015)


L'avventura. Italian Film and Media Studies Journal
/L’avventura /is a new cinema and media studies journal, published by
one of the most established Italian publisher, Il Mulino. /L’avventura/
aims at positioning itself at the heart of the contemporary debate on
Italian visual and media culture, its history and its present
characteristics. The journal’s main areas of interest include:

* *Patterns, styles, figures*: the evolution of styles and patterns,
themes and narratives; the relationship between film and other art and
communication practices; modes of production and industrial forms.

* *Archive*: film and media archives, as much as oral sources.

* *Differences*: local, national, gender and generational identities as
shaped and moulded in cinema and media discourse.

* *Spectatorship*: reception and audience studies within the Italian
context, or related to the Italian media products circulating abroad.

* *Camera*: the history and present of Italian photography, as related
to visual and media culture.

**Contemporary tale*: a fresh look onto contemporary narrative patterns
within Italian media production.

Please send your abstract to>by November 30, 2015. All
notifications of acceptance will be emailed not later than December 15,
2015. Abstracts should be between 300 and 400 words and can be submitted
in English or in Italian. The proposal shall include: 5 keywords,
author/s, institution, and contacts (e-mail, telephone), together with a
short curriculum for each author.

If the proposal is accepted, the author/s will be asked to submit the
whole article to the same e-mail address by February 28, 2016. Essay
must be formatted according to Il Mulino style guidelines.

Contributions will be sent to two independent reviewers in a
double-blind procedure prior to publication decision.

Authors could be requested to change or improve their articles when
suggested by reviewers.

Articles should be between 5,000-6,000 words in length (no more than
35,000 characters, spaces and notes included), but shorter articles will
be considered.
(info atualizada em 25/11/2015)


Call for Papers: Sex and Sexualities in Popular Culture: Feminist Perspectives
A special-themed issue of Networking Knowledge, the journal of the
Edited by Milena Popova and Bethan Jones
Deadline for abstracts: 30th December 2015

Popular culture, as can be seen through the GamerGate controversy for
one example, has a profound impact on feminist issues and discourses.
Representations of sex and sexualities influence public opinion and
individual attitudes and perceptions. Discussions - in both media and
academia - are continuing to take place about the impact of Fifty
Shades, sexism and misogyny in computer game and comic book fandom, the
sexualisation of girls and the sexual desires of both young and adult
women. Moral panics abound surrounding Fifty Shades and the “irrational”
behaviour of One Direction fans, while LGBTQIA+ identities and
sexualities are often represented tokenistically at best. Creative
practitioners can easily come under fire for poor representations of sex
and sexualities, as evidenced most recently by the reception of Joss
Whedon's treatment of Black Widow in The Avengers: Age of Ultron;
equally they can be celebrated for their efforts, as was the case with
Bioware's inclusion of a consent negotiation scene in Dragon Age:

Following a successful one-day symposium on this theme in November 2015,
we invite proposals for a special issue of Networking Knowledge - the
Journal of the MeCCSA PGN. As with the symposium, we wish to open up
debates and explore the nuances of sex and sexualities within popular
culture. To that end, possible topics include but are not limited to:
* Representations of women's desire and sexualities in popular culture
* Non-cis- and heteronormative sexualities in popular culture,
especially beyond "gay and lesbian"
* Representations of sex work
* Infertility and sexual dysfunction
* Sexual intersections: race, disability, religion, class and
socioeconomic status, gender
* Sex and sexualities in gaming
* Sexual pleasure in popular culture
* Invisibility: (a)sexualities unrepresented
* Sex, sexualities and social media
* Sex and sexualities in fan and transformative works

Please send 300 word abstracts for papers of 5,000 to 6,000 words, along
with a short author biography, by 30th December 2015. Please email these
to guest editors>and>. If you have questions about
Networking Knowledge in general, please contact the Journal Editor,
Simon Dawes at>.
Final, selected, articles will be due by the end of March 2016.
(info atualizada em 24/11/2015)


Media and Transgression, International Conference
Department of Communication and Media, Lund University, Sweden, 

*March 17th 2016*. 
Organisers Annette Hill, Michael Rübsamen, Tina Askanius and Jose Luis Urueta.

Transgression is all about breaking the rules. Media and transgression
is a broad topic within which to critically examine rule breaking across
cultural industries, aesthetics, form and cross media content, and
production, participation and reception contexts. Transgression is about
people’s capacity to break the rules, to disturb and subvert political
and cultural institutions, to create and remix content, struggle over
meanings and produce new forms of political and self-expression. To that
end, transgression is about power, the power of elites and non-elites,
systemic and symbolic power, and the power of human agency within media,
society and culture.

This conference considers media and transgression in relation to the
following areas of enquiry: political transgression, for example social
movements, activism, and subversive politics; informal media economies,
including piracy policies, discourses and practices; cross media
content, form and aesthetics, such as hybrid genres, taboo topics,
mashup and remix cultures; and transgressive roles, for example the
blurred boundaries of witness-perpetrator, producer-user, fans and
anti-fans, audiences and publics within media and society.

The research questions include:

1.What are the various ways we can conceptualise and critically examine
transgression within media, society and culture?

2.What are the power relations at work in political and cultural

3.How are media and cultural industries responding to informal and
formal media economies?

4.In what ways can we address the methodological and ethical challenges
of researching transgression?

These research questions can be applied to different approaches to
research on media and transgression within media, communication and
cultural studies, media history, film studies, sociology of media and
culture, political communication, anthropology, and cultural geography,
amongst others. The aim is to provide a platform for international
scholars from various disciplines to debate the complex issues at work
in understanding the theories, processes and practices of media and

The schedule includes a combination of keynote addresses,
pre-constituted panels, and open panels. Confirmed keynote speakers
include Professor John Corner (Leeds University, UK), Professor Joke
Hermes (In Holland University, Netherlands), Professor Ernest Mathjis
(University of British Columbia, Canada) and Professor Kay Richardson
(Liverpool University, UK). Other invited speakers include Professor
Nico Carpentier (Uppsala University, Sweden), Professor Annette Hill
(Lund University, Sweden), Professor Paul McDonald (Kings College, UK),
Professor Bo Reimer (Malmö University, Sweden) and Dr Jane Roscoe
(Director of the London Film School).

Please submit an abstract of 300 words in English by *December 11th
2015* to the conference email: For further
information please consult our website is a
registration fee of 750 SEK (80 Euros) that covers food and drink for
the day and an evening buffet.

(info atualizada em 24/11/2015)


Crossing Borders: Researching Transnational Media History
International Communication Association Preconference
Fukuoka, Japan, June 9, 2016
Sponsor: ICA Communication History Division
Co-Sponsor: ECREA Communication History Section
Organizers: Nelson Ribeiro and David Park

Media history has frequently been tied to the nation-state. This ICA
pre-conference is dedicated to considering the history of media that
operates /across/ national borders. Indeed, communication has long
been a central theme in historical schools of thought that stress the
networked and interdependent nature of both the ancient and modern
worlds. As such, we welcome papers on a wide array of historically
grounded themes that explore transnational communication.

Submissions to this pre-conference are invited to consider the full
breadth of transnational communication in history. States,
businesses, commercial networks, and other institutions have long
been preoccupied with managing the flow of communication across
borders. These patterns raise numerous questions regarding the
institutions connected to these flows, the messages they circulate,
and the audiences they reach. More specifically, the pre-conference
will be structured around three themes:
1. *Histories of transnational media organizations*. Different
technologies and media have been used to spread information and
ideas across the borders. States and the Catholic Church were
among the first institutions to understand the importance of
having access to information produced abroad and to spread their
own messages in different geographies. In modern times,
transnational communication played a central role in
disseminating political and religious ideals along with business
information, thus contributing to early processes of
globalization. Although several newspapers in the late 19^th
century were already operating internationally, in the 20^th
century the phenomenon of transnational communication became even
more prevalent as media organizations played a central role in
international propaganda and public diplomacy. The BBC, Voice of
America, Radio Beijing, Radio Moscow, and Radio Tokyo are just a
few examples that come to mind.
2. *Histories of transnational media content*. Along with
transnational media organizations, the content and form of media
have never truly been hemmed in by national borders either, as
genres, narratives, and franchises have circulated regionally and
globally, contributing to hybrid cultural identities. British
literature and U.S. music, film, and television serials are
obvious examples but many others could be cited, namely Indian
cinema, Japanese animation and videogames, and Brazilian
/telenovelas. /After World War II, the circulation of
transnational media content also became a major issue in the
context of the Cold War leading to the creation, in Europe and
Asia, of international organizations that promoted the exchange
of television content among its members.
3. *Histories of transnational audiences*. As is the case with the
internet today, in earlier times newspapers, broadcasting,
musical recordings, and video tapes were used to reach
transnational audiences and create diasporic communities, a
phenomenon of particular importance in the context of empire.
Developing our understanding of how audiences received media
content produced in different cultural contexts can expand our
knowledge of how transnational networks operate and how
communication technologies facilitate (or resist) these flows.

Abstracts of 300 words (maximum) should be submitted no later than
*30 November 2015*. Proposals for full panels are also welcome: these
should include a 250-word abstract for each individual presentation,
and a 200-word rationale for the panel. Send abstracts to:>. Authors will be
informed regarding acceptance/rejection for the preconference no
later than *10 January 2016*. Full papers will need to be submitted
no later than *30 May 2016* as these will be posted online and made
available to all those participating in the preconference.
(info atualizada em 23/11/2015)


Bodifications - XIV MAGIS Gorizia 2016
XIV MAGIS - Gorizia International Film Studies Spring School
Gorizia, 9-14 March 2016

We are delighted to announce the School’s Keynote Speakers
Jack Halberstam
Professor of American Studies and Ethnicity, Gender Studies and
Comparative Literatures at the University of Southern California, US

Erkki Huhthamo
Professor in the Design Media Art and Film, Television and Digital Media
Departments at University of California Los Angeles (UCLA), US

Isaac Julien
Installation artist and film director, UK

Jackie Stacey
Professor of Cultural Studies and director of Centre of
Interdisciplinary Researches in Arts and Languages (ACIDRAL) at the
Manchester University, UK

Laura U. Marks
Professor of Art and Culture Studies at Simon Fraser University,
Vancouver, CA

Kevin Brownlow (to be confirmed)
Cinema historian and film director, UK

Yervant Gianinkian and Angela Ricci Lucchi (to be confirmed)
Visual artists and filmmakers, ITA

Bodifications: Mapping the Body in Media Cultures

>From the 2016 edition onwards, the MAGIS - Gorizia International Film
Studies Spring School will promote a long-term research project
dedicated to the historical transformations of the body in media
cultures. This project is based on the premise that the epistemological
understanding of the body has been changing in the Western World
starting from the second half of the 19th century at least. The
body-mind opposition that has traditionally informed Western thought has
been challenged: no longer discarded as a mere “vessel” for the mind –
therefore irrelevant, or even “dangerous”, to reason (Grosz 1994) – the
body has started to be considered as the very condition through which we
access the knowledge of the world. In a phenomenological perspective,
the body is in fact the vehicle through which our own experience of the
world come into being: in other words, it is ‘our general means of
having a world’ (Merleau-Ponty [1945] 2012, 146). The body is therefore
conceived as an object of the world and as point of view on the world, a
space from which exteriority is established and through which
interiority is constructed at the same time (Fabbri and Marrone 2001).
Moreover, the definition of the body as a biologically predetermined
entity, characterized by ahistorical and fixed features, has been
challenged by, amongst other things, the two following ideas. Firstly,
the idea that the body is a discursive construct, informed by a complex
series of regulatory norms and power relations (Mauss [1936] 1973;
Foucault [1976] 1979). Secondly, the idea the body and its evolution
have been influenced by technology, seen as a co-evolutionary partner of
the human being, and thus capable of modifying the biological
determinations of the body itself (Leroi-Gourhan 1993). In this sense,
‘behaviours, morphologies, and even physiologies are the outcome of a
set of processes through which every society acts on the bodies, this
way literally constructing them’ (Borgna 2005, VI).

According to this epistemological perspective, the body is therefore
seen as a fundamental vector (and “filter”) of knowledge and as a
bio-political and techno-cultural artefact in which different
ideological and material tensions meet and collide. In the late
modernity, this perception of the body has reached its full development,
while at the same time being rearticulated by further cultural
processes, such as significant changes in the economic structures, the
atomization of social agencies, the political and theoretical action of
social movements, and the possibilities offered by scientific and
technological innovation. In this context, the body becomes a reflexive
entity, the object of options and choices, a sort of individual project
aimed at the redefinition of the self and of identity (Giddens 1991;
Bauman 1999). This paradigm of the “body-as-project” has developed in at
least two different (though closely interrelated) directions. On the one
hand, the human body (as conceived in modern humanist thought) has been
reconceptualised as an “obsolete” object whose senses and capabilities
need to be enhanced and whose limits need to be overcome. During the
last decades, in fact, different social discourses and practices – such
as those produced by body art, plastic surgery, bodybuilding, cyber
punk, etc. – have all worked towards the definition of a post-human and
post-organic body, freed (at least in part) from biological constraints
and limitations (e.g. Halberstam and Livingston 1995; Stelarc 1994). On
the other, the body is perceived as a “political” project aimed at
manifesting and (re)defining specific social values and lifestyles. It
is in fact primarily through their work on the body that individuals
construct and affirm their identities in order to find their place (and
recognition) in the social world. Of course, this body-project is at the
crossroad of several contradictions and tensions: as also stated by
feminist, queer, and race studies, individual strategies of
self-construction through the body must always engage in a process of
negotiation with (or against) the system of meanings employed by the
social order to make sense of the body itself (e.g. Butler 1993;
Pitts-Taylor 2003; Kaw 1997).

Moreover, the transformations of the body (and of its relationship with
the mind) in contemporary technological landscape do not only affect the
body as an object of study, but also concern the observing subject
(Black 2014). The Humanities are now facing a gradual relocation of
forms and places of knowledge construction, thus undergoing a drastic
change in their theoretical framework. Many scholars in the field have
now left behind an out-dated “Vitruvian” attitude, as they find
themselves involved in ‘endlessly ramified networks’, in which they
constantly rework their fluid identities and environments, they
‘construct, and [are] constructed’, recognizing themselves as ‘spatially
extended cyborg[s]’ (Mitchell 2003, 39). Contemporary media
relationships in fact ‘[place] scholars in an extended network that
combines minds, bodies, machines, and institutional practices, and [lay]
bare the fiction that scholars are disembodied intellectuals who labor
only with the mind’ (Burgess and Hamming 2011). Therefore, a project
dedicated to the synchronic and diachronic study of the body in
(contemporary) media cultures should also investigate the ways in which
this object is framed, analysed, understood, and disseminated by an
interdisciplinary and “stratified” scientific community that is embedded
in the very same technological and cognitive relations it aims to describe.

The research project promoted by the MAGIS - Gorizia International Film
Studies Spring School investigates the role performed by the media in
this complex scenario where the body and its cultural perception are
constantly transformed and redefined. We aim to address the following
issues: 1. The function of media representations in the social
(re)definition of the body; that is, the ways in which media texts and
discourses produce repertories, iconographies, images, perceptions,
models, and meanings that influence the construction of the body and its
transformations; 2. The role of media technologies in the physical
transformation and enhancement of the body; that is, the ways in which
the intersection of body and technology contributes to overcome the
biological, neurological, and psychological limits of the (human) body;
3. The role of media technologies in the epistemological
reconceptualization of the body as a cultural and scientific object
during the last two centuries, and their influence on the concurrent
transformation of the observing subject – from external and “detached”
to embodied and embedded in the object itself. Drawing on their own
specific disciplinary interests and methodological perspectives, the
five sections of the School – Porn Studies, Visual Arts, Media
Archaeology, Post-Cinema, and Film Heritage – will focus on different
configurations of the body:

Porn Studies. The pornographic/sexualized body

According to Linda Williams’s classic definition, pornography can be
described as a “body genre”, that is as a film genre essentially aimed
at eliciting bodily reactions in the viewer through the “spectacle” of
bodily excess. More recent studies have further developed this idea,
starting to investigate the social production of the pornographic body
and the affective relationships between pornography and its audiences.
On this basis, the section aims to address the following topics:
typologies and morphologies of the pornographic body; articulations of
the pornographic body in terms of gender, ethnicity, age, ability, and
class; pornographic sub-genres, body types, and the pleasures of
categorization; sexual hyperbole, excess, and the grotesque in the
pornographic body; porn as standardization and porn as subversion of the
body; porn star bodies as (cultural) commodities; industrial and social
constraints in the construction of performers’ bodies; medicalization of
the pornographic body; ways of engaging the viewer: body affects,
feelings, and visceral reactions.

Visual Arts. The artistic/performative body

In recent times, the long-standing tradition of Performance Art seems to
be changing its course: several artists are turning their attention back
to the “outside world”, using their own bodies (as well as the bodies of
the audience) as tools to create aesthetic evolutions or even
socio-political transformations. Therefore, the Visual Arts section aims
to investigate the human body as a transforming factor and a subject of
mutation, capable of activating processes of change in contemporary
media cultures. The section invites scholars and researchers to explore:
1. The ways in which artistic performances attempt to involve the
spectator as a “relational” subject (as Nicolas Bourriaud would say),
taking into account performance as well as video art and other
audio-visual productions; 2. The strategies and techniques with which
these artistic performances engage both the artist and the viewer’s
bodies, also considering the possibilities offered by digital
technologies and online networks.

Media Archaeology. The archaeological/technological body

This brand new section of the MAGIS Spring School is devoted to the
multifaceted scholarly approach that goes under the label of Media
Archaeology. Drawing on the outcomes of the XXI Udine Filmforum
Conference “At the Borders of (Film) History”, in the next few years
this section will undertake a project dedicated to the archaeology of
the “technological body” – i.e. the body as constructed by technology –
in the analog era. This edition will be focused on the body produced by
non-theatrical films and videos. More specifically, we will investigate
how film and video technologies have contributed to establish
“interrelationships” in the non-theatrical realm, in terms of social
identities, technological “gestures”, cognitive processes, and
environments. Based on these premises, we invite proposals on: 1.
Non-theatrical films and videos as the “material ground” through which
cultural discourses and human agency have constructed social identities;
2. How the human body has incorporated technology and how technology has
moulded new bodily frameworks, in particular taking into account the
non-theatrical realm; 3. How this technological embodiment has created
new ways of perceiving and thinking; 4. How the technological body
shaped by non-theatrical films and videos has interacted with its own
environment, modifying and technologizing its inner structures.

Post Cinema. The digital/post-organic body

This section investigates the status of the body in the realm of new
media, with particular attention to videogames, transmedia platforms,
social networks, and other Internet features. The main focus of the 2016
edition will be on the processes through which new technological devices
develop the condition of immersiveness, and how this condition affects
the uses of the body. We invite proposals on: 1. The strategies through
which specific technological devices (such as Virtual Reality headsets,
Smart Glasses, Augmented Reality games and applications, etc.) create
immersiveness; 2. How immersiveness impacts on the relationship between
subjectivity, politics, and power, and on the definition of the borders
between human and not human, organic and post-organic; 3. How
immersiveness shapes contemporary non-linear narratives and interactive
storytelling. 3. The developments of spectatorship in the digital age,
and more specifically the ways in which new forms of media consumption
engage the body of the viewer; 5. The ways in which the body itself is
represented and addressed by new media texts and products (webseries,
YouTube videos, grassroots productions, 3D and high definition cinema,
videogames, etc.).

Film Heritage. The Body and Shape of Film History: Forms of Presentation

For its 2016 edition, the section will organize interactive workshops in
which former, current, and future ways of (and dispositifs for)
presenting film history will be discussed. The digital turn within
humanities has increased the interest in e-research and e-presentation,
opening up new possibilities for presenting the “body” and the
“artefacts” of film history. In this context, growing communities are
building new collaborative environments, characterized by interactive
access, re-uses, shared tools, and a combination of different archival
resources. A similar ethos informs and strengthens the strategies
enacted by museums and theatres in the organization of exhibitions aimed
at preserving “original” presentations and creating haptic (or
archaeological) relationships with films and related materials. In this
case as well, the form of presentation defines the content and corpus of
what is understood as film history. In order to understand present and
future ways of presentation, the section will extensively investigate
the “historical” ones, with the aim of building bridges and
(re)discovering common issues among former, current, and future forms of
presentation. The section is organized by the University of Udine - La
Camera Ottica, CineGraph/Hamburg, University of Applied Sciences Potsdam
& University of Potsdam (European Media Studies).

The organizers invite single papers and panel proposals

Deadline for proposals: November 30, 2015

Authors will be notified by December 15, 2015 if their proposals have
been accepted.
Proposals should not exceed one page in length. Please make sure to
attach a short CV (10 lines max).
A registration fee (€ 150) will be applied.

Submit proposals to:>>>

Further information at:<>
(info atualizada em 23/11/2015)


AHRC Studentships available in the University of Roehampton
The Department of Media Culture and Language at the University of
Roehampton is pleased is invite applications to its PhD programme in
Cultural Studies, Film, Media and Photography. Our vibrant and active
research culture provides an excellent context in which to pursue both
practice-based research projects and those that focus on traditional
scholarship. Further information about our research culture is available

There is an exciting opportunity for the strongest doctoral students to
apply for funding through our membership of the AHRC TECHNE Doctoral
Training Partnership. Successful applicants will be awarded a stipend
and fee waiver to commence on 1st October 2016.

TECHNE PhD students will benefit from a rich and diverse development
programme, with a focus on interdisciplinarity and developing career
potential both within and beyond academia. The programme includes input
and placement opportunities provided by TECHNE’s many partner
organisations in the cultural sector (e.g. the Barbican, Natural History
Museum, Museum of London, British Film Institute and the Science
Museum). Further information is available at

*At Roehampton, the deadline for expressions of interest is _1st
December 2015_. Please send a short summary document including your
proposed project (500 words), details of any informal discussions you
may have had with staff at Roehampton and details of your qualifications
to>. *

*Our internal deadline for draft applications is 8th January 2016.*

*And Final Applications are due for submission to TECHNE by midnight,

_7th February 2016_. *

For details on how to apply for TECHNE at Roehampton, see:

For details of potential supervisors in the Department of Media Culture
and Language, see:

For general enquiries about TECHNE at Roehampton, potential applicants
can contact Amy Waite in the Graduate School at

(info atualizada em 23/11/2015)


Media, Religion and Publics
Conference of the International Society for Media, Religion and Culture
Conference location: Seoul, Korea
Conference dates: 1-4 of August 2016
Deadline for Paper proposals: 15 December 2015
Notification of acceptances: end of January 2016

The new visibility of religion in the public square has been, in recent
decades, a recurrent theme in academic research. Drawing on a modernist
idea of the public and private sphere, this discourse depicts religion
has moved from a marginalized position in individual life to a central
concern in the political, juridical and economic sectors of society.
During this same period, the study of media, religion and culture has
expanded from interest in media representation of religion to the uses
of religion for various types of audiences. Building on these two
strands, the conference will explore how scholars can theorize and
develop the concept of “publics” in societies where boundaries between
the private and public spheres have blurred, and in which religion is
represented, experienced and practiced through a wide range of media,
from mass media to digital media and popular culture. How do different
media content, aesthetics, technologies and networks shape the idea of a
public? How do media work in conjunction with various social, cultural,
political and historical factors to shape the ways in which “public” and
“private” religion is understood and practiced? How do different kinds
of mediated publics shape the access and agency of various religious

The conference, the biennial meeting of the International Society for
Media, Religion and Culture ( will explore
these issues from a range of disciplinary perspectives. International
participants will represent disciplines including, media studies,
journalism, religious studies, the anthropology and sociology of
religion, history, the study of literature and public policy. The
conference, since its first meeting in 1996, has become the leading
international gathering for the discussion of research in religion,
media and culture.

We invite proposals for panels and roundtable sessions as well as
individual papers of up to 350 words. Panel and roundtable proposals
should include paper titles, 150 word abstracts for each paper, and
names and titles of up to four participants (a moderator/respondent
might be added). Sessions will be 1½ hours in length. The conference
will also feature as a keynote speaker professor Pradip Thomas,
University of Queensland, Australia and Professor Jinhong Jung at Seoul
National University. Also planned is a banquet with an address from
Inaugural Society President Lynn Schofield Clark, plenary panels
involving well-known contributors in this area, and the screening of a
recent Korean film.

Some of the questions that may be addressed in panel, workshop and paper
proposals include:

* Religion, media and globalization
* Diasporic media and transnational religious and spiritual communities
* Religion, media and politics
* Religion, media, and the global marketplace
* Media, religion, and authority
* Religious conflict and media representation
* Mediatization and religion
* Religion and spirituality in popular culture
* Religion and entertainment media (film, tv-series etc)
* Religious audiences: class, gender, ethnicity, race, age and sexuality
* Media rituals and media events
* Digital religion and spirituality (social media, digital games etc)
* Theoretical and methodological approaches to the study of religion
and media

The conference will be held at the Samjung hotel in Seoul in South
Korea. In Korea, historical sites which have been designated as UNESCO
World Heritage and global popular culture through the “Korean Wave”
meet. As one of the most wired cities in the world, Seoul is a modern,
friendly and vibrant metropolis with a distinct culture and
architecture. Thriving spiritual communities, striking religious
monuments and places of worship make this place a fitting context for
the conference. As part of the conference program, we will be visiting
Yoido Full Gospel Church (the World's largest Protestant congregation),
the Yongmunsa Buddhist temple and the Unification Church.

Seoul has good international transport links to all major cities through
the Incheon International airport. Excellent public transportation is
available from the airport to the City center, as well as to major
cultural attractions.

Proposals for individual papers, panels, workshops and exhibitions
should be sent to:>__

Details about registration, the venue, housing and transportation for
the conference are available on the conference webpage
<>, and queries may be sent to the local
organizing committee at>.

/To receive updates on the conference, like us on Facebook!/

We warmly welcome you to Seoul and ISMRC 2016!

Mia Lövheim, Professor, Uppsala University, Conference Program Planner
and Vice President, International Society for Media, Religion, and

Local hosts: Professors Sunny Yoon, Department of Media and
Communication, Hanyang University:>

Associate professor Jin Park, School of Communications and Media, Seoul
Women's University:>.
(info atualizada em 23/11/2015)


Faculty Position Announcement - Faculty of Art, Design, and Architecture at Bilkent University
The Faculty of Art, Design, and Architecture at Bilkent University announces openings in the Department of Communication and Design at the ranks of Assistant, Associate, and Full Professor in Public Relations & Advertising and Media Production. Faculty duties for both positions will include independent and collaborative research and practice, teaching at the graduate and undergraduate levels, and supervision of student research.

Successful candidates will be expected to maintain a vigorous research program with publications in high-quality, peer-reviewed journals and similarly selective, scholarly outlets. Preference will be given to candidates with a demonstrated research program capable of attracting external funding. Meaningful professional experience in the field is particularly desirable.

Candidates will be evaluated according to the overall quality of their academic preparation and published work; the relevance of their scholarly research to the department’s academic priorities; evidence of commitment to teaching; and strength of recommendations. The academic ranking for each successful candidate will be commensurate with his/her prior academic experience.

Public Relations & Advertising: Applicants must hold a PhD in Mass Communication or a closely related field by the date of appointment. Preference will be given to candidates with teaching experience in professionally oriented courses such as strategic communication campaigns, case studies, international public relations, and professional writing for strategic communication.

Media Production: Applicants must hold a PhD or equivalent terminal degree in Film, Media Arts, or a related field by the date of appointment. Preference will be given to candidates with teaching and practical experience in production areas such as studio television, video and post-production, visual effects, animation, photography, and multimedia.

All submitted applications must include:
- CV
- Statement of teaching philosophy
- A three-page (maximum) statement of research interests
- Three letters of reference, with names and addresses of each referee

The completed dossier can be e-mailed or sent in hard copy to Prof. Ayhan Altintas, Dean
Bilkent University
Faculty of Art, Design and Architecture
06800 Ankara – TURKEY

Applications will be reviewed beginning 14 December 2015 and continuing until the positions are filled.
(info atualizada em 21/11/2015)


Decolonizing the academy
Two day graduate and faculty seminar led by Ramón Grosfoguel
(UC-Berkeley) and one day conference
University of Edinburgh
24-26 February 2016

The University of Edinburgh’s Global Development Academy in
collaboration with the Centre for Contemporary Latin Studies is
developing a series of activities and initiatives that engage with
questions of decolonization and decoloniality. We have two main aims in
this regard. The first is to support through our teaching, research and
networking activities individuals, communities and social movements
engaged in decolonial struggles, that are seeking to address the
legacies of colonialism and ongoing modes of coloniality. Indigenous,
Afro-descended and other decolonial movements are calling the
development project into question in a myriad of ways that have
implications for our work and our global development focus. The second
is to contribute to efforts to decolonize the westernized academy. While
traditional universities can be sites of radical thought, they have
generally struggled to embrace and accommodate non-western thought and
worldviews, functioning instead on a basis of epistemic ignorance. It is
essential therefore that our curricula and research programmes create
spaces for theoretical and methodological approaches that are relevant
for indigenous, Afro-descended and colonized populations. We also need
to seek ways to disrupt the modernist divisions between arts and
sciences reflected in our institutional structures and take up the
intellectual agendas being advanced by decolonial scholars. Scholarship
identified with the Modernity/Coloniality/Decoloniality (MCD) paradigm
locates the start of modernity not with the Enlightenment but with the
conquest of America in the 15th century, and recognizes the
inseparability of the capitalist world system from the dynamics of
colonialism. Modernity and coloniality are therefore mutually
constituted. Coloniality did however create the conditions for border
thinking and interculturality and for the decentring of Eurocentric
thought. Despite the modes of epistemic violence wrought by colonial
practices, decolonial thought persists and provides important resources
for dealing with the legacies of the past and the challenges of the present.

In February 2016, we will be joined by prominent decolonial scholar
Ramón Grosfoguel of UC-Berkeley, who will run a two day postgraduate and
faculty course. He will also participate as the keynote speaker at a
one-day conference focused on questions of decolonization and
decoloniality. Both events are free of charge, but registration and
acceptance of a place are required.

24 and 25 February 2016
Decolonizing Post-Colonial Studies and the Paradigms of Political Economy
Led by Ramón Grosfoguel, UC-Berkeley

This two-day course will discuss the cartography of power and the
structures of knowledge of the world-system we have inhabited since the
16th century. It will decolonize the paradigms of political-economy and
post-colonial studies. Finally, it will discuss transmodernity as an
alternative that moves beyond the world-system of today. It will be of
interest to scholars and students already working with questions of
decoloniality/decolonization, or for those who wish to gain an
introduction to this field of knowledge. It will be of particular use to
lecturers and researchers seeking to decolonize their classrooms,
curricula, teaching practice, research and writing. Participants
accepted into the course will be sent a readings package in advance.
The course will cover five key modules:

FIRST: The Four Genocides/Epistemicides of the 16th Century, the
Westernized University and Modern/Colonial Epistemology

SECOND: Epistemic Racism/Sexism: Decolonizing the Western Concept of

THIRD: What is racism?: The Fanonian Zone of Being and Zone of Non-Being

FOURTH: Decolonizing Paradigms of Political-Economy

FIFTH: Transmodernity and Decolonization of the world-system

Places are free but limited, so registration is required. The names of
people who seek to register after all available places are taken will be
added to a waitlist. If you would to apply for a place, please fill in
the application form and send to:> by 9 December 2015.

The application form can be found here:

Friday 26 February 2016

One-day conference: Decolonizing the academy, University of Edinburgh
Keynote speaker: Ramón Grosfoguel, UC- Berkeley

Call for papers

We welcome panel and abstract submissions for papers engaging with
questions of decolonization/decoloniality. We welcome scholars working
in and on any geographical region, but we are particularly interested in
work on the Americas and Africa and dialogues between them. Possible
themes include:

Decolonial social movements and political projects
Decolonial, non-capitalist and revolutionary subjectivities,
epistemologies, ontologies, philosophies and theologies
Past and present forms of slavery and demands for slavery reparations
Epistemic violence
Dimensions of the colonial matrix of power, including gender and
sexuality, institutions, knowledge and authority
Theoretical engagements with decolonial thinkers
Border thinking and non-linear forms of knowledge
The politics of buen vivir
Power beyond the state
Meanings, discourses and representations of blackness/indigeneity
The Africa diaspora, the Black Atlantic, the Black Pacific
Decentring Eurocentrism
Interactions between MCD and postcolonial studies
Questions of cultural and political citizenship
Alternative and non-modern spatialities, temporalities, cartographies
and chronologies

Please send paper and panel proposals to Julie Cupples
(>) using the
application form.

The application form can be found here:

Deadline for submission: 9 December 2015

For further information about these events, please contact Julie Cupples
(info atualizada em 20/11/2015)


Manoel de Oliveira: A Poetics of Dissent: New deadline for paper proposals: November 30 2015
Manoel de Oliveira: A Poetics of Dissent
VI CECC International Conference in Culture & Conflict
Research Centre for Communication and Culture – Universidade Católica Portuguesa
Lisbon, 7-8 April 2016
New deadline for paper proposals: November 30 2015

Manoel de Oliveira’s life and work merged with the history of cinema from 1931 when Douro, Faina Fluvial [Labour on the Douro River] was first exhibited until April 2, 2015, when he died. Considered for many years as the oldest filmmaker in activity (Oliveira’s last film O Velho do Restelo [The Old Man of Belém] dates from 2014 when he was 105), Oliveira’s filmography is definitely marked by novelty and esthetic dissent.

Internationally acclaimed, Oliveira’s filmography is unique and distinctive, since, both within the frameworks of international and Portuguese film, it cannot be considered as belonging to a specific cinematic movement/trend and to a particular category. By excelling both in the domain of documentary and fiction or by subtly and skillfully merging both, by making film enter in dialogue with the literary text, Oliveira’s production from the very beginning interrogates what cinema is and what the cinematic language searches for as if his whole work were an attempt to provide an answer to this concern. Besides this crucial ontological interrogation, his filmography reveals a particular ethos that can be analyzed from a universal and a national perspective, since his compromise with unveiling and dissecting the ambiguities and contradictions of the human soul inevitably leads spectators to question individual and collective identities.

Wishing to pay tribute to the filmmaker when the first year of his death is celebrated, this international conference seeks to analyze the various cycles of Oliveira’s work by examining how and to what extent his cinematography can be considered adversarial, and how it configures a poetics of dissent by addressing, among others, the following issues:

. Oliveira and film criticism
. Oliveira’s work or the cinema of non-illusion
. Oliveira and the word as an esthetic object
. Oliveira and the use of irony
. The role of music in Oliveira’s cinema
. Faith and reason or the religious dimension of Oliveira’s filmography
. Death as a leitmotif in Oliveira
. Oliveira, cinema and theatre
. The mystery of time in Oliveira
. Oliveira and the narratives of frustrated passion
. Oliveira between film and literature
. Oliveira’s films and gender roles
. Oliveira and the construction of Portugal on the screen
. Oliveira’s role in Portuguese and international filmmaking

The Conference’s working languages are Portuguese and English.

Keynote Speakers

- Randal Johnson (UCLA)
- Jacques Lemière (Université de Lille)
- António Preto (Universidade de Trás-os-Montes e Alto Douro)

Guest speakers and roundtables
- Paulo Branco
- Pe. Tolentino Mendonça
- Júlia Buisel
more to be announced

A screening of Manoel de Oliveira’s posthumous film, Visita ou Memórias e Confissões, will be screened at the Portuguese Cinematheque on April 8. It will be followed by a debate with several guests.

Paper proposals
Please send the Organizing Committee 300-word abstracts for 20-minute papers, as well as a brief biographical note (circa 100 words), to by November 30, 2015. Proposals should list paper title, name, institutional affiliation, and contact details.
Notification of acceptance will be given by December 13, 2015.

Should you have any queries feel free to write us to For more information see

Organizing Committee
Adriana Martins
Maria do Rosário Lupi Bello
Daniela Agostinho
Miguel-Pedro Quadrio
Tiago Baptista

(info atualizada em 19/11/2015)


Media cultures of early childhood
Youth and Media Studies Center  (Centre d’études sur les Jeunes et les Médias) with the partnership of Experice (Paris 13 University) and Grems (UCL) organise Media cultures of early childhood.

April 7-8th, 2016
MSH Nord, Paris
International conference

- Call for Papers -
How can we understand children’s media culture, especially among the 0-7 year-olds? Based on what uses and practices, and in what contexts? What media constructions and media strategies (pertaining to formats, contents or audiences) nourish children’s media culture(s)? What (formal or informal) teaching and learning processes do these media practices imply?
Research direction #1: Media uses and practices during childhood
Research Direction #2: An Exploration of Children Media Contents
Research direction #3 : Formal and informal learning with media

Deadline for submissions: December 28, 2015
Notification of acceptance: January 20, 2016
Conference: April 7 and 8, 2016

For publication:
Sending texts for evaluation: June 1, 2016
Notification of Assessment: September 30, 2016
Submission of final texts: November 10, 2016
Expected Publication: Spring 2017

Scientific committee
Ana Nunes de Almeida (University of Lisbon, Social Sciences Institute)
Benoit Berthou (Université Paris 13, Labsic)
Aurélie Brouwers (Université Catholique de Louvain, GReMS)
Stephane Chaudron (European Commission, Joint Research Centre)
Ana Dias Chiaruttini (Université Lille 3, CIREL)
Thierry De Smedt (Université Catholique de Louvain, GReMS)
Pierre Fastrez (Université Catholique de Louvain, GReMS)
Matthieu Letourneux (Université Paris Ouest, CSLF)
Eerik Mantere (University of Tampere)
Jackie Marsh (University of Sheffield)
Nicola Pelissier (Université de Nice, I3M)
Nathalie Roucous (Université Paris 13, Experice)
Régine Sirota (Université Paris 5, CERLIS)
Serge Tisseron (Université Paris 7, CRPMS)

Organization committee
Isabelle Feroc Dumez (Université de Poitiers, ESPE, Laboratoire TECHNE)
Sébastien François (Labex ICCA, Universités Paris 13 & Paris Descartes)
Marlène Loicq (Présidente du Centre d’études sur les jeunes et les médias)
Isabelle Rigoni (INS HEA, Grhapes / Centre Émile Durkheim / MICA)
Aude Seurrat (Université Paris 13, Labsic)

Marlène Loicq,

Infos sur

(info atualizada em 19/11/2015)