PT/EN

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


NOTÍCIAS

CfP - Symposium on Exploitation Cinema in the 21st Century



Symposium: Exploitation Cinema in the 21st Century

Canterbury Christ Church University

Date: June 9th 2017
Deadline for proposals: 3^rd March 2017

Keynote Speaker: Dr Johnny Walker, Northumbria University

In relation to cinema, the term “exploitation” has been adopted by various individuals and institutions over time, from opportunistic film producers and marketers of the 1920s to contemporary online distributors releasing new films in the 21^st century. There is a current wave of exciting and productive scholarship on the historical developments of exploitation cinema, and its famous, and not so famous, films and filmmakers. Much of this research focuses on exploitation before the year 2000, with a particular focus up to and including the VHS era of the 1980s. Less research exists on the inflections of exploitation in the 21^st century, and the trends and developments that have taken place since the turn of the century. This one-day symposium seeks to shed new light on the embodiments of exploitation cinema since 2000, with particular emphasis on current waves and cycles, the way in which they are now consumed (such as online rather than in theatres), and which particular exploitation filmmakers stand out as being important in contemporary times.

Topics might include (but are not limited to);

·Analysis of single films

·Studies of current waves or cycles of exploitation

·Exploitation cinema from global national contexts (in particular from non-English speaking countries)

·The re-emergence of old cycles since 2000 (Rape-Revenge, the Biker movie, etc.)

·Individual filmmakers

·New genres, sub-genres, and hybrids

·High budget exploitation (such as that produced by Quentin Tarantino and Robert Rodriguez)

·Patterns of exhibition and distribution

·Studies of industrial models or modes

·Exploitation studios (The Asylum etc.)

·Exploitation online

·Exploitation fandom and audiences

We invite proposals of up to 300 words for 20 minute papers, plus a short bio (up to 150 words) by March 3^rd 2017.

We also welcome video essays to be submitted with a 300 word proposal/150 word bio, sent to us by March 3^rd 2017. Final video submissions should be sent by June 2^nd 2017 via Vimeo link. Video submissions should aim to be 10 minutes maximum running time.

All proposal (and any queries) should be sent to Dr James Newton at james.newton@canterbury.ac.uk <mailto:james.newton@canterbury.ac.uk>

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CFP: Studies in Visual Arts & Communication



CALL FOR CONTRIBUTED SCIENTIFIC PAPERS

STUDIES IN VISUAL ARTS AND COMMUNICATION – an international journal



http://journalonarts.org <http://journalonarts.org/>
ISSN 2393 – 1221


Vol4, No1 June 2017, No2 December 2017


An international initiative group from the academic realm has established a bi-annual scientific journal, whose profile is focused on the theory of art and visual communication. We publish articles written in English, French, Spanish. Articles submitted for publication are subject to a peer-review process of evaluation.


The mission of “Studies in Visual Arts and Communication – an international journal” is to endorse and promote the scholarly research in the academic fields related to Arts and Communication, as reported by academics, scholars, researchers, scientists from around the world. The Journal welcomes original high-quality papers, theoretical articles/studies, research reports and review articles which debate erudite and contemporaneous ideas, topics and issues of academic relevance, to be published and disseminated. “Studies in Visual Arts and Communication – an international journal” encourages research perspectives which result in either deeply specialised contributions or engage research across the entire range of the (classical) academic domains, but notably with a focus on Visual Arts and Communication.


Research published by the Journal encompasses (but not limited to) topics from:
* visual arts theory, criticism, history, curatorship;
* visual studies;
* hermeneutics of visual arts;
* artistic research in visual arts (reports on visual art-based research);
* aesthetic theory;
* critical theory;
* visual arts and (hard / soft) science;
* issues on creativity in the arts;
* arts related communication studies, communication theory, media theory,

seeking congruence between the traditional (disciplinary) approaches and the contingent methods of academic investigation.


We invite you to contribute an article in accordance with the profile and the editorial policy of the Journal / see on-line journalonarts.org<http://journalonarts.org>


The papers should be 4000 – 6000 words in length. We accept submissions in English, French and Spanish. Papers are solicited under the stated aims and scope of the Journal. Citations and references: Chicago (MLA and APA also accepted). Bibliography is a separate final section. However, we reserve the right to decline articles, if no prior agreements have been made.


Figures: please send print quality figures with caption specifying copyright; image copyright and permission for publication is the concern of the author.


Please send Abstract (200-300 words and 5-10 keywords, author affiliation /and/ research interests) or/and full-text paper to *journal.on.arts [at] gmail.com* <mailto:journal.on.arts@gmail.com>.


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Important dates:
*For the June 2017 issue:

Abstract due: February 28^th 2017 [full text paper also, if available]
Acceptance notification based on Abstract: March 15^th 2017
Full text submission deadline: April 15^th 2017
Acceptance notification based on full-paper: May 30^th 2017
Revisions (if required): June 15^th 2017
Publication (online): June 30^th 2017



*For the December 2017 issue:

Abstract due: August 30^th 2017 [full text paper also, if available]
Acceptance notification based on Abstract: September 15^th 2017
Full text submission deadline: October 15^th 2017
Acceptance notification based on full-text paper: November 15^th 2017
Revisions (if required): November 30^th 2017
Publication (online): December 30^th 2017

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Call for Papers: BIANCO E NERO journal, n. 3/2017


Latin Lovers in Contemporary Italian Cinema

Edited by Enrico Biasin and Catherine O’Rawe


In March 1994 Silvio Berlusconi, then a businessman, was elected to
the Italian parliament, becoming immediately Prime Minister (Ginsborg,
Asquer 2011). The presence of the Mediaset boss at the apex of
governmental power has been perhaps most widely discussed in terms of
its carnivalesque aspects, and Berlusconi’s political persona has been
most frequently understood as a contemporary variation of the Latin
Lover archetype (Rodotà 2005). His tenure saw a series of tensions
emerge, between Berlusconi as supporter of Family Days and as
protagonist of the murky bunga bunga parties at his Arcore residence
(cf. Travaglio, Gomez, Lillo 2009). Berlusconi removed distinctions
between the public sphere and the domestic one, endangering his
‘bourgeois respectability’ (Mosse 1985, 1998), and compromising his
gender identity in two major ways: firstly, by showcasing his sexual
and emotional difficulties, he contributed to the ‘feminization’ of
Italian popular culture. Secondly, by exaggerating his reputation as a
lover, he contributed to the excessive ‘masculinization’ of the
private sphere.

Bearing in mind this reshaping of the masculinity of one of the most
high-profile figures of the Italian social scene of the last two
decades, a similar process, activated by contemporary Italian popular
film with regard to its male protagonists, can be noted. The reluctant
spearhead of a national cinema ‘in transition’ (Zagarrio 2000), and
marked by an endemic lack of a robust industrial structure (Zagarrio,
2006), popular production – in particular the lucrative filone of the
cinepanettone (O’Leary 2013) – seems to illustrate one possible
pitfall that Mediterranean virility encounters: ‘A machismo which
denies even a suspicion of femininity in males [but that] often
oscillates with festivals of male transvestism or with other
manifestations of an insecure male identity’ (Gilmore 1982). In this
way the emblematic figure of the Latin seducer – ‘a model of masculine
identification so widely disseminated by the media as to become a
cliché through which Italians and non-Italians understand one another’
(Malossi 1996) – undergoes a dynamic reconfiguration (cfr. Reich 2000;
Reich 2006; O’Rawe 2014; Reich and O’Rawe 2015). The Latin Lover of
contemporary Italian cinema battles ever-present threats to his
phallic supremacy, and must engage in a bitter struggle against
himself, as well as against hostile societal and cultural forces,
giving rise to a ‘masquerade’, which, to paraphrase Joan Rivière (1986
[1929]), aims to conceal his femininity and to escape the
repercussions that its discovery might bring.


This issue of BIANCO E NERO n. 3/2017 brings together articles that
have as their focus the figure of the Latin Lover in Italian cinema
since the 1980s. Without wishing to limit prospective analyses, some
possible topics for exploration are:

- Textual representations of the Latin Lover. Ways in which films
represent, parody, and rework the figure of the Latin Lover, drawing
on acting styles from the 1960s, ’70s and ’80s (from Rossano Brazzi to
Marcello Mastroianni, from Adriano Celentano to Jerry Calà, from Diego
Abatantuomo to Guido Nicheli and Christian De Sica).

- Gender performance through a national lens. The notion of ‘male
masquerade’ in relation to cultural features conventionally associated
with the Latin Lover tradition, and to their function in disavowing
the anxiety of the contemporary Italian male.

- Star performances. The construction of models of male stardom (Jerry
Calà, Diego Abatantuomo, Andrea Roncato, Christian De Sica, Ezio
Greggio, Massimo Ghini, Alessandro Siani, Raoul Bova) centred on the
figure of the Latin Lover and on the negotiation of the industrial
dynamics of cinematic, television and media production.

- Intermedial dimensions of the actor. The historical overlap through
different media forms of acting styles associated with the Latin Lover
character, with specific focus on the connections between cinema,
television and variety shows. //

- Social, political and class dimensions. The possibile relationship
between the figure of the Latin Lover as constructed by cinema, and
political, social and class-based discourses – see, for example,
Renato Vallanzasca/Kim Rossi Stuart in “Vallanzasca: Angels of Evil”
(2010) by Michele Placido.

- Gossip, magazines, paratexts//as venues for the articulation of
socio-cultural discourses around the Latin Lover, focused on the
permeability between private and public, and fuelled by digital gossip
sites and tabloid journalism (“Chi”, “Gente», “Novella 2000”, “Eva
3000”, “Grand Hotel”, “Vip”, “DiTutto”).

- Fans, memorabilia, collecting. Items and products (such as diaries
or informal writing, tertiary texts, fan scrapbooks, digital
remediations etc.) that testify to spectators’ authentic engagement
with the figure of the Latin Lover and his media representation.


Bibliography

David D. Gilmore, Anthropology of the Mediterranean Area, “Annual
Review of Anthropology”, vol. 11, n. 11, 1982, pp. 175-205.

Paul Ginsborg, Enrica Asquer (eds.), Berlusconismo. Analisi di un
sistema di potere, Laterza, Rome-Bari 2011.

Giannino Malossi (ed.), Latin Lover. A sud della passione, Charta,
Milan 1996.

George L. Mosse, The Image of Man: The Creation of Modern Masculinity,
Oxford University Press, New York 1998.


George L. Mosse, Nationalism and Sexuality: Respectability and
Abnormal Sexuality in Modern Europe, Howard Fertig, New York 1985.

Alan O’Leary, Fenomenologia del cinepanettone, Rubettino, Soveria
Mannelli 2013.

Catherine O’Rawe, Stars and Masculinities in Contemporary Italian
Cinema, Palgrave MacMillan, London 2014.

Jacqueline Reich, Undressing the Latin Lover: Marcello Mastroianni,
Fashion, and La dolce vita, in Stella Bruzzi, Pamela Church Gibson
(eds.), Fashion Culture, Routledge, London 2000, pp. 209-220.

Jacqueline Reich, Beyond the Latin Lover: Marcello Mastroianni,
Masculinity, and Italian Cinema, Indiana University Press,
Bloomingtom-Indianapolis 2006.

Jacqueline Reich, Catherine O’Rawe, Divi. La mascolinità nel cinema
italiano, Donzelli/Centro Sperimentale di Cinematografia – Cineteca
Nazionale, Rome 2015.

Joan Riviere, Womanliness as a Masquerade, in Victor Burgin, James
Donald, Cora Kaplan (eds.), Formations of Fantasy, Methuen, London
1986, pp. 35-44.

Maria Laura Rodotà, La finnica e l’ultimo latin lover, “Corriere della
Sera”, 23 giugno 2005,
http://www.corriere.it/Primo_Piano/Esteri/2005/06_Giugno/23/gaffe.shtml.

Marco Travaglio, Peter Gomez, Marco Lillo, Papi. Uno scandalo
politico, Chiarelettere, Milan 2009.

Vito Zagarrio (ed.), Il cinema della transizione. Scenari italiani
degli anni Novanta, Marsilio, Venice 2000.

Vito Zagarrio (ed.), La meglio gioventù. Nuovo cinema italiano
2000-2006, Marsilio, Venice 2006.


Proposals – consisting of a brief abstract (no more than 200 words),
five keywords and a concise author biography – should be sent by 28
February 2017
to the following email addresses:
<biancoenero@fondazionecsc.it <mailto:biancoenero@fondazionecsc.it>>;
<e.biasin@libero.it <mailto:e.biasin@libero.it>>;
<c.g.orawe@bristol.ac.uk <mailto:c.g.orawe@bristol.ac.uk>>. Once the
proposal has been approved, the deadline for the complete essay will
be 31 May 2017. The issue will be published on December 2017. Articles
should be between 20,000 and 25,000 characters, and they will undergo
a double blind peer review.

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CFP for British Cinema in the 1960s



British Cinema in the 1960s: Histories and Legacies

6 - 7 September 2017

BFI Southbank, London

Guest speakers include: Richard Lester, Sandy Lieberson, David Puttnam, Rita Tushingham

This two-day conference, organised as part of the AHRC-funded project ‘Transformation and Tradition in British Cinema of the 1960s: Industry, Creativity, and National Branding’ run by the Universities of York and East Anglia, provides a space for exploring one of the most dynamic decades of British cinema history.

It brings together academic researchers and creative practitioners with personal experience of the period in order to focus on how we construct histories of the film culture of the period (what sources we use, how we interpret them, what the people who lived and worked through the decade recall) and how might we understand the legacies of the period’s cinema, not only in terms of influence on later filmmaking practice but also in broader film appreciation and fandom.

Possible areas of interest include, _but are not limited to_:

·Historicising the 1960s and its cinema

·Archives, sources, methods

·Key sixties concepts and the cinema: individualism, freedom, rebellion, permissiveness, entrepreneurialism

·1960s British cinema and tradition/history/heritage

·Youthquake in British cinema? Issues of youth and age in the 1960s

·Identity politics in 1960s British cinema: class/gender/ethnicity/sexuality

·Losing an Empire, finding a role: engaging with the imperial in 1960s British films

·1960s British cinema and Europe: production, exhibition and reception

·International connections: ‘Hollywood England’ and beyond

·Film in an intermedial context: 1960s British cinema related to other areas of cultural production (television, popular music, literature, theatre, fashion, art, advertising, photography)

·Legacies of 1960s British cinema: influences, remakes, fandoms

Please send 200 word proposals for papers with short biogs to laura.mayne@york.ac.uk <mailto:laura.mayne@york.ac.uk> by 1 March 2017.
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CALL FOR PAPERS: NEW NARRATIVES CONGRESS



2017, July 3-5
The Autonomous University of Barcelona

Barcelona, Spain

http://congresointernacionalnuevasnarrativas.com/en/call-for-papers-2/

The aim of this conference is to stimulate the reflection and exchange of knowledge concerning different storytelling, including journalistic, fiction and entertainment narratives. The main focus of the conference will be the evolution of television genres and internet formats, transmedia relationships and the education-entertainment strategies of TV shows.


Proposals for papers are welcomed in the following areas:

- Journalistic narratives

- Fictional narratives and entertainment narratives

- Transmedia narratives

- Narratives of genre

- Political communication narratives

- Advertising narratives


*Guidelines for Submission:

Proposals must include an abstract (250 words), title, author(s) name, contact e-mail(s), educational institution, and modality of presentation (on-site or virtual). Proposals must be submitted as a Word document file by e-mail to info@congresointernacionalnuevasnarrativas.com<mailto:info@congresointernacionalnuevasnarrativas.com>. The deadline for proposals is Friday, March 31st, 2017. Notification of acceptance or rejection will be available in a maximum of 15 working days, from the date the abstract was received. Proposals can be in Spanish or English. Recorded papers are also accepted, however, this modality of presentation must be clearly indicated at the time of the proposal’s submission.

Each paper can be authored by a maximum of three people. Each one of them must pay the registration fee. The congress organization will provide an individual certificate to the participants and will publish the conference proceedings in digital format. The organization will select the better contributions, and after a peer evaluation, they will be published as a monographic issue on the journal /Anàlisi. Quaderns de Comunicación i Cultura./


More detailed information about the congress (programm, organizing comitee, important dates, etc.) you can find at the official website: http://congresointernacionalnuevasnarrativas.com/en/call-for-papers-2/


For all general enquiries, please contact:
info@congresointernacionalnuevasnarrativas.com <mailto:info@congresointernacionalnuevasnarrativas.com>
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CINEMA EM PORTUGUÊS - IX JORNADAS
Frederico Lopes, Paulo Cunha e Manuela Penafria (Eds.)
ISBN: 978-989-654-336-5

A presente publicação reúne doze das vinte e uma comunicações apresentadas durante as IX Jornadas Cinema em Português que decorreram entre 27 e 29 de abril de 2016 na UBI, organizadas pelo Labcom.IFP, da Faculdade de Artes e Letras da Universidade da Beira Interior. A nona edição das Jornadas Cinema em Português trouxe a debate questões atuais e pertinentes para a reflexão sobre as produções e relações cinematográficas entre os diversos países que falam em português, procurando reunir esforços para ensaiar hipóteses de leitura conjunta e complementar. A imagem escolhida para a capa da presente publicação é retirada do filme Arte Pública, da investigadora e realizadora brasileira Michelle Sales que esteve presente para apresentar o filme na sua estreia em Portugal e para participar no debate que se seguiu sobre arte contemporânea e espaço público.

Índice
Introdução - 11

Ruy Duarte: Um cinema da palavra para re-imaginar a angolanidade - 13
Maria do Carmo Piçarra

A saga do 25! - 31
Jorge Luíz Cruz

Os Contestados de Silvio Back. Uma análise sobre os documentários A Guerra dos Pelados (1970) e O Contestado: Restos Mortais (2012) - 41
Márcia Motta

Que horas ela volta? Na perspectiva da construção dos significados, da recepção da crítica e da construção dos gêneros - 59
Anderson de Souza Alves

Sotaque e identidade no cinema periférico brasileiro - 75
Sérgio Ricardo Soares & Thuanny Vieira Silva

O conceito de “cinema artesanal” - 93
André Rui Graça

Como escalar na cidade. Configurações da cidade portuguesa a partir de Montanha de João Salaviza - 105
Maria Inês Castro e Silva

Lisbon Story: O elogio a Manoel de Oliveira e ao cinema português - 115
Catarina Neves

Apontamentos sobre a categoria estética do retrato. Os casos de Francis Bacon e Pedro Costa - 137
Diogo Nóbrega

A construção da visualidade no audiovisual: o caso d’Os Maias - 153
Nívea Faria de Souza

La influencia de la legislación en la evolución de las coproducciones ibéricas (1943-1949) - 163
Pedro Peira

As perspectivas e políticas públicas para o desenvolvimento de arranjos institucionais do audiovisual no Brasil e Portugal - 179
Renata Faria dos Santos

Download gratuito em http://www.labcom-ifp.ubi.pt/book/287

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Revista de Estudios Brasileños: Fotografia no Brasil
A Revista de Estudios Brasileños é uma publicação semestral e de formato eletrônico, resultado da colaboração acadêmica entre a Universidade de Salamanca (USAL) e a Universidade de São Paulo (USP), em conjunto com Universia, através da sua plataforma de publicações online.

O objeto da revista é a publicação de estudos originais sobre todos os diversos aspectos que configuram a identidade do Brasil, com conteúdos nas áreas de Humanidades, Ciências Sociais e Jurídicas.

Até o próximo 31 de março, está aberto o prazo para envio de artigos para a “Seção Geral”, “Dossiê”, “Entrevistas” y “Resenhas” para o número 7 da REB, com data de publicação prevista para julho de 2017.

Na “Seção Geral” serão admitidos trabalhos cujas temáticas se relacionem com alguma das três principais áreas de conhecimento da revista (Humanidades, Ciências Sociais e Jurídicas).

No próximo número, o “Dossiê”, que será coordenado pelo Prof. Dr. Pablo Rey-García (Universidade Pontifícia de Salamanca) e o Dr. Charles Monteiro (Pontifícia Universidade Católica do Rio Grande do Sul, Brasil) terá como temática principal a Fotografia no Brasil. Serão admitidos trabalhos nas seguintes linhas temáticas:
História da fotografia no Brasil
Fotojornalismo (passado e presente da profissão)
Fotografia documental
Fotografia e arte
Práticas fotográficas (associacionismo, movimentos sociais, coletivos)
A fotografia como fonte de pesquisa

Pablo Rey é jornalista, fotógrafo e professor de Documentação informativa, Jornalismo gráfico, Fotografia artística e Fotografia publicitária. É Doutor em Comunicação pela Universidad Pontificia de Salamanca, com prêmio extraordinário, Máster em Paz Segurança e Defensa pelo Instituto Universitario Gutiérrez Mellado, Diploma em Estudos Avançados em História Contemporânea pela Universidade de Salamanca. Foi professor convidado na Wright State University de Dayton (Ohio), realizou estágio de pesquisa na Universidade Hebraica de Jerusalém, American University of Beirut e na Universidade de Lovaina, entre outras.

Charles Monteiro é doutor em História Social pela Pontifícia Universidade Católica de São Paulo (PUC – SP) com bolsa CNPQ e bolsa sanduíche CAPES-PDSE na Université Lumière (França); pós-doutorado (Estágio Sênior com bolsa CAPES) em História Cultural e Social da Arte na Université Paris 1 (Sorbonne). É professor adjunto no Departamento de História, ligado aos programas de pós-graduação em História e em Letras (Escrita Criativa) da Pontifícia Universidade Católica do Rio Grande do Sul (PUC-RS). Atualmente, é o coordenador do GT Nacional de Cultura Visual, Imagem e História da ANPUH para o biênio 2015-2017. É também coordenador do laboratório de pesquisa em História da Imagem e do Som e editor executivo da revista Estudos Ibero-Americanos do programa de pós-graduação em História da PUC-RS..

Em ambas as seções, “Seção geral” y “Dossiê”, serão especialmente considerados aqueles trabalhos que apresentem resultados de projetos de pesquisa originais. Na seção de “Resenhas” serão admitidos textos sobre aqueles livros publicados até dois anos antes da data de publicação deste call for papers. Os textos podem ser escritos em português, espanhol ou inglês.

A confirmação da publicação será enviada progressivamente, em função do calendário de recepção e publicação dos artigos.

Todas as informações detalhadas sobre extensão dos trabalhos e normas de estilo estão disponíveis em “Diretrizes para autores”.

Baixe aqui a informação completa em espanhol e aqui a informação completa em português.

As pessoas interessadas em enviar trabalhos podem enviar os textos ao e-mail de contato da REB: reb@usal.es.
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CFP: Single Lives: 200 Years of Independent Women in Literature and Popular Culture



Single Lives: 200 Years of Independent Women in Literature and Popular Culture University College Dublin, 13-14 October 2017


Keynote Speaker: Rebecca Traister


Proposal Deadline 1 April 2017, midnight Dublin time.
Notifications by 1 May 2017



This conference will explore the last 200 years of literature and popular media by, about, and for single women in relation to aesthetics and form, race, sexuality, class, space, reproduction and the family, political movements, and labor.

Literary scholar Jennifer Fleissner has convincingly argued that young, independent women were the center around which anxieties and excitement in the modern era coalesced. A range of historians, demographers, and literary scholars have focused on the social and political significance of diverse single women in the late nineteenth, twentieth, and early twenty-first centuries. Moving between the family home and domestic independence, between household and public labor, and between chastity and a range of sexualities, the single woman remains a literary and social focus.

In recent years, especially in relation to UK and US elections, there has been an explosion of popular interest in contemporary singleness. Rebecca Traister’s /Big Girls Don’t Cry /and/All the Single Ladies/, comedian Aziz Ansari’s /Modern Romance, /Eric Klinenberg’s /Going Solo/, the /Washington Post’s /“Solo-ish” column, and the work of psychologist and single-rights activist Bella DePaulo’s work all explore what it means to be a socially, politically, and sexually active single person in the 21^st century. News outlets, film, television, and a host of social and marketing media have demonstrated that people are fascinated by the changing status of singles.

Singleness Studies has emerged as an academic field over the last two decades but has rarely had its own forum for collaboration and exchange. This conference will bring together multiple disciplinary perspectives to uncover the social, political, economic, and cultural connections between the “singly blessed” women and “bachelor girls” of the 19^th and early-20^th century and “all the single ladies” of the contemporary moment. We seek proposals that analyze single lives within or across this time frame, from disciplines including literature, media studies, history, geography, sociology, architecture, political science, and more. Papers and full panels that create new perspectives by crossing boundaries and integrating multiple disciplines are especially welcome.

*Possible topics include

·Representation of singles in literature

·Representation of singles in film, television, and other digital media

·Narrative form

·Space and architecture

·Demographic change

·Reproductive rights and family structures

·Reproduction and temporality

·Independent women’s labor and political work

·“Women adrift” and crisis narratives

·Singleness and race, class, or identity politics

·Queer singleness

·Familiar Figures: bachelor girls, spinsters, new women, and single ladies

·The single and the state

·Singleness and literary or media genre

·Conservative and radical independence

·Singleness in Trump’s America

·Single activism

·Comparative singleness

Scholars from all disciplines are encouraged to apply.


*Full Panel Proposals: Panel coordinators should submit a 200-word rationale for the panel as whole. For each contributor, please submit a 250-word abstract, a short bio, and contact information. Panels
that include diverse panelists with a range of affiliations, career experiences and disciplinary homes are strongly encouraged. Panels should include 4 papers. Submissions can be emailed as a Word document to singlelives2017@gmail.com <mailto:singlelives2017@gmail.com>.

*Individual Papers: Individuals submitting paper proposals should provide
an abstract of 250 words, a short bio, and contact information. Submissions can be emailed as a Word document to singlelives2017@gmail.com<mailto:singlelives2017@gmail.com>.

*Conference Statement: We hope to host a diverse, welcoming, open first Single Lives conference. We understand diversity to include attendees as well as academic subject, approach, and field. We welcome comparative projects, though because of its smaller scale, this conference will be conducted in English.

Please direct all questions about the conference and the submission process to: singlelives2017@gmail.com <mailto:singlelives2017@gmail.com>

For up to date conference details, see our website: https://singlelives2017.wordpress.com/

Find us on Facebook: https://www.facebook.com/Single-Lives-2017-Conference-1262119710546609/

Follow us on Twitter: @SingleLives2017

*Conference Organizers:

Kate Fama

Jorie Lagerwey

School of English, Drama, and Film

University College Dublin

*Conference Sponsors

College of Arts and Humanities, University College Dublin
Humanities Institute, University College Dublin
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Lecturer in Documentary Filmmaking at UWS Creative Media Academy


Please see below and via link details of a new post for a Lecturer in Documentary Filmmaking that has become available within the Creative Media Academy at the University of the West of Scotland.

The post will involve teaching in Glasgow and Ayr.

A PhD in documentary filmmaking or a related field would be desirable. Successful candidates will be encouraged and supported to undertake a PhD or PhD by Practice.

https://jobs.uws.ac.uk/tlive_webrecruitment/wrd/run/ETREC107GF.open?VACANCY_ID=0136893xnQ&WVID=6298001Gei&LANG=USA

Closing date: 28/2/2017

__


Job title: Lecturer in Filmmaking (Documentary)

An exciting opportunity has arisen for a Lecturer in Filmmaking to join our team in the School of Media, Culture and Society (MCS).

MCS is a large (circa 2500 student FTEs) multidisciplinary school where the social sciences and creative and cultural industries meet. We offer a supportive and aspirational environment in which staff and students work in partnership to create societal and cultural change.

The school of Media, Culture and Society also hosts the Creative Media Academy. The UWS Creative Media Academy, one of only 3 in Scotland, is a Creative Skillset accredited centre for excellence in creative industry teaching and research.


The Academy offers programmes focused on professional practice, dedicated to vocationally relevant education to anticipate the skills needs of the creative and cultural industries. Each programme pays close attention to fast-developing converging technologies and new business models in the creative industries.


Students learn through modules taught by practitioners reflecting current industry 'best practice'. Expertise across a range of interconnected disciplines is embedded across our different programmes including Television and Radio Broadcast Production, Filmmaking and Scriptwriting, Digital Art, Commercial Music and Music Technology, Performance, Broadcast Journalism, Computer Games Technology and Animation.


Recent guests to the academy include Oscar and BAFTA winners in documentary and fiction and we work with the very best in the industry. We are looking for a dynamic, creative and reflective individual to join our filmmaking team.

You will have the skills, knowledge and experience to play a key role in achieving in teaching, internationalisation, research and commercial activity. You will play a central role in our Screen and related disciplines primarily contributing to our popular BA (Hons) Filmmaking and Screenwriting and our soon to be offered MA Filmmaking. Candidates should have a strong practitioner profile in documentary filmmaking and production.

You will be responsible for contributing to an excellent student experience by planning, developing and delivering an exciting curriculum utilising contemporary forms of pedagogy. You will produce and publish excellent research outputs commensurate with the stage of your career and demonstrate an ability or potential to attract independent research funding. An internationalised experience is central to the UWS student experience and therefore you will support initiatives for staff and students to engage in international activities.

You will be a highly motivated individual, passionate about your discipline and about contributing to the best possible student experience. You will be able to demonstrate a commitment to a successful academic career (research, enterprise, and teaching) and be comfortable working both autonomously and within and across a range of teams.

A PhD in documentary filmmaking or a related field would be desirable. Successful candidates will be encouraged and supported to undertake a PhD or PhD by Practice.

The successful candidate will be excited by the opportunity to work in a multi disciplinary environment and will seek to exploit the opportunities afforded by this.


Informal enquiries may be made to Professor Nick Higgins, Director of
the Creative Media Academy on 01292 886298,
emailNick.Higgins@uws.ac.uk <mailto:Nick.Higgins@uws.ac.uk>, or
Professor Derek Carson, Dean of School, on 0141-848-3983,
emailderek.carson@uws.ac.uk <mailto:derek.carson@uws.ac.uk>



Full details here:

https://jobs.uws.ac.uk/tlive_webrecruitment/wrd/run/ETREC107GF.open?VACANCY_ID=0136893xnQ&WVID=6298001Gei&LANG=USA

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CfP: International Conference on Islam, Media and Communication 2017


“Muslim Identity, Media and Culture”


The 2016 Brexit vote and Donald Trump’s candidacy and win fundamentally transformed the relationships between Muslim identity, media, and culture. Following Trump’s win, many wondered how polls, news, entertainment, mainstream and social media shape the Muslim cultural identity and their everyday life. Media discourses on Muslim identity and social integration often fuelled by an anti-Muslim political culture or the politics of anti-extremism. Because the media commonly set their agenda around these sociopolitical discourses, a large part of Islamic culture and everyday life of Muslims remain obscured. Moreover, there is a sense in which Muslims have, in some studies and reports, reduced to a function of their religion while other dimensions of their identity and experience have been ignored. Therefore, this conference seeks to answer such questions as:

* How do media shape our understanding of Muslim identity and culture?
* What role did/can media play in constructing/destructing Muslim
identity and culture?
* How do news, media, and entertainment outlets set their agenda and
portray Muslims and Islamic culture?
* What kinds of methodological approaches adopted by scholars to
examine Muslim identity politics from various socioeconomic,
religiopolitical, and cultural backdrops?
* What kinds of media texts and pedagogical approaches can we use in
the classroom to contextualise the development of Muslim identity
surrounding such events as an election campaign, intellectual
discourse on Islamophobia, global terrorism, and intercultural
communication, while providing important spaces of discussion,
conversation, and exchange?


Building on the questions, we invite academicians, media practitioners, policy-makers, and early career researchers to present their empirical research on the intersections of Muslim identity, media, and culture represented by, but not limited to:

* Journalism
* Social media
* Media history
* Media sociology
* Social movements
* Media management
* Creative media labour
* Political communication
* Radio studies and practice
* Religious authority and media
* Media and communication policy
* Film and television studies and practice
* Approaches to media and communication pedagogy
* Representation, identity, and ideology
* Diasporic and ethnic minority media
* Children, young people, and media
* Intercultural communication
* Aging, Disability, and media
* Methodological approaches



Abstract Submission:

Abstract should include the following information:

* Author(s), institutional affiliation, and email address
* Paper title
* Abstract (of no more than 250 words)

Abstract should be sent to: icimac2017@usim.edu.my <mailto:icimac2017@usim.edu.my>


<http:// icimac2017@usim.edu.my >

Language:

Only papers written in English and Bahasa Malaysia will be considered for publication.

Publication:

Selected papers will be published in SCOPUS/ISI indexed/refereed journals/book chapters' Special Issue on Muslim Identity, Media, and Culture.

Full papershould be between 6,000 - 8,000 words (including references).

Registration Fees:

Participants Registration Fees

Local presenters MYR 600
Local students MYR 300
Local participants MYR 300
International Presenters USD 250
International Students USD 100


*Registration fees for all presenters and participants include conference admission, conference set (conference booklet and materials), lunches and refreshments.

*Fees for international participants include on-campus accommodation.

Important Dates: 


Deadline for abstract submission:
28 April 2017

Notification of acceptance:
From 29 May 2017

Deadline for full paper submission:
8 July 2017

Conference Venue:

Organised by:

Communication and New Media Programmes

Faculty of Leadership and Management

Universiti Sains Islam Malaysia

71800, Nilai. Negeri Sembilan

MALAYSIA

For details, kindly visit:<http://icimac2017.usim.edu.my/>http://icimac2017.usim.edu.my/

or contact the Secretariat of the International Conference on Islam,Media and Communication 2017 at:

icimac2017@usim.edu.my <mailto:icimac2017@usim.edu.my> or kareelawati@usim.edu.my <mailto:kareelawati@usim.edu.my>


Look forward to meeting you in August 2017!!

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CFP: Besides the Screen Brazil 2017 - VR, Volumetric Filmmaking and Spatial Control


UNFOLDING IMAGES – VR, Volumetric Filmmaking and Spatial Control

7th Besides the Screen International Conference

Federal University of Espirito Santo, Brazil, 31 May to 2 June 2017


Deadline for proposals: 20th March 2017

Once again, virtual reality is a technology to come. The recent popularisation of immersive displays has revamped the interest on the possibilities of this subject. Alongside came the growth of other forms of volumetric image capture and exhibition, such as 3-D scanning and 360o video. These systems, many of them created to enable computer sensing, are now informing other observers. The way they have been deployed in fields from social media to heritage preservation and prosthetic medicine indicate their broad impact on emerging spatial ontologies.


The next Besides the Screen conference means to frame these growing trends in volumetric imaging in the long history intertwining geography and optics. Departing from cinema, the event seeks to explore how space and image have shaped one another across different media and cultural systems, tracing the power relations that cause topological subjectivities to emerge.


We invite proposals of papers, workshops, performances, screenings, artist presentations, and experimental projects that address, explore, and subvert topics such as:


- the past, present, and future of VR technologies

- 360o and immersive filmmaking in different genres

- bodily affects and proprioception within virtual environments

- multi-camera stitching aesthetics

- visual effects / in-frame spatial compositing, both digital and analog

- 3-D animation and synthetic spaces

- moving images resulting from 3-D scanning, photogrammetry, and structured light capture

- developments in computer vision and depth perception

- real-time cartography as control interfaces

- responses from the media and data industries to new image technologies

- early stereoscopic, anamorphic, and panoramic devices

- event cinema, site-specific projections, and pop-up screenings

- cleavages and continuities between architecture and the moving image

- moving image installation and performances

- etc


To submit a project, please send an abstract (~250 words) and a short biographical note (~150 words) to the address besidesthescreen@gmail.com<mailto:besidesthescreen@gmail.com>, with the subject SUBMISSION: BESIDES THE SCREEN 2017. Please include links for demos / previews of any video, performance, or installation submission. The deadline is 20th March 2017.


* * *


Besides the Screen is an international research network on the subject of experimental audiovisual media. It aims to reconfigure the field of screen studies by refocusing it on the seemingly secondary objects, processes, and practices that exist within cinema. Besides the Screen also means to promote an open and horizontal academic environment, favouring practice-based approaches to research and artist collaborations. More info can be found at besidesthescreen.com <http://besidesthescreen.com>.


The 2017 Besides the Screen conference is supported by FAPES, CNPq, SECULT-ES, De Montfort University, King’s College London, and UFES.
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CFP: Flow Special Issue - Mary Tyler Moore


Women & Television Comedy: A Tribute to Mary Tyler Moore


From her roles as Laura Petrie to Mary Richards, Mary Tyler Moore brought a modern, sophisticated woman to the situation comedy who was educated, independent, and assertive. Not only were The Dick Van Dyke Show (1961-1966) and The Mary Tyler Moore Show (1970-1977) critical and commercial successes, but they were also landmark series in the development of the U.S. sitcom. These series critically engaged with contemporary women’s issues and pushed the boundaries of female representation; Laurie Petrie presented a wife who was in many ways her husband’s partner and equal, while Mary Richards embodied the single, independent working woman of the 1970s. Through Moore’s iconic comedy, feminism found a home on primetime television, laying the groundwork for the future of funny women on television.


This Special Issue of Flow serves not only to reflect on the legacy of Mary Tyler Moore as a producer, star, and icon, but also to consider the continuing role, influence, and politics of women in sitcoms, and in comedy more broadly. In the Age of Trump, we might also think about the power of comedy to serve as a vibrant space for feminist discourse and activism. We welcome submissions that consider any of the following topics related to Moore and her legacy:

- The Dick Van Dyke Show, its importance and its influence
- The Mary Tyler Moore Show, its importance and its influence
- Television wives and mothers
- Family sitcoms
- Gender in workplace comedies and workplace families
- Quality television and the MTM Style
- Women in situation comedies or comedy more broadly
- Feminism and primetime television
- Moore and stardom
- The politics of TV comedy
- Women’s TV roles and Women’s Movements
- Domesticity and Domestic TV Spaces/Roles
- Clothing, style, and feminism

To be considered for inclusion in this Special Issue, please send completed short essays of 1000-1500 words, along with at least three image (.png) or video files and a short author bio, to Selena Dickey at flowjournaleditors@gmail.com by Monday, February 13. The Special Issue will be published at flowjournal.org on Monday, February 20.
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Lecturer in Film Studies at the University of St Andrews


Lecturer in Film Studies – AC2033MR


School of Philosophical, Anthropological & Film Studies/ Department of Film Studies, Salary: £39,324 - £48,327 per annum, Start: 1 September 2017 or as soon as possible thereafter

We are seeking to appoint a Lecturer in Film Studies to help shape our growing department at the University of St Andrews. The successful candidate will demonstrate evidence of outstanding research that complements departmental strengths, a commitment to excellence in teaching, and a willingness to take on administrative roles in the department.

She or he will produce excellent research in Film and Media Studies in view of REF 2021 and beyond, supervise and teach both undergraduate and postgraduate students, and contribute to the administration of both teaching and research in the department.

To make informal enquiries about this position, please contact Dr. Michael Cowan, Head of Department, (mc258@st-andrews.ac.uk)

The University of St Andrews is committed to promoting equality of opportunity for all, which is further demonstrated through its working on the Gender and Race Equality Charters and being awarded the Athena SWAN award for women in science, HR Excellence in Research Award and the LGBT Charter; http://www.st-andrews.ac.uk/hr/edi/diversityawards/.

Please quote ref: AC2033MR

Closing Date: 21 February 2017
Further Particulars: AC2033MR FPs.doc

School of Philosophical, Anthropological & Film Studies/Department of Film Studies
Salary: £39,324 - £48,327 per annum
Start: 1 September 2017 or as soon as possible thereafter
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Revista Visualidades
Já está disponível online, em sua versão digital, a edição V. 14 n.2 da Revista Visualidades. Os trabalhos podem ser acessados por meio do link:
https://www.revistas.ufg.br/VISUAL/issue/view/1807
A capa e o Ensaio Visual desta edição vem com desenhos do artista Moacir e fazem parte do acervo do Centro Cultural UFG. Agradecimentos especiais à Profª Carla de Abreu pelo texto que acompanha o Ensaio.

Créditos da capa:
Moacir - Coleção de desenhos do acervo do CCUFG
Curadoria: Alice Fátima Martins, Cátia Ana Baldoino da Silva e Wagner Bandeira
Fotografia: Alice Fátima Martins
Editoração: Cátia Ana Baldoino da Silva


https://www.revistas.ufg.br/VISUAL/issue/view/1807

Sumário:
Artigos em submissão aberta
Experiências a/r/tográficas: gênero e sexualidades
Luciana Borre Nunes

Algumas demonstrações para introduzir a arte da performance
Carina Sehn, Paola Zordan

Flores, cores e formas: o Brasil estampado de chita
Ivana Guilherme Simili, Priscila Barbeiro

Pedagogias culturais e conhecimentos escolares: interpelações à educação contemporânea
Odailso Sinvaldo Berté, Raimundo Martins

Narrativas híbridas: o estático e o móvel no vídeo “911” do coletivo Cia de Foto
Rafael Castanheira

Ensaio Visual
Arte fora da norma: a obra de Moacir, o Nô, da Vila de São Jorge
Moacir Soares de Faria
Carla de Abreu

Relato de Pesquisa
“2086”: a imagem entre a vigilância e a contemplação
Fernando Gerheim

Teses e Dissertações
O renascimento da relação entre a arte e a ciência: discussões e possibilidades a partir do Codex entre Galileo e Cigoli no século XVII
Josie Agatha Parrilha Silva
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CFP: Workshop on Interactive Digital Storytelling in Broadcasting

Call for papers

Call for Papers (pdf)

Topics:

We are looking for contributions that focus on digital storytelling, user-generated content, design studies, or artistic research and include topics but are not limited to:
aspects in traditional and new media, both fiction and non-fiction
opportunities and use in broadcasting, 2nd screen usage
completed or on-going projects implementing new kinds of media and/or showcasing (possible/future) implementations of new ways of digital storytelling
designing new interaction techniques, designing for mobile community, designing for transmedia
visual, auditory, interaction, and user experience research

This workshop will feature a list of different activities – including regular presentations on the above topics and interactive group-work. Here, we will create new use-cases and think outside the box when it comes to interactive digital storytelling in broadcasting, covering design and artistic aspects as well as technological challenges. The workshop will conclude with a panel discussion in which we will discuss future opportunities of new media.

Important Dates:
Submission deadline: February 25, 2017


Acceptance notification: March 30, 2017
Camera-ready submission: April 28, 2017
Workshop date: June 14, 2017

Submission Procedure:

Prospective authors are invited to submit a 2–4 page paper. Submitted papers will undergo a peer-review process. All workshop papers will be published in the TVX 2017 Adjunct Proceedings. Submissions should follow the ACM format of extended Abstracts. Please find the templates here.
Submission is open: https://easychair.org/conferences/?conf=idb2017.

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Summer Course in Narrative Studies - 2017

SUMMER COURSE IN NARRATIVE STUDIES 2017


The Summer Course in Narrative Studies (SINS) is an intensive PhD-level course that brings together PhD students, postdoctoral students, faculty members and leading scholars in a multi-disciplinary, international discussion of existing and emerging concepts and approaches in the broad field of narrative study. The course is hosted by Aarhus University and it takes place at the Sandbjerg Estate, Denmark, July 30th - August 4th.

Through a combination of keynote lectures, participant papers, workshops and master classes the summer course covers the state of the art of current approaches as well as provides the participants with outstanding possibilities of getting feedback on their own work. Key note lecturers and work shop leaders this year include Dorothy Hale, Molly Andrews, Marco Caracciolo, and Jan-Noël Thon.

The institute welcomes scholars working with any and all type of narrative form or function, be that verbal or non-verbal, fictive or non-fictive, spontaneous or artificial, and presents researchers from fields such as postclassical narratology, narrative inquiry, rhetorical narrative theory, cognitive narrative theory and transmedial approaches. Deadline for application is April 20. 2017.

Read more on www.sins.au.dk<http://www.sins.au.dk>


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Call for Papers "Geografia do Tempo: Narrativas e Temporalidades do Sul Global"
A Revista Contracampo está com chamada aberta para sua segunda edição de 2017 (vol. 36 n. 2), que trará dossiê intitulado "Geografia do Tempo: Narrativas e Temporalidades do Sul Global".

Editores convidados: Fernando Resende (UFF) e Sebastian Thies (Universität Tübingen)

Os regimes de temporalidade no chamado “Sul Global” são marcados por encontros conflituosos entre o tempo da globalização econômica e as práticas culturais locais, onde o tempo vivido é incorporado. A atual dinâmica que envolve os processos globalizatórios e seu acelerado fluxo de pessoas, mercadorias, finanças e conteúdo midiático têm profundo impacto no modo como o tempo estrutura a vida no Sul Global, como ele é experimentado e como operam suas construções de sentido. Como a teoria cultural aponta, as temporalidades no Sul Global não podem ser entendidas simplesmente como a implementação do tempo homogêneo do capitalismo nem como uma “alocronia”, o que seria a ideia de um atraso temporal do Sul em relação ao pulso da modernização tecnológica. Em vez disso, podemos descrever esse processo como complexo e independente, de “heterogeneidade multitemporal” (Néstor García Canclini), um “tempo desniveladamente denso” do pós-colonialismo (Partha Chatterjee) ou em termos de uma emaranhada “geografia do tempo” (Achile Mbembe). Assim, regimes de tempo no Sul oscilam entre o tradicionalismo e a era digital, entre o longue durée da colonialidade (Quijano) e o tempo da modernidade líquida (Bauman), entre a precariedade da economia informal e o trabalho (pós-)industrualizado. Neste dossiê, a Contracampo concentra a atenção na imagem, na mídia, nos processos comunicacionais e na literatura, refletindo criticamente sobre esses complexos regimes de tempo e seus impactos na sociedade. Como eles revelam estruturas de poder de temporalidade no Sul e indicam localizações culturais e políticas de onde surgem as resistências aos regimes do tempo globalizado? Como os sujeitos lidam com as mudanças temporais e transições de heterogeneidade multitemporal na vida diária? Como a memória e a historicidade se articulam nesse contexto e como conceitos autóctones de tempo oferecem resiliência contra essas dinâmicas? Não obstante a centralidade da discussão em torno da ideia de temporalidades, trabalhos que abordem questões outras relacionadas ao Sul Global, a partir de uma perspectiva comunicacional, também poderão ser submetidos ao dossiê. E permanecerá aberto o fluxo contínuo para seções de temáticas livres.

Os textos, a serem submetidos via sistema online da revista, devem seguir as diretrizes para autores/as:
http://www.contracampo.uff.br/index.php/revista/about/submissions#authorGuidelines.

O prazo final para submissão será até 01/05/2017. E a previsão de publicação do dossiê é até 31/08/2017.
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Alphaville: Journal of Film and Screen Media - Call for book reviews


Alphaville: Journal of Film and Screen Media

CALL FOR BOOK REVIEWS

/Alphaville/ seeks book reviews on an ongoing basis. If you are interested in writing a review please contact us at: reviews.alphaville@gmail.com <mailto:reviews.alphaville@gmail.com>

The list of books received is online; check the site for periodic updates: http://www.alphavillejournal.com/Submissions.html

Please note that only high-quality reviews that scrupulously observe /Alphaville/ Guidelines and House Style and that display rigorous scholarly engagement with the title being reviewed will be considered for publication.

/Alphaville: Journal of Film and Screen Media /
www.alphavillejournal.com/index.html <http://www.alphavillejournal.com/index.html>
International, open access, peer reviewed
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Revista Devires - Cinema e Humanidades
Estão abertas as chamada para os três próximos dossiês da Revista Devires - Cinema e Humanidades, com publicações previstas para o ano de 2017:


- Políticas do Cinema e da Fotografia, coordenado por Anna Karina Bartolomeu, Cláudia Mesquita e Maria Ines Dieuzeide, recebe artigos até dia 06 de fevereiro;
- Cinema e Escritas de Si, coordenado por Roberta Veiga, Ilana Feldman e Carla Italiano, estará com submissões abertas até 06 de março;
- Pedagogias do Cinema, coordenado por André Brasil e Clarisse Alvarenga, recebe textos de colaboradores até dia 26 de junho.

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CFP: Media Mutations 9


MEDIA MUTATIONS 9

The Format Factor.

Television Shows, Brands and Properties in the Global Television Scenario

Bologna, Dipartimento delle Arti, May 23rd-24th, 2017

Confirmed keynote speakers: Jérôme Bourdon, Jean Chalaby

Organized by Luca Barra and Paola Brembilla, in collaboration with Andrea Esser, the Media Across Borders network and the ECREA Television Studies section

Media Mutations, the international conference of studies on audiovisual media hosted by Dipartimento delle Arti of Università di Bologna, comes to its ninth edition. This year’s theme is *the cultural and industrial role of global formats in television production, distribution and viewing practices*.

In the last fifteen years, following a long history that already started in the early years of the medium, television all around the world has been constantly and successfully broadcasting global formats: big brands and franchises, with a codified set of rules, sold at international audiovisual markets, distributed in many countries and on numerous networks and channels, and adapted and remade according to the tastes and needs of local audiences. Beginning with /Big Brother/, /Survivor /and /Who Wants to Be a Millionaire?/, and later with /The X Factor/, /Masterchef/, /Peking Express/, /In Treatment/, /The Bridge/, /Pulseras Rojas /and many others, formatted shows have contributed to creating a shared television aesthetics, spreading best practice in production, distribution and marketing, and establishing similar consumption habits. At the same time, differences and national specificities are still at work, and the success of global formats in individual national markets depends on successful localization. The process of formatization is now used in both TV fiction and entertainment productions, and it is relentlessly expanding, both at the economic and cultural level, and in a convergent media scenario.

Some classic and more recent studies have established the field of format research over the past 18 years, defining various format dimensions and analyzing their ability to travel across different countries and cultures (e.g. Moran 1998, 2007; 2009; Oren and Shahaf, 2012; Chalaby 2016; Ellis, Esser and Gutiérrez Lozano 2016; Aveyard, Moran and Jensen 2016). The conference aims to expand the academic knowledge of this important phenomenon, establish new research perspectives in the field, and strengthen the understanding of national and transnational distribution and reception practices. The focus will not only be on cultural and linguistic format issues, but on the legal, economic and productive aspects of format development and format trade, and the different genres and types of formatted audiovisual products.

Media Mutations 9 encourages submissions that cover the following subjects and topics, favoring proposals and case histories that are able to intersect across different areas:


- The economic/trade dimension of TV formats: rise and evolution of the format market; formats as commercial properties; format distributors and buyers; negotiation aspects; sales; format companies; mergers and acquisitions; trade rituals and habits; global buying and selling practices and national specificities; emerging production regions and established format centers.

- The legal dimension of TV formats: intellectual properties, franchise and copyright issues; legal protection of formats, globally and nationally; protecting original ideas from copycat shows and piracy; forms of contracts and license deals; formats on digital platforms and as reruns.

- The productive dimension of TV formats: advantages and disadvantages of making or buying formats; format development process; developing original programs vs. adapting international formats; professional skills and roles; production processes; branded content formats.

- The distributive dimension of TV formats: circulation of formats across different countries and television models; national adaptations and mediations of global formats; remakes vs. ready-made programming; programming, scheduling and promotion practices; digital distribution of formats on over-the-top and on demand audiovisual platforms.

- The aesthetic dimension of TV formats: formats as symbolic and narrative forms; formats as a set of fixed rules; formats as branding devices; aesthetic innovation vs. conservation; formats and television genres/texts (game, reality, talent, fiction, general entertainment, factual programming); scripted vs. unscripted formats; specificities of fiction formats; transmedia storytelling.

- The audience dimension of TV formats: national appeal of global formats; limits and constraints imposed by local taste; format success and consequences on viewing habits and consumption practices; formats and convergent television/media; quantitative (ratings) and qualitative analysis of format audiences.

- The historical dimension of TV formats: evolution of formats and markets; different steps/models; “formats” before the advent of licensed formats; formats on PSB, commercial TV and pay TV; role of national/transnational television cultures in creating successful formats.

- The life-cycle of television formats: from development and broadcast in the first country to international circulation and national adaptations, to the “death”/re-birth of a format.

- Theoretical and methodological approaches to television formats.

- Transnational case histories: global formats and their adaptations; key brands and franchises; leading and upcoming format countries.


The official languages of the conference are English and Italian. Abstracts (250-500 words for 20-minute talks) should be sent to mediamutations.org<http://mediamutations.org> [at] gmail.com <http://gmail.com> by February 15th 2017. Please attach a brief biography (maximum 150 words) and an optional selected bibliography (up to five titles) relevant to the conference theme. Notification of acceptance will be sent by March 15th. A registration fee will be requested after notification of paper acceptance (€40 for speakers and professional attendants; free conference admission for students).

This Conference is financially supported by Centro Dipartimentale La Soffitta and Dipartimento delle Arti, Università di Bologna. For more information on the previous editions of Media Mutations, please check the conference website, www.mediamutations.org <http://www.mediamutations.org>.
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CFP: Musical Numbers in Film and Television


Call for papers
When the Music Takes Over.
Musical Numbers in Film and Television
University of Salzburg, 8 – 10 March 2018

Keynote Speakers:
Richard Dyer (King’s College, London)
Amy Herzog (Queens College, New York)

Musical numbers have served as constitutive elements of cinema since its early days in the so-called silent period. From the musical moments in silent films emerged the film musical as a specific genre. Musical numbers remain central components beyond generic categories and have succeeded from early sound film musicals to recent TV shows.

In this conference we want to focus on “musical moments” in fictional film and television. Musical numbers in fictional films have been analyzed according to their functions and their relation to the narration. Expanding these issues from numbers in (mostly) film musicals, Amy Herzog (2009, 7) defines “musical moments” as scenes or sequences that occur “when music, typically a popular song, inverts the image-sound hierarchy to occupy a dominant position in a filmic work. The movements of the image, and hence the structuring of space and time, are dictated by song.” If musical moments are not subjugated to the filmic narrative, the focus of their scholarly analysis is able to shift from narrative functions and motivations towards issues such as affect, performance, musical and filmic style and structure, visual musicality, configurations of cinematic time and space, gender construction, modes of audience address, reception, fan culture and more broader philosophical questions about the ontology of cinema. Examining “musical moments” can sharpen our view on cinema in general and can stimulate new theoretical and methodological approaches in the field.

This international conference strives to establish a dialogue between researchers from various disciplines in order to develop new directions for the analysis and interpretation of one of the most crucial elements in filmmaking and one of the pivotal issues of film music research.

We invite proposals for individual papers, pre-constituted panels and poster presentations that explore the manifold research potentials of musical moments on screen(s).

We invite proposals for individual papers, pre-constituted panels and poster presentations that explore the manifold research potentials of musical moments on screen(s).

Possible topics include, but are not limited to the following:
- Musical numbers in silent cinema
- Singing in silent cinema
- Dancing in silent cinema
- Performing gender in musical numbers
- Performing bodies
- (De)constructing star images with music numbers
- Inter- and transmedial aspects of performances in film
- Musical numbers in European cinema
- Non-western traditions (Bollywood, Brazilian musicals etc.)
- Ideological aspects: the utopian potential of musical numbers
- Negotiating different semantic systems: filmic representation of musical form (in musical moments)
- Repetition and difference: musical numbers between affirmation and subversion
- Methodological and theoretical questions (musicological, philosophical, psychological approaches etc.)
- Reception of musical numbers
- Musical numbers and fan culture

Submissions and inquiries should be made to aniela.buzatu@sbg.ac.at.

Deadline for abstracts is April 30th 2017.

Individual abstracts should be no more than 300 words and a short biography (max. 250 words). Panel proposals must include four individual abstracts or three abstracts and one respondent as well as an additional paragraph describing the focus of the panel, including a title. The chair should not be one of the panel presenters and if a panel does not include a chair, the conference committee will appoint one.

Submissions and formal inquiries should be made to aniela.buzatu@sbg.ac.at.
Notice of acceptance: June 2017

A proceedings publication with a reputable academic publisher in an international, peer-reviewed series is envisaged.

Please note that we accept only in-person, original presentations. Video or Skype presentations are not possible. The conference language is English. We will collect a moderate conference fee to be paid at arrival in order to cover coffee breaks and conference material.
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X Jornadas Cinema em Português, UBI, 15-17 de Maio de 2017

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

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

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

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

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Ver, ouvir e ler os cineastas. Teoria dos cineastas, Vol. 1
Acaba de ser apresentado o livro "Ver, ouvir e ler os cineastas. Teoria dos cineastas, Vol. 1", editado por Manuela Penafria, Eduardo Tulio Baggio, André Rui Graça e Denize Correa Araujo.


"Em "Ver, ouvir e ler os cineastas" o leitor encontra, justamente, uma aproximação à reflexão dos cineastas. São disso exemplo: a discussão de conceito dos próprios cineastas, a relação com outros cineastas (por exemplo, realizador e montador), a leitura atenta de manifestos ou a exposição e discussão de pensamentos que revelam coerência reflexiva entre o discurso verbal/escrito e a práxis artística."

Disponível em:
http://www.labcom-ifp.ubi.pt/book/284

Em breve o vol.2 "Propostas para a teoria do cinema"

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CFP: "Fast, Slow & Reverse. Faces of Contemporary Film Narration" conference


Call for Papers
Fast, Slow & Reverse. Faces of Contemporary Film Narration conference


Gdańsk-Kraków (Poland), 24th – 28th May, 2017

https://fastslowreverse.wordpress.com


Richness of contemporary cinema is perhaps most clearly visible in the diversity of forms and means of film narration. Dynamic transformations in this field apply both to mainstream cinema and to its alternatives: independent cinema, art-house cinema and various types of avant-garde. These two big currents of contemporary cinema interrelate, influencing but at the same time sharply opposing each other. The two extreme wings are the post-narrative Hollywood cinema of attractions on the one hand, and the atmospheric *slow cinema*, the most recent favourite of film festival audience, on the other.

Just as contemporary film narration spans a rich field between two extremes, likewise the conference devoted to it will take place at two ends of Poland, forming a symbolic bridge between various phenomena and theoretical stances. The conference, organized jointly by University of Gdańsk and Jagiellonian University in Kraków, will take a shape of an unusual, two-part symposium, held in one week of May in Gdańsk and Kraków

First two days in Gdańsk (24th – 25th May) will be devoted to mainstream cinema of “fast” denomination. On the third day (26th May), the participants will travel to Kraków, where they will debate on the narration of art-house cinema, of slow kind and beyond.

Keynote speakers: Thomas Elsaesser, Warren Buckland, Noël Carroll, Eleftheria Thanouli

Submission deadline: 26th February, 2017


A detailed description of each part below:


Part I: Gdańsk, 24th – 25th May, 2017 Mainstream Cinema – Change or Continuation?


Over the last couple of years, the question of a fundamental change within narrative cinema has been hotly debated. As the film technology hasundergone a profound change, digital recording replaced photographical, analogue techniques, and computer-generated imagery competes with traditional film technologies. Also the conditions of film viewing have changed, since the proliferation of digital formats made home (and mobile) watching more ubiquitous than ever. As a consequence, a contemporary film viewer differs significantly from his/her predecessor of the classical era. S/he can decide what, where and when s/he watches, and some people even claim that s/he is more active, rational and percipient than ever before.

Many film researchers demonstrate how these overall changes go in hand with transformations of mainstream cinema narration. They have proclaimed an era of postclassical cinema in which norms of classical cinema are not in effect any more. Contemporary films don’t have to be fluid, observe the rules of continuity and be “excessively obvious”, and a contemporary viewer is not so strongly inclined to follow a story, preferring rather to seek attractions and visual spectacle. Other phenomena have also been pointed out, such as the rapid development of so called “puzzle films”, intertextuality, enhanced role of world-making, achieved both by means of set-designing and digital effects, more complex characters, development of alternative structures, like forking narratives or network narratives or multiple character films. Their proliferation and diversity attest to the view that the classical norms have ceased to apply to contemporary cinema.

Not everybody agrees with that view, though. The opponents point out that almost all features that are ascribed to the new cinema were well known in the classical period, perhaps only in different proportions. The undoubted versatility of contemporary films notwithstanding, they all observe the rules that have been forged in the third and fourth decade of the 20th century, that is, in the dawn of the classical era.


Who is right and who is wrong in this argument? Our conference’s aim is to describe transformations within mainstream cinema, compare them to the classical norms, and on this basis attempt to find the place of contemporary cinema on the classical/post-classical axis.



The suggested topics are:


- The viewer of contemporary cinema

- The notion of mainstream cinema

- The genre of puzzle films

- Transformations of time and space in contemporary mainstream cinema

- Intertextuality in mainstream cinema

- Computer games and cinematic narrative structures

- Network narratives and parallel worlds in contemporary mainstream

cinema

- Blind chances and coincidences

- Paranoid narratives and unreliable narrators

- Flawed heroes: characters in contemporary mainstream cinema.




Part II: Kraków, 27th – 28th May, 2017 Art-house Cinema – Alternative Paths of Narration



David Bordwell has consistently pointed out that if the borderline between mainstream cinema and so called art-house or independent cinema exists at all, it is marked off by a different use of film narration. Even though post-classical Hollywood cinema seeking new means of narration eagerly assimilates some forms and devices successfully tested on the ground of art and experimental cinema, it seems that the gap between mainstream and art cinema is now bigger than ever. Such trends as slack and contemplative *slow cinema *(labelled as “neomodernist” in Poland), somewhat akin to it atmospheric ambient cinema, branching off from the story line, opting for the “visual stains” instead, and diverse forms of intermediality and newmediality, which combine typical cinematic forms of expression with the ones derived from the visual arts – all of them in one way or another challenge the very notion of mass cinema. Their basic tools for undermining the formulas of mainstream cinema belong to the sphere of narration: unusual ordering of the story, derangement of dramaturgical rules, refined techniques of subjectivity, idiosyncratic transformations of time and space continuity, or emphasizing of means of expression at the cost of the story. All these features have become the trademarks of contemporary art-house cinema.

Radical aesthetic choices and alternate narrative forms ensuing from them wouldn’t be possible, though, without a particular situation of contemporary filmmakers, in many cases the benefactors of art-house cinema institutional background and of new possibilities opened up by the digital revolution. Thus the economical, technological and political context cannot be neglected even when focusing on seemingly textual category of film narration.

In the “Cracovian” part of our conference, devoted to narrative forms specific to contemporary art-house cinema, we would like to develop all the above mentioned topics and reflect on the wider dimension of analysed narrative practices.

We welcome abstracts which explore the following (and other relevant to the topic) questions:

– Historical development of art-house cinema narrative patterns

– Alternative narrative strategies: slow cinema, ambient cinema, “film-art”

– Parametric narration in contemporary cinema

– Reception strategies towards slow cinema films

– Quantitative methods in narratology (average shot length, narrative schemas, big data, etc.)

– Modern narratology and art-house cinema

– Combinations of fiction and non-fiction in contemporary art-house cinema

– Clear-cut authorial strategies versus historical aesthetic trends and schools

– New media influences on contemporary art-house cinema

– Cinema beyond cinema: art-house cinema narration and other artistic practices: installations, video-art, etc.

– New forms of narration and sphere of production: technology, distribution, freedom of expression.



The conference will be held in English. Envisaged talk length – *20 minutes for individual speaker or 1 hour for pre-constituted panels* of up to four thematically related presentations. *Abstracts of max. 250 words for individual submissions and max. 500 words for pre-constituted panels (including information on all the individual papers), together with short bio of the speaker (including academic affiliation and contact details) should be sent to the following e-mail: fastslowreverse@gmail.com


Deadline is 26th February, 2017. Authors will be notified about the selection outcome no later than on 19th March, 2017. Please contact us in case of other questions: fastslowreverse@gmail.com

After the conference, authors of selected papers will be invited to participate in a hard copy publication in English.


Conference fee is 100 EUR, 450 PLN or 120 USD. All necessary payment details will be provided for accepted speakers. The fee includes a train ticket from Gdańsk to Kraków on 25th May and catering (lunches and coffee breaks).


https://fastslowreverse.wordpress.com


Best regards,

Barbara Szczekała
Jagiellonian University

​ in Kraków​

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PhD positions in Film Studies at University of Gothenburg, Sweden


The University of Gothenburg is now advertising open applications for PhD applications in Film Studies. We have a variety of specialisms in the department such as, Scandinavian film, feminist and intersectional approaches to film, film-philosophy, and digital media. Any enquiries, in the first instance, should be directed to our head of department Associate Professor, Mats Björkin Mats.Björkin@gu.se <http://Mats.Björkin@gu.se> or Senior Lecturer in Film and Feminism,
Anna Backman Rogers anna.backman.rogers@gu.se <mailto:anna.backman.rogers@gu.se>

More specific details are outlined below this message.

Very best wishes
Anna Backman Rogers.


Admission to Doctoral Programmes (Third Cycle) 2017

The Department of Cultural Sciences will announce 6 funded positions as postgraduate student in 2017.

Applications may be submitted starting on 24 January, 2017.
Applications must be submitted no later than 21 February, 2017.


For more detailed information about the application process see ”Instructions for Applicants” below.

After preparation at the Department, admission decisions are made by the Head of Department by 1 June. Before this decision is made, a preliminary decision proposal will be sent to all applicants. Applicants admitted will be notified as soon as possible after the decision has been made by the Head of Department.

The will announce one postgraduate position in each of the Department’s six programmes for third-cycle studies:

• Art History and Visual Studies
• Cultural Studies
• Ethnology
• Film Studies
• Gender Studies
• Musicology

The criterion for selection among applicants is the ability to benefit from the study programme. This criterion also includes applicants’ ability to contribute to and benefit from the study environment at the Department. It is therefore important that you carefully study the websites describing the current research areas of the Department and the research profiles of individual potential supervisors.


Instructions for Applicants

Only students who have funding for the equivalent of four years’ full-time study will be admitted into a doctoral programme; funding is normally obtained through a Department studentship. Department studentships in various subjects are normally announced once a year.

In order to be admitted as a doctoral student, you must have completed an undergraduate degree (First cycle) and at least one year of study at the Masters level (Second cycle). Normally the requirements for being admitted to a doctoral programme in a given subject include three to four terms of studies in that subject in the First and Second cycle. For detailed information on the entry requirements in each of the doctoral programmes offered at the Department see the General Syllabi of these programmes.
Please note that for all of the Department’s doctoral programmes, the specific entry requirements include language skills in Swedish as well as English (see the appropriate General Syllabus, section 2.2).

The Department of Cultural Sciences will announce 6 funded positions as postgraduate student in 2017. Applications may be submitted starting on Tuesday 24 January, 2017, and a complete application must be submitted no later than Tuesday 21 February, 2017. The application is to be made by means of the electronic form in The University of Gothenburg’s net-based Job Application Portal <http://www.gu.se/english/about_the_university/announcements-in-the-job-application-portal/?languageId=100001&disableRedirect=true&returnUrl=http%3A%2F%2Fwww.gu.se%2Fomuniversitetet%2Faktuellt%2Fledigaanstallningar%2F>. Once completed the form serves as the basis of your application. The form contains a number of tabs. Information or attachments must be submitted via the following tabs: 2 Personal Details, 3 Cover Letter, 5 Education, 6 Languages, 9 Attachments. It is not necessary to submit any information covered by the other tabs in the system.

The application is to be supplemented with various attachments for inspection by the referees appointed to assess your postgraduate application and those of others. These attachments correspond to the four headings presented in the instructions below. The filenames of the attachments should contain your last name along with a specification (the structure of filenames is exemplified below under each heading). Attachments A to C are to be uploaded via tab 9 Attachments in the Job Application Portal, while the text for D is to be submitted via tab 3 Cover Letter.

For technical support concerning the Job Application Portal, please contact rekrytering@gu.se <mailto:rekrytering@gu.se>. Questions related to the content of your application can be directed to the Department’s Associate Head of Department for Doctoral Studies. <mailto:alf.bjornberg@gu.se>

*A Educational certificate *

(name of file: ”Last Name education”)

You must enclose an attested educational certificate that lists the courses you have completed. The certificate must demonstrate that you meet the general entry requirements for postgraduate study as well as the specific entry requirements specified in the General Syllabus for the postgraduate subject to which you are applying. If you do not meet the requirements specified in the primary formulations of the Syllabus under the heading ”Behörighetskrav och förkunskapskrav” (”Entry requirements”), then you must submit a separate document (”Last Name entry requirements”) where you clearly state on what grounds your qualifications can be said to correspond to the primary formulations.

*B Texts*

(name of file: ”Last Name text 1”, ”Last Name text 2” etc.)

Submit your second-cycle degree projects and any relevant publications. You may submit up to five texts; any additional texts can be listed in a separate document.

*C Project description
*
(name of file: ”Last Name project”)

You must attach a description of your intended thesis project. Your project description must be developed independently, not in co-operation with potential supervisors or equivalent parties. Before you write it you should study any detailed instructions listed in the General Syllabus for your postgraduate subject. The description may be no more than 24,000 characters (incl. blank spaces), which corresponds to around eight pages of text of normal density, and may be written in Swedish or English.
Your thesis plan should contain a clear research problem in connection with your area of investigation, and you must motivate why this particular problematic is worthy of closer investigation. The introduction of the research problem should lead to a description of the precise purpose of the investigation, which in turn may subsume examples of the questions you will seek to answer or the hypotheses you wish to test.

The thesis plan should contain a brief survey of the research field, to clarify what has previously been done in this area and how your own investigation relates to existing scholarship: what you wish to incorporate or develop further, but also what, if anything, you feel has so far been dealt with in an incomplete or unsatisfactory manner.
It should contain a section on method where you discuss and explain the tools and analytical techniques you wish to bring to bear on your research problem. Here you should also clarify the theoretical framework that serves as a foundation for your investigation, and also define the materials that you mainly intend to work with. The plan may also contain a preliminary outline of your dissertation, a list of envisaged research stages, as well as reflections on a general timeframe for the research process.

The plan should preferably be written in such a way that the points listed above are treated as links in a structurally and logically coherent argument where the initial formulation of your research problem serves as a foundation for everything that follows.

*D Self-reflection
*
(submitted under the tab ”3 Cover Letter”)

You must enclose a brief essay where you reflect on your motives for applying to the doctoral programme and on the line of development that you feel can be traced in your degree projects. If it is evident from the educational certificates that a very long time has elapsed before the completion of said degree projects, you may wish to comment on this fact. This text may be no more than 3,000 characters (incl. blank spaces), which corresponds to around one page of text of normal density, and may be written in Swedish or English.
* * *

If for some reason you are unable to submit one or more attachments in electronic format, you must report this well ahead of time to forskarutb@kultvet.gu.se <mailto:forskarutb@kultvet.gu.se> for further instructions. Applicants who have already been accepted into a postgraduate programme at the Department of Cultural Sciences and are now seeking a funded position are requested to contact the Department’s Associate Head of Department for Doctoral Studies <http://alf.bjornberg@gu.se/> for information about what information needs to be submitted.

Applicants must be aware that the Department’s principle of announcing full postgraduate positions rather than stipends carries with it the expectation that the postgraduate as employee will be physically present at the workplace, interacting actively with the research environment in order to benefit from the education provided there.
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