A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VIII Encontro Anual da AIM irá decorrer de 16 a 19 de maio de 2018, na Universidade de Aveiro. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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Funded PhD/ Graduate Teaching Assistant in Media and Film Studies

*About the Role

Graduate Teaching Assistants hold a unique position in the Edge Hill University being both registered students and carrying out teaching/teaching support duties.

Students will be expected to:

* Successfully undertake an initial programme of accredited research
* Undertake a PhD programme of research under the supervision of an
appointed supervisory team.
* Enhance the research culture of the Department in which they are
located and the University by participating in events, conferences
and training.
* Successfully complete a programme of teacher training.
* Undertake up to six hours teaching a week as directed by the Head of


We want you to feel happy when you come to work and proud when you go home.

From the moment you join us you have the opportunity to enhance your skills. We offer a range of specialist development sessions or courses and an award winning staff health & wellbeing programme. This means as well as being enrolled on our PGCTHE to support your professional development, you are able to enjoy a lunchtime stroll across our beautiful campus, book to get a trim from our onsite hairdresser, your car valeted, or get together with colleagues over free food and drink to watch the latest film on one of our Film Nights and so much more. This is just a taste of what we are able to offer you at Edge Hill University.

Payment for teaching hours will be in the region of £8,300 per annum and each GTA will receive a ‘package’ which includes a combined salary (for teaching/support to teaching as appropriate) and full waiver of postgraduate tuition fees as well as a scholarship of £5,500 per annum/ or/ free single room postgraduate student accommodation on campus (subject to availability).

For further information, please see:


Job Vacancy at Edge Hill University: PhD/Graduate Teaching Assistant (GTA) - Media & Film Studies <>
A fantastic opportunity to study for a fully funded doctorate whilst gaining valuable teaching experienceAbout YouYou will have a 2.1 or above undergraduate degree in a relevant subject, whilst a Masters degree would also be an advantage. You should...
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CFP: Media Representations of Islam and Muslims

An international and interdisciplinary conference

Université de Versailles Saint-Quentin-en-Yvelines, France (19-20 juin 2018)

‘Islamophobia’ and ‘race’ are contested terms in contemporary political and media discourse around the world(Hajjat & Mohammed, 2013; Massoumi et al., 2017; Sayyid & Vakil, 2009). In the case of heated debates in France, for example, academic and/or antiracist arguments – themselves far from homogenous – struggle to be heard, and these terms are often censored more or less explicitly. The absence of official statistics on ethnic and religious diversity in France (Simon, 2008), which purportedly protects minorities from discrimination, also inadvertently makes invisible the social and cultural inequalities that nevertheless exist; and the constitutional establishment of France as a secular state that presupposes equality and freedom leads to problems for the recognition of difference in an increasingly multicultural society (Modood & Webner, 1997; Lentin & Titley, 2011), as well as tensions between the protected values of freedom of expression and freedom of religion (Alicino, 2015).

Similarly, in Francophone and Anglophone academic literature alike, there remains no clear consensus on the definition of either Islamophobia or racism, which, more often than not, continue to be studied separately. In contrast to the political and media rhetoric, however, academic research into these issues from a wide range of disciplines has revealed that systemic and structural discrimination is in fact as widespread in France as they are in other western countries, with non-white people suffering disproportionately in terms of unemployment (Wacquant, 2009), imprisonment (D. Fassin, 2011) and education (Keaton, 2006), while international NGOs (Amnesty International, Human Rights Watch) have repeatedly criticised the failure of successive French governments to independently investigate police violence and discrimination against ethnic minorities. Contrary to the clash of civilisations thesis and the emphasis on the need for Muslims to integrate and accommodate their religion or culture with ‘republican’ or ‘western’ values, studies on the everyday lives and personal opinions of Muslims in France and other European countries have cast doubt on the extent to which any such contradiction exists (Göle, 2015; Massoumi, 2015; Zerouala, 2015), while others have warned against the increasing sacralisation of laïcité as a civic religion (Roy, 2013) and the false dichotomy of anti-sexism and anti-racism when debating issues such as ‘the veil’ (Bouyahia et Sana, 2013; Delphy, 2008).

Increasingly, effort has been made to supplement research into the characteristics of Muslim people and religious, cultural or political identity, with more of an emphasis on Islamophobia as the result of political practices that disproportionately affect Muslim people (Massoumi et al., 2017), and to supplement quantitative research into diversity with qualitative research into the perception of discrimination (Dubet et al, 2013). Transcending the dominant focus on immigration and integration, and recognising the ‘internal exclusion’ of non-migrants (Balibar, 2007), as well as the role of religion as a site of cultural politics rather than an apolitical aspect of the private sphere (Fernando, 2014), some scholars have sought to shift attention away from the ‘Muslim problem’ and onto the ‘republican problem’ instead. That is, engaging with the inherent tensions and contradictions of the secular state, republican values and ‘secular-republican power’ (Fernando, 2014; see also Titley et al, 2017), rather than those of French Muslims and what they eat or wear. Others have located the concept of Islamophobia and the social construction of the ‘Muslim problem’ in the long-term history of international migration and colonial racism (Bancel et al., 2015; Hajjat & Mohammed, 2013;Poinsot et Weber, 2014). Recognising the complexity of the social construction of ‘race’ and citing discursive slippages between the figure of the ‘Muslim’, the ‘Arab’ and other terms, as well as the ways in which Muslims are perceived in racialised terms, some scholars (D. Fassin & E. Fassin, 2006; Mazouz, 2017) have discussed the phenomenon of ‘racism without race’, using the term /racialization/ to emphasise the process whereby certain identities are socially constructed as ‘other’ and categorised hierarchically (du Bois, 1994; Fanon, 1967; D. Fassin, 2011; Gilroy, 1987; Miles, 1989; Murji & Solomos, 2005), and drawing on cultural and media studies approaches to reveal the ways in which ‘race’ intersects with gender and class (Anthias, 2012).

Such approaches have also been important sources for critiquing the role of the media in this process of racialization (Cervulle, 2013; Hall et al., 1978; Petley & R. Richardson, 2011; Poole & J. Richardson, 2006; Rabah, 1998; Said, 1997; Tevanian, 2005; 2006). But, as Hajjat & Mohammed (2013: 116) have argued, analyses of media representations, discourses and content (Bertault et al, 2009; Deltombe, 2005; Macé, 2009; Sian et al, 2013) need to be complemented by more sociological accounts of the conditions of media production and the routine practices of journalists, so as to understand the distance between the habitus of professional journalists and elites, on the one hand, and the ‘popular classes’ on the other, as well as the discrimination experienced by those from ethnic minority backgrounds working within the media industries themselves, and the economic and structural constraints of news agenda setting.

This conference aims to bring together researchers from a variety of disciplines (sociology, information-communication, history, law, media and cultural studies, etc.), from France and from abroad, as well as professionals from the media industry, to further debate and develop our understanding of the media’s role in the construction of the ‘Muslim problem’ – in France and beyond. Because this is an international and interdisciplinary conference, we are keen to receive papers that foreground the contribution that international and interdisciplinary perspectives can bring, and that highlight the different sources, theoretical traditions, methodological approaches and epistemological questions that are raised by researchers working in different fields, so as to provide a reflexive and critical engagement with the efficacy and appropriateness of terms such as Islamophobia, and of hitherto privileged approaches to understanding such processes and practices. As such, papers that are comparative – that focus on such issues in other countries, or on similitudes with other racisms and processes of mediated exclusion – are welcome, as are those that offer historical perspectives on their evolution, and those that combine media analyses with sociological research, or an engagement with interdisciplinary or international literatures, are particularly encouraged. Generally, contributions are encouraged in, but not limited to, the following areas:

-Definitions of, and debates on, terms such as Islamophobia, racism/racialization, mediation/mediatization and media critique.

-Theoretical, methodological and inter/disciplinary approaches and traditions to critiquing media and racism (cultural studies; media studies; postcolonial studies; critical race theory; gender studies; intersectionality; sociology; history; law; international relations etc.)

-Analyses of media content or discourse; media law, policy and regulation; or media practice and journalism ethics.

-Moral panics, media events and controversies over the veil, burkinis, halal meat, school meals, Christmas crèches in public buildings, /Charlie Hebdo/.

-Ethnic diversity, inequality and discrimination in areas such as housing, employment, education, the criminal justice system.

-Liberalism, republicanism, communitarianism, multiculturalism or cosmopolitanism.

-Secularism/s, laïcité, recognition and difference.

-Colonialism, postcolonialism, nationalism, globalisation, terrorism or collective memory.

-‘Race’, religion, religiosity, postsecularism, intersectionality and culture.

-Citizenship, rights, inclusion and exclusion.

-The balancing of freedom of expression with the freedom of religion; academic freedom; press freedom.

-Feminism, gender, class, intersectionality, and anti-sexism and/or anti-racism.

*Proposals for papers should be sent to Simon Dawes at *** <>*by Friday 16^th February 2018. Decisions will be confirmed by Friday 16^th March 2018. The conference will take place in 19-20 June 2018. *

*Keynote Speakers:*

*Floya Anthias, Marion Dalibert, Eric Fassin, Abdellali Hajjat, Olivier Le Cour Grandmaison, Eric Macé, Narzanin Massoumi and Sarah Mazouz***

*Organising Committee:*

Simon Dawes ​(CHCSC, Université de Versailles Saint-Quentin-en-Yvelines, Paris Saclay, France)

Marion Dalibert (GERiiCO, Université Lille 3, France)

Eric Fassin (LEGS, CNRS / Université Paris-8 / Université Paris-Ouest, France)

Des Freedman (Goldsmiths, University of London, Royaume Uni)

Claire Gallien (IRCL, Université Paul Valéry, Montpellier, and CNRS, France / Columbia University, États-Unis)

Lise Guilhamon ​(CHCSC, Université de Versailles Saint-Quentin-en-Yvelines, Paris Saclay, France)

Abdellali Hajjat (ISP, CNRS / Université Paris-Ouest, Nanterre, Paris Saclay, France)

Claire Joubert (TransCrit (EA 1569), Université Paris 8, France)

Gholam Khiabany (Goldsmiths, University of London, Royaume Uni)

Olivier Le Cour Grandmaison (CRLD, Université d'Evry-Val d'Essonne, Paris Saclay, France)

Nadia Marzouki (CNRS, France)

Sarah Mazouz (Institut für europäische Ethnologie, Humboldt Universität zu Berlin, Allemagne)

Tom Mills (Aston University)

Marwan Mohammed (ERIS du CMH, CNRS, France)

Aurélien Mondon (University of Bath, Royaume Uni)

Géraldine Poels (CHCSC, Paris Saclay et Institut National Audiovisuel, France)

François Robinet ​(CHCSC, Université de Versailles Saint-Quentin-en-Yvelines, Paris Saclay, France)

Gavan Titley (Maynooth University, Irlande / Helsinki University, Finlande)


Centre d’histoire culturelle des sociétés contemporaines (CHCSC), Université de Versailles Saint-Quentin-en-Yvelines (UVSQ), Paris Saclay

Centre for Global Media and Democracy, Goldsmiths, University of London, Royaume Uni

Institut des sciences sociales du politique (ISP, UMR 7220), Université Paris-Ouest Nanterre, Paris Saclay

« Mondialités Islamiques: Interfaces Francophones/Anglophones et Décolonialités » research programme: l’Institut de Recherche sur la Renaissance, l’âge Classique et les Lumières (IRCL, UMR 5186), Université Paul-Valéry Montpellier III et l’Université Paris 8

"Poétique de l'étranger", TransCrit (EA 1569), Université Paris 8

RTP « Islams et Chercheurs dans la Cité », EHESS


Alicino, F. (2015) ‘Freedom of Expression, Laïcité and Islam in France: The Tension between Two Different (Universal) Perspectives’, /Islam and Christian–Muslim Relations/, DOI: 10.1080/09596410.2015.1090105**

Anthias, F. (2012) ‘Hierarchies of social location, class and intersectionality: Towards a translocational frame’, /International Sociology/, Vol 28, Issue 1, pp. 121 - 138

Badouard, R. (2016) ‘‘Je ne suis pas Charlie’: Pluralité des prises de parole sur le web et les réseaux sociaux’ in P. Lefébure and C. Sécail (eds.) Le défi Charlie: Les médias à l’épreuve des attentats. Paris: Lemieux Éditeur.

Balibar, E. (2007) ‘Uprising in the Banlieus’, /Constellations/ 14(1):47-71.

Bancel, N., Pascal Blanchard, Ahmed Boubeker (2015) /Le Grand repli/. Paris, La Découverte.

Bouyahia, M. et Sana, M.E. dir. (2013), /Polysémie du voile : Politiques et mobilisations postcoloniales/. Paris : Éditions des Archives Contemporaines.

Cervulle, M. (2013) /Dans le blanc des yeux. Diversité, racisme et médias/. Paris, Amsterdam.

Commission Islam et Laïcité (2006) /Islam, médias et opinions publiques : Déconstruire le « choc des civilisations »./ Paris, L’Harmattan.

Deltombe, T. (2005) /L’Islam imaginaire. La construction médiatique de l’islamophobie en France, 1975-2005./ Paris, La Découverte.

Dubet, F., Cousin, O., Macé, E., Rui, S. (2013) /Pourquoi moi ? L'expérience des discriminations/, Paris, Seuil, 384 p., ISBN : 978-2-02-109741-2.

Du Bois, W. E. B. (1994) /The Souls of Black Folk/. New York: Dover Publications.

Dawes, S. (2015) ‘Charlie Hebdo, Free Speech and Counter-Speech’, /Sociological Research Online/, 20(3).

Delphy, C. (2008) /Classer, dominer : Qui sont les « autres » ?/ Paris : La Fabriques Editions.

Fanon, F. (1967) /Black Skin, White Masks/. New York: Grove Press.

Fassin, D. ( 2011) /La force de l’ordre: Une anthropologie de la police des quartiers/. Paris : Seuil.

Fassin, D. & Fassin, E. eds. (2006) /De la question sociale à la question raciale? Représenter la société française/. Paris : La Découverte.

Fernando, M.L. (2014) /The Republic Unsettled: Muslim French and the Contradictions of Secularism/. Durham and London: Duke University Press.

Gilroy, P. (1987) /There Ain’t No Black in the Union Jack. The Cultural Politics of Race and Nation/. London: Routledge.

Göle, N. (2015) /Musulmans au quotidien : Une enquête européenne sur les controverses autour de l’Islam/. Paris : La Découverte.

Hajjat, A. & Mohammed, M. (2013) /Islamophobie: Comment les élites françaises fabriquent le « problème musulman »/. Paris : La Découverte.

Hall, S., Critcher, C., Jefferson, T., Clarke, J., Roberts, B. (1978) /Policing the Crisis. Mugging, the State and Law and Order/. London: Macmillan.

Hepp, A., Stig Hjarvard and Knut Lundby (2015) ‘Mediatization: theorizing the interplay between media, culture and society’, /Media, Culture & Society/, 0163443715573835, first published on February 17, 2015

Hjarvard, S. (2008) ‘The Mediatization of Society. A Theory of the Media as Agents of Social and Cultural Change,’ /Nordicom Review/ 29(2): 105–134.

Keaton, T.D. (2006) /Muslim girls and the other France: Race, identity politics and social exclusion/. Bloomington: Indiana University Press.

Lentin, A. and Titley, G. (2011) /The Crises of Multiculturalism: Racism in a Neoliberal Age/. New York: Zed Books.

Liogier, R. (2016) /Le mythe de l’islamisation. Essai sur une obsession collective/. Paris, Seuil.

Macé, E. (2009) « Mesurer les effets de l'ethnoracialisation dans les programmes de télévision : limites et appports de l'approche quantitative de la 'diversité' », /Réseaux/, n°157-158, 2009, p. 235-265

Massoumi, N. (2015) /Muslim women, Social Movements and the 'War on Terror'/. Basingstoke: Palgrave Macmillan.

Massoumi, N., Tom Mills & David Miller (eds.) (2017) /What is Islamophobia ? Racism, Social Movements and the State/. London, Pluto Press.

Mazouz, S. (2017) /La République et ses autres : Politiques de l’altérité dans la France des années 2000/. Lyon : ENS Editions.

Miles, R. (1989) /Racism/. London: Routledge.

Modood T. & Webner P. eds. (1997) /The Politics of Multiculturalism in the New Europe/, London, Zed Books

Murji, K. and Solomos, J. eds. (2005) /Racialization: studies in theory and practice/. Oxford, UK: Oxford University Press.

Petley, J. & Richardson, R. (2011) /Pointing the Finger. Islam and Muslims in the British Media/. Oxford: Oneworld Publications.

Poinsot, M. et Weber, S. (2014) /Migrations et mutations de la société française, l'état des savoirs/. Paris : La Decouverte.

Poole, E. & Richardson, J. eds. (2006) /Muslims and the News Media/. London: I.B. Taurus.

Rabah, S. (1998) /L’Islam dans le discours médiatique. Comment les médias se représentent l’Islam en France/. Beyrouth : Al-Bouraq.

Roy, O. (2013) /La laïcité face à l’Islam/. Paris. Editions Pluriel.

Said, E. (1997) /Covering Islam: How the Media and the Experts Determine How We See the Rest of the World (Fully Revised Edition)./ London: Vintage

Sayyid, S. & Abdoolkarim Vakil (2009) /Thinking Through Islamophobia: Global Perspectives/. New York: Columbia University Press.

Sian, K, Ian Law and S. Sayyid (2013) /Racism, Governance, and Public Policy: Beyond Human Rights/. Routledge Advances in Sociology.

Simon P. (2008) « Les statistiques, les sciences sociales françaises et les rapports sociaux ethniques et de « race » », Revue française de sociologie 2008/1, Volume 49, p. 153-162.

Strömbäck J. and Esser F. (2014) ‘Introduction: making sense of the mediatization of politics’, /Journalism Studies/ 15(3): 243–255.

Tevanian, P. (2005) /Le voile médiatique: Un faux débat: « L’affaire du foulard islamique »./ Paris : Raisons d’agir.

Tevanian, P. (2006) /Islam & Laïcité: Islam, medias et opinions publiques. //Déconstruire les chocs de civilisations/. Paris. L’Harmattan.

Titley, G., Des Freedman, Gholam Khiabany & Aurélien Mondon (2017) /After Charlie Hebdo: Terror, Racism and Free Speech/, Zed Books.

Wacquant, L. (2009) /Punishing the poor: The neoliberal government of social insecurity/. Durham, NC: Duke University Press.

Zerouala, F. (2015) /Des voix derrière le voile/. Premier Parallèle.
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2nd International Media Literacy Research Symposium in Lisbon, Portugal (April 19-20, 2018)

Registration Is Open!

Follow this link to register:

*Keynote Plenary Speakers:

/*Paul Mihailidis- */Principle Investigator and Co-Director of the Engagement Lab and Associate Professor in the School of Communication at Emerson College. His research explores the nexus of media literacy, young people and engagement in civic life. He is the Director of the Salzburg Academy on Media & Global Change, a program that annually gathers scholars and students from around the world to investigate media and global citizenship.

*/Nico Carpentier/*-Professor at the Department of Informatics & Media of Uppsala University. Additionally, he holds two part-time positions: Associate Professor at the Communication Studies Department of the Vrije Universiteit Brussel (VUB) and Docent at Charles University in Prague. He is a Research Fellow at Loughborough University and Cyprus University of Technology. He is an executive board member of the International Association for Media and Communication Research (IAMCR).

*Join researchers from all over the world to discuss research trends and work in the following areas:

* Media Literacy: Past, Present, and Future
* Civic Media Literacy and Participatory Culture
* Education: Digital Citizenship, Social Networking, Policy and Training

*Registration Costs: 100€ (Euros) for academics/researchers/educators & students.
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CFP: (MADRID) International Conference, Cinema, TV and Popular Culture in the 1990s: Spain-Latin America

The group Tecmerin (Universidad Carlos III de Madrid), within the Research Project "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global"(CSO2016-78354-P), organizes de International Conference “Cinema, TV and Popular Culture in the 1990s: Spain-Latin America” on October 17th, 18th and 19th, 2018 (5th Tecmerin Academic Encounter).

The 1990s are the beginning of a new historical cycle in which the hegemonic growth of a series of neoliberal ideas takes place. Simultaneously, the symbolic disappearance of the Berlin frontier-wall occurs. In addition, it is a key period in the reconfiguration of culture in different areas. The audiovisual sector—both cinema and television—was no exception. One could even argue that contemporary Spanish and Latin American production stems, to a great extent, from the several industrial, cultural and aesthetic processes that crystallized during this period.Likewise, it is a crucial moment in the establishment of a series of connections between Spain and Latin America in terms of audiovisual production. There is an attempt to re-evaluate the role of a series of cultural agents, tracing, potentially, new platforms of exchange.

From a cultural and social viewpoint, the 500th anniversary of the encounter between Europe and America channels Spain’s greatest effort to work collectively in a variety of identity policies.After the consolidation of democracy, several international institutions legitimize the achievements of the Spanish Transition model and foster the celebration of top-notch cultural and sports macro-events, grouped around the commemorative 1992 date (the Barcelona Olympics, Seville’s Universal Expo, Madrid as European Cultural Capital). During those days, a series of important meetings and political agreements take place in Spain as well, such as the 1991 Peace Conference, or the creation of new tools to strengthen the Ibero-American community with a variety of cultural exchange and cooperation initiatives (the second Ibero-American Summitof “Chiefs of State and Government”, in 1992, takes place in Madrid).Nonetheless, these inclusion policies suffer from notable limitations, in the sense that they avoid establishing productive exchanges with discrepant sectors and opinions within the cultural, social and political fields.

During this period, Spain’s incorporation to the European Union (the ECC) turns into an immediate economic boost and the implementation of a series of liberalization policies. These international processes had unprecedented effects in a country, Spain, which was attempting to establish itself as the bridge between Europe and Latin America. Part of this accrued capital gets to local, regional and national governments, which, driven by their access to the riches of economic globalization, use this money (following a European pattern) in the creation of a series of cultural infrastructures and the financing of projects for new cultural consumers, a phenomenon that French author Marc Fumaroli has called the emergence of a “cultural State”. This well-known process—widely recognized today—started in Spain around the symbolic 1992 date. In Latin America, newborn democracies start also de-regulating and privatizing policies that will have a great impact in the development of the audiovisual sector.

From the on, cultural production would combine the modern logic of a personal style with production models that belong to an increasingly complex and multimedia industrial sector, bound by transnational synergies. There are, therefore, major changes in terms of production and consumption practices. In Spain, in the years prior to 1992, there are a series of mutations that point to the fact that the country is leaving behind certain artistic canons and modes of cultural production, entering thus a new phase. In cinema, there are several legislative modifications that attempt to supersede the limitations of the so-called Miró law, which championed projects according to a series of “quality” criteria, disregarding box-office results; in literature, as it happens with the cinema, a new generation of authors, where women figure prominently, come to the fore, and become central referents within the public sphere; in television, the arrival of private channels in 1990 drastically alters the audiovisual panorama; in music, the emerging bands of the 1980s have become mainstream and a new wave of creators, mobilizing other artistic practices such as comic books and B cinema, challenge the /statu quo/ with conceptual works close to a DIY (‘do it yourself’) ethos, molding a new scene typically labeled as ‘indie’; in the visual arts, new contemporary museums and international fairs such as ARCO are born; in addition, there are dozens of exhibitions that encourage the Spanish population to catch up with international artistic trends, creating a transnational logic of circulation and exhibition linked to other European cultural events and the wider international panorama. Similarly, transformations can also be detected within Latin America during this decade, which will, for example, catapult in the last stages of the 1990s the emergence of renowned filmmakers such as Walter Salles, Alfonso Cuarón, Guillermo del Toro, Lucrecia Martel, Pablo Trapero, Carla Camurati or Juan José Campanella, among others.

We consider, therefore, necessary to approach this period from an analytical viewpoint, putting special emphasis in the Spanish cultural production, and the multiple cultural connections between Spain and Latin America.

We are especially interested in the following areas of analysis, although we invite scholars to propose other fields of study:

- Transformations in the 1990s film panorama.

-The rebirth of national television fiction.

-Film and television co-productions between Spain and Latin America.

-Legislative changes within the 1990s Spanish and Latin American audiovisual sector.

-La Ruta del Bakalao: History and Evolution

-New music approaches during the 1990s: the “indie” generation.

-The festivalization of Spanish culture: from the FIB to the Sónar or Primavera Sound.

-The EU and 1990s cultural production.

-Globalization, identity and the celebration of macro-events.

-The arrival of private and pay television in Spain and its effects on the audiovisual panorama.

-Regional television models.

-“Star System” and representations of the “Hispanic”.

- Critical approaches from the margins in relation to the 1990s in Spain and/or Latin America.

-Contemporary approaches to the 1990s in film and television.

*Key Note Speakers:*

Robert Stam, New York University

Sabine Schlickers, Universität Bremen

Duncan Wheeler, University of Leeds


The official languages of the conference are both English and Spanish. Scholars and researchers may submit two kinds of proposals:

Individual: Send a paper title, 300-word abstract and a 100-word bio.

Pre-constituted panels (3 or 4 speakers): Send a panel title, 300-word abstracts and 100-word bios for each paper and author.

Send all proposals through the conference’s website:


Please direct any questions to the following email:

* <>*

Proposals Deadline: June 15th 2018. 


*The cost of the conference is 75 euros for researchers and university professors and 30 euros for postgraduate students.


*Payment may be done once a proposal has been accepted until the first day of the conference through an online registration platform that will be available after the proposals evaluation period.***

Proyecto I+D+i "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global" (CSO2016-78354-P), Ministerio de Economía, Industria y Competitividad. Gobierno de España)**

*CFP Congreso Internacional, Cine, TV, y Cultura Popular en los 90: España-Latinoamérica*

El Grupo Tecmerin de la Universidad Carlos III de Madrid, en el marco del Proyecto "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global"(CSO2016-78354-P), organiza el Congreso Internacional “*Cine, TV, y cultura popular en los 90: España-Latinoamérica*” los días 17, 18 y 19 de Octubre, 2018 (V Encuentro Académico Tecmerin).


Los años noventa del siglo XX, que inauguran un nuevo ciclo histórico tras la paulatina hegemonía de las concepciones neoliberales y la simbólica desaparición de la frontera-muro de Berlín, constituyen un momento clave en la reconfiguración de la cultura en diversos ámbitos, y el audiovisual—tanto el cine como la televisión—no fue una excepción. Se puede incluso argumentar como hipótesis que la actual producción cultural española y latinoamericana es en gran medida heredera directa de varios de los procesos industriales, culturales y estéticos que cristalizaron en este periodo. De igual modo, es un momento en el que se establecen una serie de conexiones con la producción audiovisual entre España y Latinoamérica con el fin de re-evaluar los vínculos con los diferentes agentes culturales en este continente y trazar, potencialmente, nuevas plataformas de intercambio.


Desde un punto de vista social y cultural, el aniversario de los 500 años del encuentro entre Europa y América canaliza el mayor esfuerzo realizado en España para trabajar colectivamente con políticas de identidad. Consolidada la democracia, las instituciones internacionales legitiman los logros del modelo transicional español y apuestan por la celebración de macro-eventos culturales y deportivos de gran relieve, que se agrupan en torno a la fecha conmemorativa de 1992 (Juegos Olímpicos en Barcelona, Expo Universal en Sevilla, Madrid Capital europea de la cultura). Por aquellos días, también tienen lugar en España importantes encuentros y acuerdos políticos, como la Conferencia de Paz de 1991, o la creación de nuevos cauces para consolidar una comunidad iberoamericana, a partir de iniciativas de intercambio cultural y de cooperación (la segunda Cumbre Iberoamericana de “Jefes de Estado y de Gobierno”, correspondiente a 1992, tiene lugar en Madrid). Sin embargo, estas políticas de inclusión adolecen de notables limitaciones, en la medida en que soslayan el diálogo con sectores y corrientes discrepantes con el proyecto en material cultural, social y política.

Durante este periodo, la incorporación de España a la Unión Europea (entonces CEE) setraduce en la inyección de un significativo volumen de ayudas económicas y la puesta en marcha de políticas de liberalización. Estos procesos internacionales tuvieron efectos sin precedentes en una España que busca su lugar en el mundo como puente entre los países latinoamericanos y Europa. Una parte del capital acumulado que llega a los gobiernos locales, regionales y nacionales — catapultados por su acceso a las riquezas de la globalización económica—, se canaliza, siguiendo el patrón europeo, en la construcción de infraestructuras y en la financiación de proyectos para nuevos consumidores culturales, fenómeno que el ensayista francés Marc Fumaroli explica como el de la emergencia de un “Estado cultural”. Este bien conocido proceso arranca precisamente en España en torno a la fecha simbólica de 1992. En Latinoamérica, las recién nacidas democracias emprenden también políticas desreguladoras y privatizadoras que repercutirán sin duda en los modelos de desarrollo del sector audiovisual.

La producción cultural combinaría a partir de aquí la lógica moderna del estilo personal con modelos de producción que responden a una industria cada vez más compleja, multimedia y sujeta a sinergias trasnacionales, al tiempo que se evidencian cambios de calado en la relación entre prácticas culturales y formas de producción y consumo. En España es fácil observar que en los años previos a 1992 se están abonando cambios que hacen pensar que en el país se dejaban atrás determinados cánones artísticos y relaciones de la economía cultural para entrar en una nueva fase. En cine se producen modificaciones legislativas que intentan superar las limitaciones de la conocida como ‘Ley Miró’, que abogaba por una producción más interesada por lacalidad y menos por otras variables relacionadas con la taquilla; en literatura, al igual que en cine, aparece una generación de jóvenes autores, y sobre todo de nuevas autoras, que van a convertirse en la referencia central en el espacio público; en televisión la llegada de la competencia entre emisoras públicas y privadas a partir de 1990, van a modificar drásticamente el panorama audiovisual español; en música, por una parte, las bandas emergentes de los años 80 son ya /mainstream/ y una nueva ola de creadores vinculados a otras prácticas artísticas, como el cómic y el cine de serie B, desafían al /statu quo/ con trabajos conceptuales cercanos al DIY (‘do it yourself’), moldeando una nueva escena típicamente denominada ‘indie’; en las artes visuales se crean museos de artes contemporáneos y ferias internaciones como ARCO, y proliferan exposiciones que ponen al día a los españoles, creando una lógica de circulación y exhibición vinculadas cada vez más a otros países europeos y el panorama internacional más amplio. Similares transformaciones pueden observarse de manera paralela en el horizonte latinoamericano a lo largo de la década, que influirán, por ejemplo, en el ámbito cinematográfico, en la trayectoria de realizadores como Walter Salles, Alfonso Cuarón, Guillermo del Toro, Lucrecia Martel, Pablo Trapero, Carla Camurati o Juan José Campanella, entre otros.

Consideramos, por tanto, oportuno abordar este periodo desde un punto de vista analítico, poniendo especial énfasis tanto en la producción dentro de España como las múltiples conexiones culturales entre España y Latinoamérica.

Se proponen las siguientes áreas de análisis, aunque se invita a los ponentes a abordar otras temáticas:

- Transformaciones en el panorama cinematográfico de los años 90

-El renacimiento de las ficciones televisivas nacionales.

-Co-producciones cinematográficas y/o televisivas entre España y países latinoamericanos.

-Cambios legislativos en el audiovisual español y latinoamericano durante los años 90.

-La Ruta del Bakalao: Historia y Evolución

-Nuevas propuestas musicales a comienzos de los 90: la generación “indie”.

- La festivalización musical de la cultura española: del FIB al Sónar o Primavera Sound.

-La EU y la producción cultural de los 90.

-Globalización, identidad y celebración de macroeventos

-El surgimiento de los canales de televisión privada y de pago en España y sus efectos en el panorama audiovisual.

-Modelos de televisión regional.

-“Star System” y representaciones de lo “hispano”.

-Propuestas críticas desde los márgenes del audiovisual en relación a este periodo histórico en España y/o Latinoamérica.

-Re-lecturas de los 90 desde el cine y/o la televisión contemporánea.

*Ponentes invitados:*


Robert Stam, New York University

Sabine Schlickers, Universität Bremen

Duncan Wheeler, University of Leeds

*Presentación de propuestas:*

Invitamos a realizar ponencias tanto en inglés como en español. Se podrán presentar dos tipos de propuestas:

*Individual*: Se solicita a los autores que envíen en sus propuestas un *resumen **con una extensión máxima de 300 palabras* y una breve *bio **de 100 palabras*. **


*Mesas pre-constituidas (3 ó 4 ponentes): **Se deberá incluir el **resumen**con una extensión máxima de 300 palabras y una **bio**de 100 palabras para cada uno de los autores así como el **título**de la mesa propuesta.*


El envío de propuestas se realizará en la página web del congreso:


Dirijan cualquier pregunta al siguiente email:

* <>*

El plazo para el envío de propuestas finalizará el 15 de Junio de 2018. 


El pago por la inscripción en el congreso será de 75 euros para profesores e investigadores y de 30 euros para estudiantes de posgrado. Dicho pago podrá hacerse efectivo una vez se haya confirmado la aceptación de la propuesta, hasta la inauguración del congreso, a través de la plataforma de inscripción que estará disponible tras la evaluación de resúmenes en junio de 2018.

Proyecto I+D+i "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global" (CSO2016-78354-P, Ministerio de Economía, Industria y Competitividad. Gobierno de España)

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CFP: Histories and New Directions: Soap Opera/Serial Narrative Research

With the invention of radio, the stories that we heard came to us through the airwaves. In the past, audiences tuned in to listen to their favorite shows, including soap operas/serialized narratives. With the advertisers’ support (mainly soap and detergent companies in the US context), radio channels produced and aired serial dramas regularly. When the last radio serial exited the media landscape in 1960, daytime serials, widely known as soap operas, were already established as part of popular television programming. Despite the prediction that television soap operas would fail, over the years, television serials proved to be among the most successful and profitable programs in the US, the UK, and Australia as well as in non-English speaking countries.

Television as a popular media form is now competing with other media, such as web, social network sites, video games, comics and manga and mobile communication forms. These cultural changes are influencing different television genres, including soap operas and other serial narratives. There is a strong relationship between the nature of storylines and how they are told and the success of a serial narratives or soap operas or how they are received by the audience. Understanding the reasons behind the genre’s popularity or decline in some cases is important to determine its future directions.

The many intriguing intersections and overlappings of past, present, and future of serial narratives and soap operas lack the scholarly attention they deserve. We invite papers that would reflect on the past, present, future of seriality, television serial narrative, and soap opera.

We invite proposals for papers for a special dossier on soaps/serial narrative research for the /Journal of Popular Television/. Please send your abstracts and a short bio to Ahmet Atay and Kristyn Gorton at by 31st January, 2018.
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7ª conferência internacional de cinema de viana
A Conferência Internacional de Cinema de Viana é um espaço de reflexão e de partilha de experiências visando a construção de uma comunidade internacional de interesses e de divulgação de projetos relacionados com duas temáticas centrais do cinema – cinema e escola e cinema, arte, ciência e cultura.

Calendarização para apresentação de comunicações:
Inscrição para envio de resumos: até 25 de fevereiro.
Comunicação de aceitação de resumos: até 10 de março.
Envio de comunicações e pagamento (conferencistas): até 14 de abril.
Inscrição e pagamento (participantes): até 14 de abril.

+ info:

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I International Congress on Colonial and Post-colonial Landscapes: Architecture, Cities, Infrastructures
This congress seeks to bring to the knowledge of the scientific community the dynamics of occupation of colonial territory, especially those involving agents related to architecture and urbanism and its repercussions in the same territories as independent countries.

It is hoped to address issues such as how colonial infrastructure has conditioned the current development models of the new countries or what options taken by colonial administrations have been abandoned or otherwise strengthened after independence.

The congress is part of the ongoing research project entitled "Coast to Coast - Late Portuguese Infrastructural Development in Continental Africa (Angola and Mozambique): Critical and Historical Analysis and Postcolonial Assessment" funded by ‘Fundação para a Ciência e Tecnologia’ (FCT - Foundation for Science and Technology), which has as partner the Calouste Gulbenkian Foundation (FCG).

The aim of this congress is to extend the debate on the repercussions of the decisions taken by the colonial states in the area of ​​territorial infrastructures - in particular through the disciplines of architecture and urbanism - in post-independence development models and the formation of new countries with colonial past.

+ info:

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CFP Lisbon 2018 Bridging Gaps: Where is Ethical Glamour in Celebrity Culture?

Centre for Media and Celebrity Studies (CMCS) 7th International Conference
/Bridging Gaps/: Where is Ethical Glamour in Celebrity Culture?
Lisbon, Portugal
July 1 – 3, 2018

The fashion modeling industry has occupied a significant area in celebrity culture. For the past forty decades, popular models, actors, authors, and athletes among many public figures have participated in photo shoots and runway shows, stylized their profile, and built their persona brand through visual and literary expressions of fashion. These expressions of fashion have played a key role in publicity and promotion of their brands. For fans, they are ‘role models’ who help constructing subjectivity and become objects of study, especially when it comes to beauty ideals and sexual objectification of the body. For Elizabeth Wissinger, the “glamour labour” involved in self-fashioning, surveillance, and branding is essential to production of consumer values and desire of bodies. However, is the labour sustainable from the perspective of social and environmental ethics?

As Rebecca Oxford suggests, sustainability not only supports human beings but all other species in our ecosystem. Therefore, the idea of modeling in contemporary practices of eco-fashion intends to reflect care towards the quality of all life, respect human rights, promote biodiversity, and bring balance among all species. In fact, modeling should be inclusive of all shapes, postures, and voices in diverse sectors of work and leisure. The exploitative use of human labour, animal skin and fur, fossil fuel, and emission of polluting agents in the garment industry prompts us to redefine what it means to be an eco-model as opposed to a role model that excludes diverse bodies.

How can we use academic study and cultural productions to expand traditional definitions and understandings of modeling? Can the body become a biological tool to re-fashion dominant notions of glamour? Would the use of the body include voices of diverse abilities and, in the process, contest ableism, lookism, and speciesism in ethical fashion and glamour? Can the skin, as in the case of PETA nudists, become a particular text and be semiotically read in a way that accepts, negotiates or disrupts what it means to be a green glamour model in celebrity culture? Can newly defined green glamour models lead to much needed liberal and democratic practices in celebrity activism and studies of celebrity culture?

The Centre for Media and Celebrity Studies (CMCS) /Bridging Gaps/ conference series, in association with sponsors Centre for Ecological, Social, and Informatics Cognitive Research (ESI.CORE) and WaterHill Publishing uses a reflective practice paradigm and asks an urgent question, “Where is Ethical Glamour in Celebrity Culture?” The conference problematizes what it means to be a “model” and invites academics, models, journalists, publicists, producers and guests to attend, speak and collaborate for research and development in the field of study.

The format of the conference aims at being open and inclusive ranging from interdisciplinary academic scholars to practitioners involved in all areas of celebrity culture, fandom, fashion and journalism. The conference combines paper presentations, workshop panels, roundtables, slideshows, and interviews that aim to bridge gaps in celebrity activism, persona branding, and fashion education. Working papers and media productions will be considered for the conference.

Registration includes: Your printed package for the complete conference, professional development workshop, access to evening receptions, complimentary evening drinks, consideration for publication, and the CMCS $100 best paper and $100 best screen awards.

Submission guidelines:

* 250-word abstract or workshop / roundtable proposal
* Include a title, your name, e-mail address, and affiliation if
* Submit to conference Chairs Dr Ana Jorge and Dr Samita Nandy at
email address:
* Abstract submission deadline: January 31, 2018
* Acceptance notification: February 28, 2018
* Early bird deadline for hotel booking & conference
registration: March 31, 2018
* Conference reception and presentations: July 1-3, 2018

Celebrity Chat Video Submissions:

* Video length should be 10-20 minutes
* Include a title, your name, e-mail address, and affiliation if
* Submit to Celebrity Chat producer Jackie Raphael at email address:
* Conference reception and presentations: July 1-3, 2018

Topics include but are not limited to:

* Celebrity
* Branding and persona
* Publicity and promotion
* Glamour, beauty, and luxury
* Skin as text
* Wardrobe malfunction and scandals
* Ethical fashion
* Sustainable clothing
* Garment industry
* Fair trade
* Human rights
* Animal rights
* Environmental ethics
* Green carpet
* Interviews
* News
* Journalism
* Social media and online fame
* Audiences
* Fandom
* Fiction
* Art history
* Performance
* Theory and methods
* Research agenda
* Business models
* Ethics and morality
* Cognition and memory
* Media literacy
* Social innovation
* Education and advocacy
* International relations
* Community building
* Business and community partnerships

Conference Chairs: Dr Ana Jorge and Dr Samita Nandy
Conference Committee: Dr Jackie Raphael, Dr Nicole Bojko and Kiera Obbard
*Conference URL:*
<>*Conference E-mail*:
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CFP: InVisible Culture, "Beyond Love" Issue 29

For its twenty-ninth issue, InVisible Culture: An Electronic Journal for Visual Culture invites scholarly articles and creative works that address the complex and multiple meanings of love.

According to Freud, “it is always possible to bind together a considerable number of people in love, so long as there are other people left over to receive the manifestations of their aggressiveness.” Is love beyond us? Whether it connotes a delusion, state, obsession, rupture, failure, family, intimacy, or self, love eludes and mystifies. Mutable, primordial, and accumulable, it persists as a permanent horizon, accessible to everyone. In recent events the demand for love has emerged again and again, echoing the the failed and cyclical nature of past desires. Even as past desires are fulfilled--either by the state, the family, physically, spiritually--the hope for love remains, its forms and conceptions ever changing.

For IVC 29, we invite contributors to explore visual representations and contestations of the concept of love. What does love look like? How is it displayed? What are the conditions and/or/of possibilities for love? Where do we locate love’s value? Can love bear witness to violence? Are love, erotics and abjection mutually exclusive? What distinguishes love as either ideal or rational? Who or what dictates this categorical distinction and how do these types of love appear? We welcome papers that interrogate/excavate/trace love as concept and/or practice in visual culture.

Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to<> by January 15, 2018. Inquiries should be sent to the same address.

Creative/Artistic Works
In addition to written materials, InVisible Culture is accepting works in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. Please submit creative or artistic works along with an artist statement of no more than two pages to <>. For questions or more details concerning acceptable formats, go to <> or contact the same address.

InVisible Culture is also currently seeking submissions for book, exhibition, and film reviews (600-1,000 words). To submit a review proposal, go to<> or contact <>.

The journal also invites submissions to its blog feature, which will accommodate more immediate responses to the topic of the current issue. For further details, please contact us at <> with the subject heading “Dialogues submission.”

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

Fusion Journal: Intersections in Film and Media Studies

Publication: November 2018
Guest Editors: Dr Jodi Brooks (UNSW), Dr Kathleen Williams (University of Tasmania), Dr Jessica Ford (UNSW) and Melanie Robson (UNSW)
In her Fall 2014 Film Quarterly editorial film theorist B. Ruby Rich writes,

“Cinema itself is in a state of immense transition, yet it’s hard not to notice that attention is lavished disproportionately on technology and auteurist style, with the question of theme, focus, and subject matter repeatedly sidelined. What, though, is “filmable” today? And what is “theorizable” in response?”

Rich highlights how academic and journalistic discussions of the ‘new media’ landscape in recent years have focused largely on technology and industry over content, theorisation, and disciplinary boundaries. Considerable academic work has examined how the conditions of the convergence era have been enabled by and impact upon technology, production, distribution, and consumption and the media industry more broadly (Turner & Tay 2009; Gripsrund 2010; Lotz 2014; Haven & Lotz 2017). Building on this work, this symposium seeks to engage with the convergence of film and media at the level of content, authorship, genre, aesthetics, style and form.

While today ‘cinema’ is an increasingly fluid term that moves across platforms, genres, and textual boundaries, in this symposium we are interested in what it means to study cinema and/or other forms of screen-media in today’s increasingly fractured media landscape. This symposium will explore the transitional nature of contemporary screen studies and the movement of scholarship, theory, and ideas across its boundaries. We invite scholars working across film, television, video, and internet genres to present on topics such as:

Interdisciplinary and cross-disciplinary approaches to screen media
Applying a single discipline to study a screen text not in that discipline
In what ways are different screen-based media texts informing and shaping one another?
What are the textual, generic and/or aesthetic boundaries that define film/television/video today?
What is the place of screen audiences in the increasingly convergent/divergent media landscape?
What is the continuing value of single discipline approaches in a critical landscape dominated by interdisciplinary screen studies?
What is lost when single discipline approaches are incorporated into screen studies?

Deadline for abstracts: 1 February 2018
Deadline for full papers: 13 May 2018

All submissions will be double-blind peer reviewed. Proposed title, abstract (300 words), short biography and institutional affiliation should be sent to by 1 February 2018.

When considering your reaction to this call for papers, fusion encourages and accepts all forms of media. Please consult the journal website for more details on this special issue:

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CFP: Special issue of Film Criticism on film & merchandise

Film Criticism: Special Issue on film & merchandise Call For Papers (November 2018)

Guest editors: Dr. Elizabeth Affuso (Pitzer College) and Dr. Avi Santo (Old Dominion University)

Despite Jane Gaines’ (1989) recognition that the cinema screen and the department store display window have long participated in providing audiences with spectacles of consumption that steered shoppers toward one another’s venues, there is surprisingly little work that critically interrogates film-related merchandise.Only recently have scholars started to take this area of study seriously. For example, media industry scholars have begun to pay attention to the creative, legal, and managerial contestations among licensors, manufacturers, and retailers, contending that merchandise is not simply an afterthought of media production, distribution, acquisition, and circulation, but also an area where industry lore about differentiated franchises and consumers are affirmed and challenged.Others contend that the meanings merchandise accrue are constituted through their use as much as by how they are positioned for consumers. On the fan studies front, scholars have become interested in object-oriented fandom as well as ‘fan-trepreneurs’ who sell ‘fan-made merchandise’ through crafting and customization sites like Etsy. These works have explored the commoditization of fandom, but they have also sought to understand what fan communities ‘do’ with merchandise and how fan-based economies operate. There has also been a tendency to explore how merchandise interpellates particular gendered and age-based identities, with fashion and toy-based merchandise receiving the bulk of attention, but scholarship on the intersections of merchandise with race, sexuality, and religion remains scarce as does work investigating the ways film-inspired products have entered into daily routines as household items and other lifestyle categories.

For this special issue of/ Film Criticism,/ we are seeking essays that take a variety of approaches to the intersections of film, television, and merchandise that open up new avenues of inquiry to studying the topic.

Possible topics include (but are not limited to):

-Industrial, consumer and fan sense-making practices when it comes to merchandise (i.e., their imagined appeal to various constituencies, their “authenticity”)

-Films about merchandise and/or product integration within films (/The LEGO Movie/, /Toy Story/, /The Devil Wears Prada/)

-When manufacturers become entertainment companies (Hasbro, Mattel, Sketchers)

-Industry lore, trade rituals, and their impact on merchandising

-Film merchandise beyond toys and fashion (including everyday household and luxury items)

-Merchandising beyond the franchise/tentpole/blockbusters

-Branded educational, nutrition, health and hygiene merchandise (or the use of branded merchandise within schools, healthcare, and other service industries)

-Merchandise and transmedia storytelling

-Packaging and product design

-Race and merchandise (merchandise featuring diverse racial groups or failing to do so; merchandise marketed to diverse racial groups; merchandise used by diverse consumer and fan groups)

-Merchandise beyond child markets(including adult merchandise)

-Merchandise and the troubling of gender binaries

-Celebrity and merchandise (or celebrity and lifestyle)

-DIY merchandise and the logics of customization/maker cultures (as well as anxieties over 3D printers and other DIY technologies)

-Merchandise and performative consumption (or interactive consumption)

-Merchandise and (commoditized) self-expression/group affiliation

-Fan-made merchandise

-Ethnographies of merchandise usage among fans or different consumer groups

-Fan consumer-activism

-Promotional giveaways and premiums

Essays should be a maximum of 7000 words including notes and references and use Chicago Manual of Style, 16th edition ( Please submit essays electronically as a Word document file to <>. Submissions should also include a cover page with: (a) all authors’ names, academic affiliations, and e-mail addresses; (b) author biography, no more than 70 words in length; and (c) an abstract of 150 words or fewer. Drafts should be submitted for review by May 1, 2018. You will receive acknowledgment of your submission within ten days. Works accepted for this special issue will be returned to contributors with reviewer feedback by July 1 and revised drafts will be due on September 1 for a November 2018 publication date.
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CFP: Critical Studies in Television Conference

State of Play: Television Scholarship in ‘TVIV’

5-7 September 2018, Edge Hill University, Ormskirk, UK.

Keynote Speakers: Derek Kompare, Meadows School of the Arts, SMU, USA and Karen Lury, University of Glasgow, UK.

Television is and always has been changing. The recent shifts, connected to new, online providers creating their own content and offering new forms of distribution, have led to some scholars (Jenners 2016) questioning if the age of TVIV has arrived. While Mareike Jenners remains unconvinced that the transformations are significant enough to warrant such a description, it is nevertheless noticeable that the recent changes affecting television have also had an impact on our subject of television studies. For example, Catherine Johnson’s work (2007, 2012) points to how even the transformations brought about by the deregulation and commercialisation of public service broadcasting require us to investigate more strongly aspects of television that pertain to marketing and PR. As others (e.g. Born 2011, Johnson, Kompare and Santo 2014) have shown, these shifts also impact on how television operates as a workplace. In relation to consumption, shifts towards 360-degree commissioning (Mittell 2014) mean that we need to be more aware of the transmedia experiences of audiences (Evans 2011) and their roles as fan-ancers (Hills 2015). Looking at the development of new media and its use, Evans et al. (2017) have shown that our conceptualisations of audiences’ television consumption might be helpful to make sense of their second screen use as well. Outside and inside of national borders, television is morphing into a transnational entity that requires complex negotiations by the different stakeholders involved (Kuipers 2011, 2015). In addition to these industry-led changes, there are those that come from cognisant fields of research: the shift towards high-end drama production, particularly in America, for example, has attracted the attention of a number of film scholars who bring with them different terminologies, while other aspects of television – be that the representation of violence, law, disability, etc. etc. – have a longer history of attracting scholars from other disciplines.

In this conference, we are inviting papers that pertain to all aspects of television, but are particularly interested in abstracts that engage with the question of what television scholarship might be or become as a result of these shifts. As a journal, we are interested in all kinds of presentations, including traditional research papers, workshops, roundtable discussions, screenings and posters. Abstracts for individual papers, panels or other forms of communication are welcome on any theme connected to television and television scholarship, though we will give priority to papers engaging with the themes highlighted above. Collaborations and interdisciplinary projects are also of particular interest.

The conference will take place at Edge Hill University, in Ormskirk, north of Liverpool, UK. It is a residential conference, i.e. accommodation is available on campus. For details about booking and registration, please see the conference website at

Please send abstracts of no more than 500 words by 12pm GMT on Friday 2nd March 2018 to <>.

The conference is a collaboration between Edge Hill University, Critical Studies in Television and the Television Studies Section of the European Communication Research and Education Association (ECREA).
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CFP: Special Issue of Fusion Journal (on Intersections in Film & Media Studies)

Fusion Journal: Intersections in Film and Media Studies

* Publication: November 2018
* Guest Editors: Dr Jodi Brooks (UNSW), Dr Kathleen Williams
(University of Tasmania), Dr Jessica Ford (UNSW) and Melanie Robson

In her Fall 2014 Film Quarterly editorial film theorist B. Ruby Rich writes,

“Cinema itself is in a state of immense transition, yet it’s hard not to notice that attention is lavished disproportionately on technology and auteurist style, with the question of theme, focus, and subject matter repeatedly sidelined. What, though, is “filmable” today? And what is “theorizable” in response?”

Rich highlights how academic and journalistic discussions of the ‘new media’ landscape in recent years have focused largely on technology and industry over content, theorisation, and disciplinary boundaries. Considerable academic work has examined how the conditions of the convergence era have been enabled by and impact upon technology, production, distribution, and consumption and the media industry more broadly (Turner & Tay 2009; Gripsrund 2010; Lotz 2014; Haven & Lotz 2017). Building on this work, this symposium seeks to engage with the convergence of film and media at the level of content, authorship, genre, aesthetics, style and form.

While today ‘cinema’ is an increasingly fluid term that moves across platforms, genres, and textual boundaries, in this symposium we are interested in what it means to study cinema and/or other forms of screen-media in today’s increasingly fractured media landscape. This symposium will explore the transitional nature of contemporary screen studies and the movement of scholarship, theory, and ideas across its boundaries. We invite scholars working across film, television, video, and internet genres to present on topics such as:

* Interdisciplinary and cross-disciplinary approaches to screen media
* Applying a single discipline to study a screen text not in that
* In what ways are different screen-based media texts informing and
shaping one another?
* What are the textual, generic and/or aesthetic boundaries that
define film/television/video today?
* What is the place of screen audiences in the increasingly
convergent/divergent media landscape?
* What is the continuing value of single discipline approaches in a
critical landscape dominated by interdisciplinary screen studies?
* What is lost when single discipline approaches are incorporated into
screen studies?


* Deadline for abstracts: 1 February 2018
* Deadline for full papers: 13 May 2018

All submissions will be double-blind peer reviewed. Proposed title, abstract (300 words), short biography and institutional affiliation should be sent to<> by 1 February 2018.

When considering your reaction to this call for papers, fusion encourages and accepts all forms of media. Please consult the journal website for more details on this special issue:
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Storytelling for Refuge/Storytelling as Refuge - Announcement of speakers and reminder of CFP

George Ewart Evans Centre for Storytelling are delighted to announce our keynote speaker for our upcoming symposium Storytelling for Refuge/Storytelling as Refuge, Friday 6th and Saturday 7th April 2018 poet and performer Patience Agbabi.

Other confirmed speakers: Storyteller Eirwen Malin and Bambo Soyinka

Call for Proposals

Due 15th January, 2018

Storytelling for Refuge/Storytelling as Refuge

George Ewart Evans Centre for Storytelling

University of South Wales, Cardiff

We are delighted to announce that the George Ewart Evans Centre for Storytelling will present a two-day symposium on the theme of ‘Storytelling for Refuge/Storytelling as Refuge’. Following on from our two most recent symposia, looking at themes of justice and place respectively, this year’s symposium explores an important cross section of these themes: storytelling as a means of creating awareness of refugee and migrant issues, as well as its ability to provide moments of refuge in the midst of chaotic events. In a world where migration and refugees are constant talking points in political and cultural spheres, story and storytelling take on crucial roles in crafting and shaping narratives around migration and refuge. But story can also act as refuge; as a sanctuary for the lost, for the wanderer, and those who seek spaces of literal or metaphorical peace.

This symposium invites explorations of these or related themes. Others may want to think of connected themes of storytelling and diaspora, storytelling as a means of escape, storytelling as shelter or sanctuary. We aim to inspire, encourage and showcase exciting projects across a wide spectrum of storytelling activity. The two-day event takes place on Friday 6th and Saturday 7th April 2018 in The Atrium, University of South Wales, Adam St, Cardiff, CF24 2FN.

Call for proposals: The symposium will feature keynote speakers, provocations, Q and A sessions paper presentations, and performances. We would like to provide an opportunity to our wide range of attendees i.e. storytellers, practitioners, researchers, community workers, youth workers and students to present either an academic or process paper, propose a panel, or run a workshop session. Selected presentations will be scheduled on Friday 6th April 2018. Each paper or talk will be allocated 20 minutes; panel discussions and workshops will be allocated 1 hour. We are seeking critical and analytical considerations of grounded work in the field. We are particularly interested in hearing from cultural workers involved with immigrant communities, refugee centres and/or education centres with high immigrant populations.

If you would like to contribute please submit an abstract of no more than 300 words by Monday, 15th January, 2018 clearly marking whether you are proposing a panel discussion, paper, or workshop etc. Please send completed abstracts to by Monday, 15th January, 2018.

We will notify successful contributors by Wednesday, 7th February, 2018. If there is anything you would like to discuss further please get in touch with Denis Cryer-Lennon via email on
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CFP: Third International Conference on Balkan Cinema

The Great War(s): Our Story

Bucharest, Romania: 8 – 10 May, 2018


Following on the second International Conference on Balkan Cinema that took place in Belgrade in 2017, The Great War(s): Our Story aims to explore how the Great War and other conflicts in the region have been narrated through cinema. The 3rd International Conference on Balkan cinema will focus on moving images made by filmmakers both from within and outside the Balkans in order to highlight the connections and differences between these war narratives that have at times coalesced into “our story”. The term “our” can refer self-reflexively to a view from the Balkans as both a unified but also more dispersed space, but also to a range of identities: victims or perpetrators, civilians or soldiers, women and children in devastated cities and in the wasteland of the countryside, or men on the front, the generations of participants or the post-generations. These war narratives told from different perspectives of the involved parties eventually challenge History or work with it, or bring together diverse and often confronting and competing national histories.
The “G. Oprescu” Institute of Art History in Bucharest hosts the event in commemoration of 1914-18 War, but also as the opportunity to analyse and map out the rich range of insights offered by cinematic images of war and recounted through multiple narratives of wars in the region – from the Balkan Wars to the breakup of former Yugoslavia. War has been one of those perennially rich topics since the beginning of cinema, narrated through a wide range of genre guises, from documentaries to fiction films, war spectacles, historical films, melodramas, musicals etc. For instance, documentary war footage is a key component in historiography, while fictional portrayals of war are source of entertainment and pleasure, as well as material for the recognition of trauma, suffering, and victimisation. Nowadays, popular archival documentaries or docufictions have transformed films on history into “memory making films”, by showing that cinematic narratives of the past and present wars are important factors in the politics of remembering and forgetting, and constituents of collective/individual/national memory and identity.

Being part of a series, the conference aims to further develop transnational scholarship, transcend Balkanism and exoticism, and offer critical explorations of historical and contemporary manifestations of South Eastern European cinemas. It also helps the building of the transnational community of scholars working on the cinemas of the Balkans, South/Eastern Europe, the borders and neighbouring regions such as Central Europe or Near East, works of diaspora or communities in exile, spanning from early cinema on nitrate stock to contemporary digital cinema; and dealing with a range of themes set in the present or the past.

A range of possible themes for conference papers includes, but is not limited to:

The First and Second World Wars as the cornerstones of cinema in the Balkans
War and conflict - a typical Balkan topic?
Representation and Self-representation of the Balkans
War and archives
Changing concepts of war, changing narratives of war.
History and memory in cinematic war narratives
Intertextuality and transmediality of the past, present and future
Representing/deconstructing “the nation” on screen
Cultural memory and Balkan cinema
Reading and re-writing film (hi)stories
History, Military and Film Archives
Multidirectional memory in cinema
Special event. Public lecture

Prof. Dr Dina Iordanova (Film Studies Department, University of St.Andrews)
Keynote speakers

Prof. Dr Nevena Daković (Faculty of Dramatic Arts, University of Arts, Belgrade)

Prof. Dr Dominique Nasta (Université Libre de Bruxelles)
Please send 250 words and a short CV (Abstract proposals, names, affiliations and short CVs should be sent as ONE Word document) to the conference committee at: by February 25th 2018.
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CFP: Painting, Moving Images and Philosophy

Cinema 10: Call for Papers


Edited by Susana Viegas (IFILNOVA and Deakin University) and James
Williams (Deakin University)

/Cinema: Journal of Philosophy and the Moving Image
/( <>) invites
submissions for its issue on *Painting, Moving Images and Philosophy*.

This issue will be dedicated to exploring the relationship between
painting and film, their irreducible heterogeneity, and the idea of
establishing a philosophical propaedeutic to better understand the
way the visual arts matter to us. It aims to question the limits,
the adaptation and the irruption of the traditional styles and
categories of romanticist and impressionist painting into the moving
image; how they are challenged and how they are reworked.

The issue will address the following questions. Why is the
relationship of painting to film an aesthetic issue? Why is it
important not only to experience their differences and what they
have in common, but also to reflect upon the implications of their
difficult relations?

Film is not a pure art. Its impurity has been one of its main
weaknesses in the philosophical debate about film as art, but also,
we counterargue, its strongest quality and distinctive sign. The
aesthetic answer to the iconic dialogue between painting and moving
images has been manifold, as film borrows, eludes or reinvents
plastic values and the static nature of painterly images. It is
tempting to say that most filmmakers/cinematographers borrow their
film’s visual composition from painting. Painting is then in the
creation of a mood or in the presence of certain motifs and figures
(for instance, where the /tableau vivant /becomes///plan-tableau/).
However, to keep following this citation method, already criticized
by Jacques Aumont, is a way of suspending the heterogeneity of
painting and moving images. More importantly, it is to fail to think
about their differences.

The debate around the quality and the suitability of films about art
is longstanding. It is a debate where film, with its automatic
techniques, is seen as a betrayal of the spiritual, unique and
subjective effort of the painter. Painting does not need to
legitimise film as an art. In his most famous essay on the topic,
“Painting and Cinema”, André Bazin separates the two pictorial
spaces - the centripetal screen and the centrifugal frame - but he
is still limited by an essentialist point of view that, in practice,
painters such as Degas and Monet had already challenged.
Subsequently, painting reinvented itself with abstraction and
suprematism, but how could film respond to this artistically? With
its hyper-realistic images (/tableaux vivants/), film also exceeds
the economy of the narrative. Its purpose is contemplation: without
narrative, without plot, not coping with or representing a certain
reality, just being … visually stunning. But can we say that
experiencing this beauty make us any better as human beings? Maybe
it makes us worse?

Setting aside the orthodox /paragone/ debate ( while recognising
the interest in discussing quotation in art documentaries, for
example), what interests us most is Bazin’s statement that the
encounter of the two art-forms creates a “new-born aesthetic
creature” and that films such as Resnais’ /Van Gogh/ and Kast’s
/Goya, Disasters of War/ “are works in their own right. They are
their own justification.” Can we say that the imitation (film) has
the same value as the original (painting)? Or do the terms not apply
in this case? What then should we make of the aesthetic symbiosis of
Clouzot’s /The Mystery of Picasso/?

For Gilles Deleuze, it is important to ask which artistic problems
film’s audio-visual sensations answer. Within his
nonrepresentational thought of the visual arts, images do not simply
illustrate or narrate something; painting and film are not even in
the present. The key question becomes: how to unfold the virtual
movement, the forces of visibility, created with the expansion of
space and the stretching of time?

Thus, for the 10^th issue of /Cinema/, we wish to pay attention to
cinematic images and to question them in their iconic status: how to
create sensations with a certain visual tone and a visual rhythm;
how to imagine (to create) moving images? We wish to put the
technological concept of montage aside, as a secondary aspect, and
focus on a phenomenological approach to the cinematic plan, to its
duration, and also to its pictorality.

Particular themes of interest include the following subjects:

§Revisiting Malevich, Tarkovsky, Sokurov, Jarman, Malick, John
Alcott, Robert Burks, Kant, Bazin, Merleau-Ponty, Aumont, Deleuze,
Bonitzer, and Lyotard…

§Aesthetic thoughts about the sublime, excess and absence,
/aisthesis/, the pregnant instant, the use of colour/black and
white/shadows, /plan-tableau/, …

§Questioning Godard’s claim that Lumière was the last of the
Impressionist painters (/La Chinoise/).

§Analysing Merleau-Ponty’s rendering the invisible visible: how to
express and film the invisible forces, the unseen, the spiritual,
the suprasensible?

§Comparing Benjamin and Epstein’s opposite perspectives on film’s

§Film, the iconic turn and criticism of /mimesis/. Examining
Tarkovsky’s claim that the metaphor is an image.

§Film’s excess of visuality and the hyperrealism in moving images in
dialogue with a criticism on the limits of aestheticism, mannerism
and the abundance of clichés.

§Film’s temporal ecstasies: the depth of field, the slow motion,
distorted and blurred images, the sublime of the now.

§The crisis of framing, double frame, /mise en abyme/, the screen as
a canvas, from the diptych/tryptic to multiple screens.

* * * *

Submissions are accepted in English and French and should be sent to
Susana Viegas:
<>. Prospective authors should submit a
short CV along with the abstract. Abstract proposals (max. 500
words) are due on February 1st, 2018, and a notice of acceptance
will be sent to the authors in the second week of February.

A selection of authors will be invited to submit full papers
according to the journal guidelines. Acceptance of the abstract does
not guarantee publication, since all papers will be subjected to
double blind peer-review.

* * * *

For further information or questions about the issue, please contact
Susana Viegas: <>.

/Cinema/ also invites submissions to its other sections:
/Interviews/, /Conference/ /Reports/ and /Book Reviews/. Please
consult the web site <>of the journal
for further details.
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CFP: Southeast Asian Cinemas Research Network symposium

Call for Participants PhD students and Early Career Researchers, Southeast Asian Cinemas Research Network symposium 16-17 March 2018 in partnership with Glasgow Short Film Festival at CCA and National Library of Scotland, Kelvin Hall, Glasgow.

This March, we will host the Glasgow installation of our four part AHRC funded international research network: Southeast Asian Cinemas Research Network: Promoting Dialogue Across Critical and Creative Practice (more info about the project is available here: The theme of our symposium is Archives, Activism and Aesthetics in Southeast Asian Cinemas, with confirmed keynote speaker Dr May Adadol Ingawanij (University of Westminster). The full programme will be announced mid-January.

We welcome participation from PhD students and Early Career Researchers who may apply for one of six competitive bursaries available for travel within the UK. Participants will receive mentorship for developing papers into publication, access to the network and advice on career development.

To apply please email a 150-200 word outline of your research project on any aspect of Southeast Asian Cinema to Dr Philippa Lovatt at <> by the deadline *Friday 19 January 2018.*
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CFP: Cinema Comparat/ive Cinema Vol. VI, N12: Iconography in the Public Sphere




The images to represent power and the public sphere in the media are frequently articulated through visual motifs from cinema, painting and other iconographic legacies. According to our hypothesis, there is an organized and systematized combination of motifs that represents day-to-day situations in public life, like presidential inaugurations, business bankruptcies or the occupation of a public square. Those have historically shaped one of the most important lines of work and theoretical reflection in documentary representation (Drew, Depardon, Comolli, Portabella, Watkins, Farocki, Morris, etc.) and now achieve very diverse representations in a wide range of broadcasting media. For instance, a visual motif like a Pietà is not only identifiable in artistic representations like cinema or painting, but has also frequently been used in photojournalism as a way to express unfair pain in war conflicts and humanitarian catastrophes.

In this issue, Cinema Comparat/ive Cinema aims to explore the ways through which power is staged, how filmmakers and mass media represent it and how those images are appropriated or reinterpreted by the public, whether it is through memes, gifs, mash-ups or other new formats in social networks. How are those visual motifs produced? How do they travel and how are they reinterpreted within the contemporary public sphere? How do power and other instances within that public sphere represent themselves? Which are the mechanisms of re-appropriation and what is the influence they have on the public sphere?

Those interested can submit a 500-word abstract, a list of 5 bibliographic sources and a 100-word bio to . Deadline: 10th January 2018.



Con frecuencia las imágenes de representación del poder y la esfera pública en los medios de comunicación se articulan a través de los motivos visuales procedentes del cine, la pintura y otros legados iconográficos. Nuestra hipótesis es que existe un conjunto organizado y sistematizado de motivos para representar situaciones habituales en el devenir de la vida pública, como la toma de posesión presidencial, la bancarrota empresarial o la ocupación de una plaza pública, que históricamente han configurado una de las líneas de trabajo y reflexión teórica más importantes de la representación documental (Drew, Depardon, Comolli, Portabella, Watkins, Farocki, Morris, etc.) y ahora alcanzan figuraciones y medios de transmisión muy diversos. Por ejemplo, un motivo visual como la piedad no es solo identificable en representaciones artísticas como el cine y la pintura, sino que con frecuencia ha sido convertido por el fotoperiodismo en vehículo para expresar el dolor injusto en conflictos bélicos y catástrofes humanitarias.

Con este número, la revista Cinema Comparat/ive Cinema se propone explorar las formas a través de las cuales el poder se pone en escena, cómo los cineastas y los medios de comunicación lo representan y cómo estas imágenes son apropiadas o reinterpretadas por parte del público, a través de formatos como los memes, gifs, mashups y otros nuevos formatos en las redes sociales. ¿Cómo se producen, circulan y son reinterpretados los motivos visuales en la esfera pública contemporánea? ¿cómo se autorrepresentan el poder y las diferentes instancias de esa esfera pública? ¿cuáles son los mecanismos de reapropiación y cómo influyen en la esfera pública?

Aquellos interesados pueden enviar propuestas de 500 palabras a junto con una lista de cinco fuentes bibliográficas y una breve biografía de 100 palabras. Fecha límite: 10 de enero de 2018.



Amb freqüència les imatges de representació del poder i l’esfera pública en els mitjans de comunicació s’articulen a través dels motius visuals procedents del cinema, la pintura i altres llegats iconogràfics. La nostra hipòtesi és que existeix un conjunt organitzat i sistematitzat de motius per representar situacions habituals en l’esdevenir de la vida pública, com la presa de possessió presidencial, la fallida empresarial o l’ocupació d’una plaça pública, que històricament han configurat una de les línies de treball i reflexió teòrica més importants de la representació documental (Drew, Depardon, Comolli, Portabella, Watkins, Farocki, Morris, etc.) i ara aconsegueixen figuracions i mitjans de transmissió molt diversos. Per exemple, un motiu visual com la pietat no és solament identificable en representacions artístiques com el cinema i la pintura, sinó que amb freqüència ha estat convertit pel fotoperiodisme en vehicle per expressar el dolor injust en conflictes bèl·lics i catàstrofes humanitàries.

Amb aquest número, la revista Cinema Comparat/ive Cinema es proposa explorar les formes a través de les quals el poder es posa en escena, com els cineastes i els mitjans de comunicació ho representen i com aquestes imatges són apropiades o reinterpretades per part del públic, a través de formats com els memes, gifs, mashups i altres nous formats a les xarxes socials. Com es produeixen, circulen i són reinterpretats els motius visuals en l’esfera pública contemporània? Com s’autorepresenten el poder i la diferents instàncies d’aquesta esfera pública? Quins són els mecanismes de reapropiació i com influeixen en l’esfera pública?

Aquells interessats poden enviar propostes de 500 paraules a juntament amb una llista de cinc fonts bibliogràfiques i una breu biografia de 100 paraules. Data límit: 10 de gener de 2018.
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CFP - V. F. Perkins Symposium: Film as Film Today

Film as Film Today: On the Criticism and Theory of V. F. Perkins

Symposium dates: 4-5 September 2018

Location: University of Warwick

Confirmed keynotes: Adrian Martin, Laura Mulvey, George Toles

V. F. Perkins (1936-2016) was a foundational figure in the history of British film education, a pioneering theorist of the medium, and among the most insightful and eloquent writers on the art of film. His historical significance for the fields of film criticism and film study is uncontested. However, while Perkins’ work – particularly the seminal /Film as Film /(1972) – still influences certain strands of scholarship, its contemporary relevance for critics, theorists, and students is presently underappreciated. This symposium is dedicated to revaluating Perkins’ critical methods and arguments by exploring their continued utility for those studying film, television, audiovisual media, and aesthetics today.

From his writings for /Movie/ in the early 1960s to recent studies such as /La Règle du jeu/ (2012), Perkins progressively refined a sophisticated critical project. A key aspect of his work was its commitment to defining why and how the form of particular films contributes to their aesthetic achievements or limitations. Yet Perkins’ approach was also notable for its specific meta-critical, theoretical, and methodological character. The evaluative criteria he proposed were grounded in the properties of the medium while striving to resist essentialism. Developed via ongoing dialogue with competing aesthetic accounts, Perkins’ criticism and meta-criticism set forth original theories of filmic expression, interpretation, and spectatorship. Perhaps most distinctively, his evaluations and theorising were always embodied in precise, evocative, jargon-free close readings.

Perkins leaves us with a body of work which poses important questions and challenges for the study of film, television, media, and aesthetics today. The aim of this symposium is to grapple with these questions and rise to those challenges by engaging with the nature and implications of Perkins’ proposals and approaches. Papers might respond to any aspect of his criticism, theory, or pedagogy from any perspective. They may also explore its contemporary relevance in relation to any audiovisual medium – from film or television to digital media, from the gallery film to the audiovisual essay. Possible topics could include but are not limited to:

*‘“How” is “What”’: Perkins and style, theories of ‘form’/‘content’

* ‘Must we Say What They Mean?’: Perkins and interpretation, aesthetics, hermeneutics, poetics

* ‘Where is the World?’: Perkins and film-philosophy, phenomenology

* ‘Moments of Choice’: Perkins and close reading, textual analysis

* ‘Authorship: The Premature Burial’: Perkins and direction, expression, intention

* ‘Participant Observers’: Perkins and spectatorship, cognition, reception

* ‘The evidence of feeling’: Perkins and emotion, affect

* The medium as ‘inherently impure’: Perkins and intermediality, medium specificity, adaptation

* ‘A synthetic theory’: Perkins and aesthetic criteria, theories of evaluation, criticism

* ‘Movie’: Perkins and the popular, taste, definitions of ‘art’

Papers must be no longer than 20 minutes; the deadline for submissions is Friday 16 March, 2018. Proposals are to be sent as Word attachments to *<> and should include the presentation’s title, a 250-word abstract, and a short biographical statement.

We hope for an edited collection to emerge from the symposium’s proceedings. The organisers are James MacDowell (Warwick) and Andrew Klevan (Oxford).

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CFP: Intersections in Film and Media

Upcoming Special Issue <>

Intersections in Film and Media Studies
Publication:November 2018
Guest Editors:Dr Jodi Brooks (UNSW), Dr Kathleen Williams (University of Tasmania), Dr Jessica Ford (UNSW) and Melanie Robson (UNSW)

Deadline for abstracts:1 February 2018
Deadline for full papers:13 May 2018

All submissions will be double-blind peer reviewed. Proposed title, abstract (300 words), short biography and institutional affiliation should be sent to<> by 1 February 2018.

When considering your reaction to this call for papers, fusion encourages and accepts all forms of media. Please consult the journal website for more details on this special issue:

In her Fall 2014 Film Quarterly editorial film theorist B. Ruby Rich writes,

"Cinema itself is in a state of immense transition, yet it’s hard not to notice that attention is lavished disproportionately on technology and auteurist style, with the question of theme, focus, and subject matter repeatedly sidelined. What, though, is “filmable” today? And what is “theorizable” in response?"

Rich highlights how academic and journalistic discussions of the “new media” landscape in recent years have focused largely on technology and industry over content, theorisation and disciplinary boundaries. Considerable academic work has examined how the conditions of the convergence era have been enabled by and impact upon technology, production, distribution, and consumption and the media industry more broadly (Turner & Tay 2009; Gripsrund 2010; Lotz 2014; Haven & Lotz 2017). Building on this work, this special issue seeks to engage with the convergence of film and media at the level of content, authorship, genre, aesthetics, style and form.

While today “cinema” is an increasingly fluid term that moves across platforms, genres and textual boundaries, in this special issue we are interested in what it means to study cinema and/or other forms of screen-media in today’s increasingly fractured media landscape. This issue will explore the transitional nature of contemporary screen studies and the movement of scholarship, theory and ideas across its boundaries. We invite scholars working across film, television, video and internet genres to submit proposals for articles on topics such as:
•Interdisciplinary and cross-disciplinary approaches to screen media.
•Applying a single discipline to study a screen text not in that discipline.
•In what ways are different screen-based media texts informing and shaping one another?
•What are the textual, generic and/or aesthetic boundaries that define film/television/video today?
•What is the place of screen audiences in the increasingly convergent/divergent media landscape?
•What is the continuing value of single discipline approaches in a critical landscape dominated by interdisciplinary screen studies?
•What is lost when single discipline approaches are incorporated into screen studies?
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CFP for Cinema Journal Teaching Dossier

Cinema Journal Teaching Dossiers aim to foster critical reflection on media studies teaching and pedagogy and to engender serious discussion of pedagogical issues via an active online platform. Please visit: <>

The following dossier has already been commissioned and is seeking short contributions. Cinema and Media Studies amid a Global Turn to the Right How does teaching a course in film and media studies today involve reckoning with the political turn to the right? Does the ascendance of right-wing and rightward-leaning electorates and elected officials in the United States, the United Kingdom, India, Bangladesh, Poland, Hungary, Turkey, Australia, Austria and comparable contexts bode a fulfilment of narratives of capitalism, nationalism and globalization that we have always presumed in our accounts of their media histories, or are we confronting a historical rupture in the trajectory of their precarious democracies? Are universities and institutions of higher education, under assault as alleged bastions of left and liberal thought, implicated in current political and economic shifts?

Histories of the contemporary are elusive, in part because of the difficulty of abstracting the present and situating it within a longer durée. Accepting the challenge, this teaching dossier aims to take the measure of our times by gathering reflective as well as analytic essays on pedagogy by media scholars and practitioners teaching in a range of national contexts, who are reassessing the structure, curriculum, strategies and assignments of their existing and forthcoming media courses in light of contemporary political, social and economic events. Depending on context, this provocation to rethink courses may come from institutional shifts in policy and practice, changing student opinions and campus climate, a changing sense of an instructor’s own pedagogical commitments, and more. As adversarial political affiliations and opposing futures for national and global economies get articulated on popular and social media platforms, this dossier asks media scholars to reflect on the extent to which it is possible or necessary to continue with business as usual.

Alternatively, scholars may defend the ways in which it is incumbent for teachers to interrogate or adapt conventional courses in film and media studies in response to current political upheavals occurring on the local, national or global scale. We seek a wide geographical spread of contributions from North America, Asia, Africa, Australia, New Zealand, Europe, Russia, the Middle East and more, to take the temperature of staple media studies courses amid governments that are aiding or tackling anti-immigrant, anti-minority, and pro-nationalist movements in a variety of contexts. This dossier is intended as a platform for scholars interested in reassessing familiar methods and materials in media studies that are enabling or shutting down conversations in response to broader political shifts. In other words, we are less interested in tracking courses on explicitly “political” topics (such as the rise of the right), and more concerned with the reformulation of conventional media studies courses in response to the political galvanization of issues that have always interested media scholars, such as censorship, religious, national, sexual, racial or gender identities, corporate structures, media forms and networks, and so forth.

Contributors can address this in any way they choose, but the dossier will prioritise essays that provide specific examples of political (or once apparently apolitical but now politicized) contexts, and situate them in clear ways to their reinvention or reframing of standard media studies courses, such as national cinema and media; global media; film history; film theory; race, gender and media; reality television; celebrity culture; queer theory; social media; non-fiction film; digital media; documentary cinema, to name a few.

Please submit a 300-word abstract for a proposed 1300-1800 word essay describing your essay topic and how it connects to the dossier theme, as well as a 150-word teaching biography highlighting courses taught to Priya Jaikumar <> and Kay Dickinson <> by February 20th, 2018. We will send notifications of acceptance by March 30th, 2018. Completed essays (including any links to syllabi, assignments, media clips and strategies used in class) will be due May 15th, 2018.
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CFP: EUPOP 2018 Charles University, Prague, July 24th - 26th, 2018

Charles University, Prague, July 24th – 26th, 2018

Deadline: February 27th 2018
Individual paper and panel contributions are welcomed for the seventh annual international conference of the European Popular Culture Association (EPCA), to be held at the Charles University, Prague (Celetná 20), July 24th – 26th, 2018.

EUPOP 2018 will explore European popular culture in all its various forms. This includes, but is by no means limited to, the following topics: European Film (past and present), Television, Music, Costume and Performance, Celebrity, The Body, Fashion, New Media, Popular Literature and Graphic Novels, Queer Studies, Sport, Curation, and Digital Culture. A special emphasis this year will be on the idea of European Identity in all its diversity.

Papers and Complete Panels for all strands will be subject to peer review. Proposals for individual presentations must not exceed 20 minutes in length, and those for panels limited to 90 minutes. In the latter case, please provide a short description of the panel along with individual abstracts. Poster presentations and video projections are also warmly welcomed.

There will be opportunities for networking and publishing within the EPCA. Presenters at EUPOP 2018 will be encouraged to develop their papers for publication in a number of Intellect journals, including the EPCA’s Journal of European Popular Culture. In addition, we are hoping to produce an edited collection of essays. Journal editors will be working closely with strand convenors – a full list of Intellect journals is available at:

Proposals comprising a 300-word abstract, your full name, affiliation, and contact details (as a Word-file attachment, not a PDF) should be submitted to Kari Kallioniemi ( by 27/02/2018. Receipt of proposals will be acknowledged via e-mail.

The conference draft program will be announced in May 2018, along with the conference registration and accommodation details. The likely conference fee will be 100 euros (student), and 150 euros (other). The fee includes coffees, lunches, evening reception & dinner, and EPCA Membership (includes subscription to the European Journal of Popular Culture, Intellect Press).

The keynote speakers will be announced in early 2018.

The European Popular Culture Association

The European Popular Culture Association (EPCA) promotes the study of popular culture from, in, and about Europe. Popular culture involves a wide range of activities, material forms and audiences. EPCA aims to examine and discuss these different aspects as they relate both to Europe and to Europeans across the globe, whether contemporary or historical.

EUPOP 2018 is organised by:

European Popular Culture Association (EPCA):

International Institute for Popular Culture (IIPC):

EPCA President, Kari Kallioniemi,

EPCA Vice-President, Pamela Church Gibson,

EPCA Secretary, Kimi Kärki,

EPCA Treasurer, Pekka Kolehmainen,
EPCA Membership Secretary, Graham Roberts,

Local organizer contact: Karel Šima, (Charles University, Prague)
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CFP: Symposium Cinema and Philosophy: Movements, Concepts: Critical May 68 (LISBON)

Cinema and Philosophy - Critical May 68

On the occasion of the 50 years of the ‘events of May 68’ we aim, with the International Symposium Cinema and Philosophy: Movements, Concepts, to look at this particularly eventful historical period, and at the manifold philosophical, artistic and cinematographic encounters, researches and outputs of the period that are of substantial import for critical thinking today.

Decolonial wars, workers movements and the involvement of intellectuals; film collectives and militant films; auteurist and pedagogical films – the geopolitical cadre gave place to an expansive mobilization and to cultural, artistic and social forms of organization and work. This historical moment is fertile in discussions and research onto the relations between cinema, thinking and otherness, to ‘contest dominant culture’s continuities’ as Fredric Jameson noted. We are particularly interested in looking into the philosophical and critical thought that emerged at this moment, how it carried to filmmaking and its continued importance both methodologically and critically, today.

We welcome papers on the following topics (but not limited to):
• Critical theory and critical cinema
• Image and performativity
• Work, occupation and film
• Collective filmmaking groups and auteurist cinema
• Pedagogy, authority and censorship
• Realism and mediation
• Appropriation and archive of upheavals in contemporary art
• Philosophy and militant film

Abstracts should be between 250 and 300 words with a short biographical note (100 words) and sent to <> by 15 January 2018.

The working languages of the symposium will be Portuguese and English.

Notifications of acceptance will be given by 5 February 2018.

The Symposium will be held in Lisbon 30 – 31 May 2018.

CineLab | IFILNOVA – FCSH- New University of Lisbon
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CFP: Pinter on Film, Television and Radio

A two-day international conference at the
University of Reading and the British Library, 19-20 September 2018

Call for papers

Harold Pinter (1930-2008) was an actor, director and writer whose output over five decades spanned theatre, film, television, radio, poetry, prose and politics. His writing for radio and television pushed aesthetic boundaries and his films contributed to the landscape and practices of post-war British cinema, while his stage plays have been part of the canon of world theatre since the 1960s. His work has enjoyed a place in the public imagination from the early 1960s, due to the combined impact of the successful stage plays The Caretaker and The Homecoming, augmented by the popular appeal of radio plays and television dramas such as The Lover, The Collection and A Night Out and by the esteem and box-office success of early screenplays such as The Servant and The Pumpkin Eater.
Pinter’s work on film, television and radio has received less concentrated attention than his theatre work, which has been widely discussed, debated and celebrated internationally. The ‘Pinter on Film, Television and Radio’ conference—the second of three to be held by the AHRC-funded ‘Harold Pinter: Histories and Legacies’ research project—therefore invites established scholars and early career researchers from a range of academic disciplines, together with practitioners and archivists, to come together to explore all aspects of Pinter’s works for, and on, film, television and radio. At least one edited collection or journal special issue will be published from the papers of this two-day conference.
Possible topics

The two central questions pursued by the research project concern the aesthetics that have been connected with Pinter’s work and the impact that his work has had on the broader palette of British performance histories since the 1950s. With regard to this conference’s focus on film, television and radio, possible topics relating to this wider remit may include (but are not limited to):

• Production – Pinter’s understanding, as both writer and performer, of aesthetic choices in production such as the spatial possibilities of studio and location
• Collaborative practice – Pinter’s work with, for example, particular directors or producers, and the significance of his networks in different media contexts
• Intermediality – his development of dramatic narratives across media, and transfers of dramatic conventions from one medium to another
• Adaptation – the processes involved in realising work through the performance aesthetics and signifying systems of different media, such as Pinter's screenplays adapted from novels
• Theatricality – the interconnections between Pinter’s work on film, television, and radio, on the one hand, and theatre on the other
• British film cultures – Pinter’s role in the changing forms of British national cinema and its international position
• Screenwriting – Pinter’s engagement with the specific forms and conventions of writing for the visual media • Acting and performance – particular performance techniques used by actors of Pinter drama, and what the recording and mediation of performances on screen and on radio may tell us
• Audiences – audience engagement and response to Pinter’s work across different media
• Gender – Pinter’s film, TV and radio in relation to social constructions of gender
• Politics – how radio and television amplified Pinter’s contribution to political discourse via his plays and other writings
• Archives – the preservation, archiving and accessibility of Pinter’s work in media forms; the value of paper archives for historiography of Pinter’s work (e.g. BL’s Harold Pinter Archive; BBC Written Archives Centre)
• Audio – audio traces such as Pinter’s appearances in oral histories held by the BL’s Theatre Archive Project, and the BL’s audio record of Pinter’s theatre plays
Deadline for abstracts

Please send abstracts of no more than 200 words and a brief biography by midnight on Friday 16 February 2018 to the three conference organisers Professor Jonathan Bignell, Dr Billy Smart and Dr Amanda Wrigley via Papers must be delivered in a maximum of 20 minutes including any extracts or illustrative material. Proposals for three-speaker panels are also welcome: please collate the information above into one document and outline briefly the rationale of the panel.

Venues: University of Reading and the British Library

This two-day conference will take place on two sites: day one in Reading, ‘Pinter on Screen’, will focus primarily on Pinter on film and television, and will be held in Minghella Studios, University of Reading on Wednesday 19 September 2018; the second day, ‘Pinter on Air’, will focus primarily on Pinter on radio and in audio archives, and will be held in the British Library in London on Thursday 20 September 2018. Day two will also be open to the public and it will showcase the Library’s prolific audio and manuscript holdings on Pinter as part of the BL’s Cultural Events programme. The two days will be separately bookable. Given the intermedial nature of Pinter’s work, however, we anticipate a great amount of correspondence between the topics and discussions of both days, and we are keen for academic participants to join for the whole conference if possible. Accommodation will be offered on the University of Reading’s Whiteknights campus, the location of the conference venue on day one. Delegates will travel to the British Library for day two independently by public transport.

This conference is part of series of academic and public events organised by the inter-institutional research project ‘Harold Pinter: Histories and Legacies’, a collaboration between the universities of Birmingham, Leeds and Reading. The project is funded by the Arts and Humanities Research Council and runs from 2017 to 2019. The project will host three conferences: the inaugural conference, ‘Staging Pinter: Networks, Collaborators, Legacies’ will take place at the University of Birmingham in April 2018: for further information see The ‘Pinter on Film, Television and Radio’ conference at the University of Reading and the British Library, September 2018, is the second event; and the third conference will be held at the University of Leeds in 2019 to mark the conclusion of the project.
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CFP: Music and the Moving Image, New York Univ., May 2018

The Music and the Moving Image Conference (24-27 May 2018) is accepting submissions that explore the relationship between music, sound, and the entire universe of moving images (film, television, video games, iPhone, computer, and interactive performances) through paper presentations. You can submit abstracts/synopses of papers (250 words) via Google Forms by
clicking this link:
by December 15th, 2017

Please direct questions to

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