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 IX Encontro Anual da AIM irá decorrer de 13 a 16 de maio de 2019, na Universidade de Santiago de Compostela - Faculdade de Geografia e História. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
[Saber mais] [Inscrever-se na AIM]


40 years of Alien

An academic symposium hosted by The Centre for Film, Television and Screen Studies

Bangor University, UK

Friday 24 May 2019

Keynote Speaker: Dr Rikke Schubart (University of Southern Denmark)

/Alien /has left an indelible mark on popular culture. Conceived
primarily to cash in on the popularity of science-fiction films in the
late 1970s, directed by a person known for making adverts (Ridley Scott)
and starring an unknown actor in the lead role (Sigourney Weaver), it
transcended its humble origins to frighten and disturb audiences on its
initial release. Its success has led to three direct sequels, two
prequels, one ‘mashup’ franchise, a series of comic books, graphic
novels, novelisations and games, and has an enormous and devoted
fanbase. For forty years, /Alien/ (and its progeny) has animated debate
and discussion among critics and academics from a wide variety of
disciplines and methodological perspectives.

Hosted by the Centre for Film, Television and Screen Studies at Bangor
University, this symposium proposes to bring together scholars from
diverse disciplinary backgrounds to explore /Alien/ forty years since
its release, debate its legacy and consider its position within visual

*Colin Arthur, who worked on the make-up and special effects for the
film, has confirmed his attendance.*We also hope Roger Dicken, who also
worked on the film’s visual effects, will be able to join us.

*We are delighted to confirm that Dr Rikke Schubart (University of
Southern Denmark) will deliver the keynote address.*Dr Schubart has
written extensively about gender and genre, the action heroine in
popular cinema, and women and horror. Her most recent monograph,
/Mastering Fear: Women, Emotions and Contemporary Horror/, was published
by Routledge in 2018.

We welcome contributions from any perspective such as (but not limited
to) the following:

* /Alien /– origins, influences, production, aesthetics, publicity,
reception, afterlife
* Sequels, prequels and mashups: /Aliens, Alien 3/, /Alien:
Resurrection, Prometheus, Alien: Covenant, Alien vs Predator, Alien
vs Predator: Requiem/
* The /Alien /Transmedia Universe: games, comic books, graphic novels,
* Sigourney Weaver: star, producer, auteur?
* Ripley as feminist icon: the gender politics of the /Alien /universe
* /Alien/ and motherhood
* /Alien/ and race, ethnicity and otherness
* HR Giger and The Art of /Alien/
* /Alien /and psychoanalysis
* A Haunted House in Space: /Alien /as Gothic horror
* /Alien/ and science-fiction
* /Alien/, audiences,//fandom and ‘cult’
* ‘The perfect organism’: /Alien/ and evolutionary biology
* /Alien/ and neoliberalism, post-industrialism and the rise of
multinational corporations
* /Alien/ and artificial intelligence, cybernetic organisms, and the

Oxford University Press has expressed a keen interest in producing a
collection of essays based on the symposium.

We are applying for funding to facilitate postgraduate and unwaged

Please send 300-word abstracts and a short biographical note to Dr
Gregory Frame ( <>_) by
1 January 2019.

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CFP: Filmic Forms and Practices of Autochthonous Struggles

Filmic Forms and Practices of Autochthonous Struggles

Paris, February 27-28, April 8-9, May 2-3, 2019

La Fémis / PSL Research University

Call for (re)presentations

These three colloquia set out to bring together filmmakers, activists,
and researchers to discuss the use of film and media technologies in the
social movements of autochthonous populations. In the company of those
involved in these communities and social movements, our aim is to map
the film and media forms and practices employed within recent and
ongoing autochthonous struggles. These exchanges will investigate the
different situations and experiences that produce these filmic forms,
their vernacular histories and roles within these political and social
movements of resistance. The colloquia are organized under the auspices
of the research project “For a Global Study of Filmic Practices within
Autochthonous Struggles,” lead by Nicole Brenez at the French national
film school La Fémis and funded by PSL Research University’s Global
Studies initiative.

We are looking for proposals for both presentations that fit the more
traditional academic format of a 20-minute talk, but also experimental
forms. The latter can entail media works or performance pieces,
presented and/or performed either in person or submitted to the
organizers to be screened/played (video, sound recording) or as notes
and directions to be interpreted by the bodies and voices of those
present at the events. The proposals for presentations and experimental
forms should follow the themes of one of the following events.

#1: Autochthonous Cinema against Occupations [North America]

/February 27-28, 2019, with:/

– Alanis Obomsawin (filmmaker and musician)

– Myron Dewey (filmmaker and activist, Digital Smoke Signals)

– Sky Hopinka (filmmaker and visual artist)

#2: A Long View on Colonizing Practices and their Amnesia [Pacific/West

/April 8-9, 2019, with:/

– John Gianvito (filmmaker and professor at Emerson College)

– Myrla Baldonado (activist, Pilipino Workers Center)

#3: Autochthonous Futures, Our Future [Oceania/North America]//

/May 2-3, 2019, with:/

– Karrabing Film Collective (artist and activist collective)

– Lisa Rave (filmmaker and visual artist)

– Erik Blinderman (filmmaker and visual artist)

*The research project and its central concerns*

Collectively, we aim to create a space for the study and promotion of
the role and forms of filmic and media practices, enlisted during times
of adversity when the effects of global processes intersect with the
lives of indigenous and rural communities.

These autochthonous communities – their identity and ways of life
embedded in deep historical and cultural bonds to their lands – are
often the first in line to bear witness, suffer and endure political
disenfranchisement, state violence, economic exploitation, pollution and
contamination of lands and living beings, environmental injustice,
expropriation, and displacement. Behind these experiences and instances
of plight are large-scale ecological, macroeconomic, and geopolitical
processes, which take decades or centuries to play out, encompass
continents, and whose origins are largely human. An environmental
catastrophe, a negative economic development, or a series of hostile
political decisions can lead to situations of intense distress and
struggle where autochthonous communities need to mobilize in order to
ensure their existence and protect their environment. During these times
of conflict, they require tools to frame and render tangible the impacts
of global processes. In creating and employing compelling figurative and
representational forms, the communities can make their voices heard and
raise awareness about their causes, allowing them to reach society at
large, which bears a great share of responsibility in begetting and
sustaining large-scale processes. Since the 1960s, many of these
communities have made use of various media practices as a way to
document and engage with the struggles they are involved in.

We are interested in studying how the act of image and sound making
becomes a part of the dynamic of the struggle; what effect do the filmic
and media practices have on the course of the struggle; how are the
figurative and representational forms conceived and adapted to the
particular situation; in what ways does the community participate in or
influence the process of devising these forms; how are the works lent a
historical depth, given a sense of the larger processes at work, while
also conveying the urgency of the situation; how and where are the
resulting works distributed and what is their effect both within the
community and outside?


*/Colloquium #1 – Autochthonous Cinema against Occupations [North America]/*

This first meeting will examine the filmic tactics developed by the
autochthonous resistance movements in response to land spoliations and
the extraction and transportation projects of the mining and petroleum
industry. In their masterclasses, filmmaker Alanis Obomsawin of the
Abenaki nation, activist and videographer Myron Dewey of the Newe-Numah
and Paiute-Shoshone nations, and filmmaker Sky Hopinka of the Ho-Chunk
and Pechanga nations, will reflect on the confrontations between
autochthonous communities and armed forces in Oka, in 1990, and at
Standing Rock, between 2015 and 2017. Both the Oka Crisis and the Dakota
Access Pipeline protests at once lay bare the willingness of the
government to forcefully deprive the autochthonous communities of their
rights and demonstrate how employing filmic practices and media tactics
allows the communities to represent themselves and their plight. The
proposals for this section could focus on filmic practices developed
during these ongoing struggles or on the diversity of filmic forms
related to intertribal and pan-Amerindian political movements in North

*/Colloquium #2 – A Long View on Colonizing Practices and their Amnesia
[Pacific/West Indies]/*

These two days will be dedicated to the constitution of a first
cartography and chronology of filmic practices that document the ongoing
autochthonous struggles in the regions historically marked by the
colonial influence and practices of the United States. Collective
amnesia regarding the colonial history of the Philippines will be the
starting point of this colloquium. Filmmaker and professor of visual and
media arts at Emerson College, John Gianvito will discuss the films
where he explores the political and visual history of American
imperialism. Activist Myrla Baldonado, one of the founders of the NGO
People's Task Force for Bases Clean-Up (PTFBC) in the Philippines, will
present the history of collective local and international mobilizations
against the U.S. military bases Clark and Subic. The conversation will
then be extended to all contemporary autochthonous struggles in the
Pacific and the West Indies: Okinawa, Micronesia, Philippines, Hawaii,
Puerto Rico. We are inviting proposals that will take an empirical or
historical (from 1980 to today) perspective on those issues. Special
attention will be given to proposals dealing with social mobilizations
against American bases, on filmic practices of contemporary
environmental struggles in the Pacific or Caribbean regions, as well as
on insurgent movements in the southern Philippines.

*/Colloquium #3 – Autochthonous Futures, Our Future [Oceania/North

During this last meeting, we will reflect on the filmic, collective, and
essayistic forms that represent the present-day experiences of
autochthonous communities in contexts marked by the contamination of
ancestral lands and the displacement of populations, and that also
explore and employ alternative narratives, forms of history, and ideas
of coexistence. Karrabing Film Collective will present its work borne of
its community in Northern Australia, and filmmakers Lisa Rave and Erik
Blinderman will talk about their investigation on Yucca Mountain, a
Western Shoshone territory in Nevada, which has been the subject of a
continuous colonization process since the Ruby Valley Treaty in 1863. As
part of this discussion – extended to the autochthonous peoples of
Oceania and North America – the proposals could consider filmic forms
that document the intensive exploitation of natural resources and the
threats it poses to both autochthonous and all of our futures.
Presentations exploring filmic forms that incorporate the ideas of
uchronia, utopia, and futurism will be appreciated.

*Two forms of presentation*

Our wish is to include in our discussions all possible voices.
Therefore, this call is open to both academics and non-academics alike,
to those who either study the issues related to this research project or
those who are involved in and touched by the experiences of struggle. We
thus welcome contributions that follow a traditional 20-minute academic
presentation but also proposals for experimental forms where the
author(s) have a wide range of means to convey ideas and experiences.


/*Academic presentations*/

Besides exploring the issues articulated above, or discussing the work
of one of the invited filmmakers or collectives, the academic
presentations may address one or several of the following themes:

– Histories of filmic practices. A study of the practices and/or
legacies (archival or other) of an individual filmmaker or an
activist collective.

– Empirical and ethnographic study of filmmaking, exhibition, and
reception practices.

– Issues and forms of ‘visual sovereignty’ (Michelle Raheja). Ethics
of shooting, decision making processes relative to what and when can
or cannot be represented (e.g. ceremonial rituals, behind-the-scenes

– Technical autonomy and technological sovereignty. Filmmaking and
media production in situations marked by digital divide and in the
conditions of surveillance and tracking across content and social
media platforms.

– Financing and distribution of films. Government funding,
aboriginal media and television stations, self-financing, and the
impact of these forms of production on filmmaking and the autonomy
of the filmmakers.

– Appropriation and adaptation of film and media technologies.
Studies on past and “new ways to indigenizing film and technology
through Indigenous Eyes” (Myron Dewey).

– The historicity of images and their ability to capture the
evolving conditions of autochthonous struggles. The capacity of
films at once to document the urgency (occurrences of state
violence) and to construct in the long run the vernacular memories
of autochthonous struggles.

– Sonic ecology of struggles. Oral histories, chants and protest
songs in films.

– Uchronia, utopia, futurism. The futures and alternative realities
– imagined, forgotten, or reinvented by the filmic practices of
autochthonous struggles.

*/Experimental forms /*

We invite proposals for experimental forms that can be constituted of
media works (e.g. moving image, sound), involve a performance (e.g.
monologue, dialogue, reenactment, dramatization). To encourage and
facilitate the participation of those who are unable to travel to Paris,
we also welcome proposals for performative forms that could be staged
and directed from a distance following notes submitted by the author(s).
For the latter, the author(s) would have at their disposal the bodies
and voices of the organizers and participants of the colloquia and the
entire space where the event takes place (depending on the day, a movie
theater, a conference room).

The piece can last up to 20 minutes. The authors can use the language of
their choice while the non-English works should be accompanied by an
English translation. Thematically, the authors have complete freedom in
their proposals as long as they touch upon the central concerns of this
research project and follow the regional boundaries of one the three
colloquia. For works to be directed from a distance, the organizers
commit to discuss the directions/staging beforehand and, if necessary,
organize a rehearsal. The performative forms could be filmed/recorded by
the organizers following the authors’ instructions and within the
technical means at our disposal. The unedited rushes will then be sent
to the authors who can freely archive, edit, or distribute these materials.

The proposals for experimental forms should specify:

– the form of the piece (sound recording, video, dialogue...);

– the technical and/or human means necessary for the production of
the piece (number of participants, props, technical requirements for
the presentation of sound and moving images...);

– a 300-word summary of the performance/stage piece;

– if applicable, indications as to the recording and possible uses
of the materials.

The authors should be aware of the aforementioned constraints, the
specificity of the resources at their disposal, adapt their works to
them accordingly, and keep in mind the importance of notations and
instructions to be included with their final work if it is to be
directed from a distance.

In order to ensure that the work be presented in the best possible
conditions the final work should be received by the organizers *at the
latest three weeks before the event*.

Calendar and Practical Questions
Please submit your proposal before December 1, 2018, to: and The proposals should specify
the chosen colloquium, the presentation’s format (performance / video /
academic presentation, etc.), include a summary of the academic
presentation (500 words) or the experimental form (300 words), a short
biographical note, and, if applicable, the human and/or technical means
necessary for the production/presentation of the work. The participants
will be notified of acceptance by *December 17, 2018*, and the final
program will be published on *January 20, 2019*. We are unfortunately
unable to provide financial aid, the participants will assume
transportation and accommodation expenses. For any questions regarding
the presentations please write to the email addresses above.

*Organizing committee *

– Nicole Brenez (La Fémis / Sorbonne Nouvelle)

– Daniel Cefaï (EHESS)

– Giovanni Careri (EHESS)

– Jonathan Larcher (EHESS)

– Sébastien Lechevalier (EHESS)

– Ricardo Matos Cabo (Independent film programmer)

– Alo Paistik (EHESS)

– Perrine Poupin (EHESS)

– Caroline San Martin (La Fémis)

– Skaya Siku (Academia Senica)

– Marko Tocilovac (EHESS)

– Barbara Turquier (La Fémis)

– Eric Wittersheim (EHESS)
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Call for Chapters: Gendered Violence at International Festivals: An Interdisciplinary Perspective

We invite researchers to submit chapter abstracts for a proposed book to
Routledge entitled, Gendered Violence at International Festivals: An
Interdisciplinary Perspective, edited by Dr Louise Platt (Manchester
Metropolitan University) and Dr Rebecca Finkel (Queen Margaret University).
The vision for this book is to feature contributions from critical
events and interdisciplinary scholars specifically focused on gendered
violence (symbolic/physical) at international festivals. It is expected
that chapters will provide robust theoretical frameworks and will
interweave theory, policy and/or practice. Empirical work which features
creative research methods is especially welcome.
The underlying motivation for this volume is to contest the widely-held
notion that festivals are temporal spaces free from structural sexism,
inequalities, or gender power dynamics; rather, we argue that they are
spaces where these are enhanced and enacted more freely, using the
experiential environment as an excuse or as an opportunity to
victim-blame and shame. Whilst it has been argued that the
liminal/liminoid space, due to the so-argued temporary suspension of
societal norms, allows women’s bodies and voices to be asserted in a way
that is not usually deemed acceptable in everyday public spaces, there
is often a neglect to understand how hegemonic social and cultural
structures and controls still govern these spaces. We argue that a
persistence to characterise festivals spaces as uncomplicated,
value-free, and utopic is highly problematic.

Possible chapter topics can be drawn from cross-disciplinary literatures
and methodologies and may be from a range of social science subjects,
such as critical event, tourism, and leisure studies; gender and
sexualities studies; critical race theories; urban and cultural
geography; sociology; criminology; and so forth. It is expected that
gender and violence issues will be explored within the framework of one
or more festivals, whereby the festival illustrates broader social
structures and confirms/disrupts established discourses involving
patriarchy, performativity, power, praxis, and perceptions of safety.
Intersectional and feminist approaches are considered a priority.
Recently, there have been more and more media reports surrounding
increased sexual assaults at festivals, especially greenfield music
festivals. However, there has been a paucity of sustained scholarly work
in this area. This collection attempts to highlight international
research in an effort to further thinking about gendered festival
experiences and emphasise the symbolic and physical violence often
associated with them.

Please submit abstracts (100-200 words max.) for your proposed chapter
by Monday, 7 January, 2019.

We look forward to hearing about your work and possibly having you
contribute to this exciting, emerging area! Please email abstracts to
Drs Louise Platt and Rebecca Finkel:

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CfP French Journal Genre en séries: Can heroines escape their gender?

Can superheroines escape their gender? 

by Sophie Bonadé, doctoral student (UEVE/Saclay, SLAM) and Réjane
Hamus-Vallée,professor (UEVE/Saclay, Centre Pierre Naville)

"Jewel is a great superhero name! »
" Jewel is a stripper's name. »
dialogue in Jessica Jones

In 1938, the first issue of Action Comics featured the character of
Superman on its cover. Success came fast. Although Superman was not the
first superhero (Gabilliet 2004), he would become the prototype of the
American superhero story. As products of mass culture, which today have
a worldwide influence, superheroes did not confine themselves to comic
books for long. In 1941,
Superman also reached TV screens through the animation series produced
by Fleischer Studios (Fleischer 1941). The same year, Adventures of
Captain Marvel (English and Witney 1941) was published, a serial divided
into 12 parts. In 1952, the television series Adventures of Superman
(Syndication, 1952-1958) was the first live-action adaptation of
Superman's adventures. Many other
superhero story adaptations have since been produced, which soared in
the early 2000s with many television, film and video game adaptations of
the stories by the two main publishers of the superhero genre: Marvel
and DC Comics.
While superheroines were born shortly after Superman (Fantomah in Jungle
Comic No. 2 in late 1939/early 1940s or The Lady in Red in the early
1940s, No. 2 in Thrilling Comics), they had more difficulty than their
male counterparts in being adapted to small (and large) screens, with a
fairly marked time lag. This issue of Genre en Séries will therefore be
devoted to the place of superheroines
since their creation and proposes to study them both in comic books and
through their adaptations in types of media.
Apart from Trina Robbins' books, which provide a fairly broad overview
of the evolution of superheroines (Robbins 1996) and the place of women
in the comic-book industry (Robbins and Roniwode 1985; Robbins 1999 ;
Robbins 2001; Robbins 2013), superheroines are poorly studied, with the
exception of the most famous of them,WonderWoman (Robinson 2004; Bilat
2011; Hanley
2014; Bajac-Carter, Jones and Batchelor (eds.) 2014; Zechowski and
Neumann 2014; Cocca 2016).
Most of the time, superheroines are just mentioned in a book
(Hassler-Forest 2012) or are sometimes the subject of a specific chapter
(Gray II 2011; Ducreux 2013). We believe it is necessary to compensate
for this delay.
If our questioning focuses on superheroines from comic books, this issue
also aims to question the limits of these characters. Proposing a list
of definitional, but not essential, characteristics, as
Jean-Marc Lainé has done (in Lainé 2011, we find the following:
superpowers, costume, secret identity, companions, Achilles' heel,
founding trauma, adversary and relationship to the city) is not a
satisfactory definition, as it allows to group under the superhero name
characters as old as Gilgamesh or Hercules (Reynolds 1994 ; Knowles
2007). A definition by characteristics must be combined with a
definition that makes it possible to locate and contextualize the
characters that are superheroes and superheroines. Is Buffy, the vampire
slayer (The WB, 1997-2001, UPN, 2001-2003), who has superpowers and
protects the world by looking after the small town of Sunnydale, a
superhero? She
is not wearing a suit, but her identity as a killer is a fact she hides
from her family during the first few seasons. Are the action women of
1980s cinema - such as Ellen Ripley from the Alien film series (Scott
1979; Cameron 1986; Fincher 1992; Jeunet 1997) and Sarah Connor from the
franchise (Cameron 1984; Cameron 1991) superheroines, since they are
fighting to protect humanity?
And what about Max Guevara, the heroine of Dark Angel (Fox, 2000-2002),
whose genetic heritage was modified during childhood to turn into a
weapon and who fights as an adult for her right, and that of her fellow
human beings, to exist: does she not recall the X-Men team of mutants?
This issue therefore proposes to study superheroines as such but also in
their relationships with their male teammates. From comic books to
animated image adaptations, the reasons for their relative lesser
success compared to superheroes is at the heart of our questioning.
Who are the superheroines and where are they today? What place(s) do
they have in the different media? Who are their audiences? How does the
transition from comic book to another medium transform, or not, the
heroine in question? What are their links with superheroes?
Approaches from the different social sciences are welcome in this issue,
which will focus in particular on the following non-exhaustive areas:

1) Evolution of superheroines
A first approach can focus on the socio-historical context of the
appearance of these characters in the tradition of Loïse Bilat's work on
Wonder Woman. When Wonder Woman appeared in 1941, she had physical
strength similar to Superman's. However, its creatorWilliam Moulton
Martson, also
endowed her with qualities that he considered intrinsically feminine
such as softness and charm. This construction of Wonder Woman is
attributable to William Moulton Martson's essentialist vision, but also
to the gender relations at the beginning of the Second World War, when
women were called upon to support the war effort, taking on male roles
while remaining male supporters.
Superheroine stories have since gone through 70 years of American social
transformation. The social changes that have taken place since 1941 -
changes in the status of women, civil rights, feminist movements,
LGBTIQ+ struggles - have influenced the stories of superheroines. The
creation and simultaneous broadcasting, between 1975 and 1977, of the
superhero series The Secret of Isis (CBS, 1975-1977) and Wonder Woman
(ABC, 1975, CBS, 1977-1979) were made possible by the women's rights
movements that shook the United States during the Second Wave of
feminism, but also by the massive entry of women into the paid labour
market, which turned them into consumers to whom a product can be sold
(Passerini 2002). In the early 2000s, Jessica Jones, an alcoholic and
borderline ex-superheroine, was created. Alias (2001-2004, Max Comics),
the series in which she is the protagonist, is a meta-report that offers
a reflection on the evolution of superheroines, but also on their
future. The character's success in comic books but also on the Netflix
video platform (Netflix, 2015-ajd), where the series has been renewed
for a third season, supports an unconventional superhero model.
Nevertheless, Jessica Jones must also question the possibility even for
a woman to embody a superheroic figure, because the character has
precisely renounced being a superhero.
How are superheroines representatives of their time? How do superheroine
stories portray and interact with American social changes in different
media? And does adaptation make it possible to solve certain "problems"
posed by superheroines in comics (objectification, use for scriptwriting
purposes in stories centred on men) or are they reproduced in the target

2) Creation, production, mediation and public
In this axis, priority will be given to studies that focus on the
contexts of these comic books and their adaptations. On the one hand,
the reception context: which audiences, for which works? Are the
audiences of superhero and superheroine stories really more masculine?
How does this audience
influence the content of these superheroic fictions? In 2013, Paul Dini,
one of the creators of Batman:
The Animated Series (Fox Kids, 1992-1995), attributed the cancellation
of Young Justice (Cartoon Network, 2010-ajd) and Green Lantern (Cartoon
Network, 2011-2013) to the overly female audience, which was not good
for broadcasting channels, as girls are known to buy fewer toys. While the
reasons for this cancellation were never confirmed by the Cartoon
Network, Paul Dini pointed at the gendered dimension of superhero
productions that are intended for the youth market in relation to the
importance of the sale of ancillary products in their profitability.
This also raises the question of the production context: who are the
people who create these superheroic adventures? Can the gender relations
that are played out within a television channel, film studio, video game
production company or comic book publishing house influence its brand
The CW channel, for example, which produces many of the current
superhero television series, was, when it was created in 2006, the
network with the highest number of female employees and its identity was
marked by the production of series for young women such as Gossip Girl
(Le Fèvre-Berthelot 2015). Can CW's recent production - Arrow, The Flash
- be seen as a desire to remasculinize its audience - after Mark
Pedowitz was appointed head of the network in 2011 - or are these series
also dedicated to a female audience? If so, how can we explain the
inclusive approach of these television series that feature racialized,
homosexual, bisexual and soon-to-be transgendered characters and on
which the CW is basing its brand identity in a video announcing its
upcoming series for the 2018-2019 season (AlloCine)? While these
superheroic television adaptations play the card of a certain diversity,
it is worth questioning the timidity of the film adaptations on this
subject: we had to wait for the 21st film produced in the Marvel
Cinematic Universe, Captain Marvel (Boden and Fleck
2019), to have a superheroine as the main protagonist.

3) Superheroine stories and politics
This axis aims to analyse the place and role of television and film
superheroines by observing the narrative construction of these
characters. How is the scene set for superheroines? What role do
superheroines working alongside superheroes play, for instance in Heroes
(NBC, 2006-2010), the
Avengers film franchise, the Batman: The Telltale Series video game
(Telltale Games, 2016), Batman (ABC, 1966-1968), and Gotham (Fox,
2014-ajd)? More generally, these superheroines must be examined as
heroines (Cassagnes-Brouquet and Dubesset 2009), but also as women of
action (Monk
2010; Bilat and Haver 2011).
It is also necessary to question how superheroines can experience other
types of domination than gender. Superheroes and superheroines were
originally white, heterosexual characters - even if their sexuality was
never mentioned - and they often come from higher social classes. Today,
representations have diversified. Racialized and/or non-heterosexual
superheroines exist, and a transgender superhero appeared in the fourth
season of Supergirl (CBS, 2015, The CW, 2016-ajd).
The status of all superheroines must nevertheless be questioned. The use
of the image of Ms. Marvel (Kamala Khan), a Muslim superhero, to fight
Islamophobic campaigns in San Francisco evokes a certain political power
of these representations, but what is really happening? Do superheroines
contribute to challenging patriarchal norms or are they pure
post-feminist products devoid of any political substance (Cervulle
2009)? Are they simple feminist pop characters who spread a message of
individualistic empowerment without its political and collective side or
do they spread globally the idea that women, whoever they are, can be
heroines and even more?

Proposals for articles, accompanied by a short biography, should be sent to <> and
<> before 15th December 2018. The authors
will be advised by 15th January 2019 and the articles must be sent by
30th April 2019, for publication after proofreading in Autumn 2019.

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Funded Collaborative PhD opportunity at the University of Leeds/Leeds Film


Lead Academic and Partner Organisation Supervisors:

Prof Stephanie Dennison
Centre for World Cinemas and Digital Cultures, School of Languages,
Cultures and Societies
University of Leeds

Mr Alex King
Programme Manager
Leeds Film

Project summary
This collaborative doctoral project seeks to break new ground by
enabling a student to carry out an analysis on independent film
exhibition in Leeds informed by both academic scholarship and practical
experience of a series of regional film initiatives under the umbrella
of Leeds Film. Such an analysis will fill a significant gap in cultural
memory within the city: despite Leeds' link with film innovator Louis le
Prince and early movie making, and despite currently having the largest
number of DIY film exhibitions in the UK, very few discussions of film
in Leeds appear in literature, academic or otherwise.

A comprehensive historical overview of independent film exhibition in
Leeds constitutes the first aim of the PhD project, with a number of
potential research questions providing a specific focus which might include:

1) What is the impact of the Leeds International Film Festival and other
exhibition initiatives on the city and local community, and to what
extent does this impact match the expectations of the festival
programmers and partners in Leeds City Council?
2) What are the effects on film culture in the region of constantly
shifting patterns of a) taste, b) demographics, c) film funding?
3) How can we usefully trace/judge the impact of independent film
exhibition in the region?

The time spent working with Leeds Film will be dictated by the
exigencies of the student's research focus. The student will also have
contact with the Hyde Park Picture House, a key venue in the independent
film exhibition history of the region, as well as the National Media
Museum in neighbouring Bradford. A further opportunity is available,
depending on the focus of the research: an internship at the Durban
International Film Festival. Interest in hosting a researcher has been
confirmed by the Centre for Creative Arts, the umbrella organisation
(similar to Leeds Film) in Durban. The practical insights gained from
working alongside the Leeds Film team will provide the student with
excellent experience and a solid skills base, that will prepare them for
a variety of academic and non-academic professions, for example in film
programming/festival organisation, or the cultural industries more broadly.

For more information about this project contact
Prof Stephanie Dennison (
In order to apply for funding you must have applied for a place of study
at the University of Leeds by 9 January 2019, clearly stating you are
applying for this project.
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CFP: Counter-image International Conference (Lisboa)

Counter-imageInternational Conference
Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa
6th and 7th May 2019

Call for Papers

The research on History, made by authors such as Benjamin and Foucault,
sustain a counter-discourse and counter-narrative way of thinking that
aims to embrace the voices of those who have been voted to silence by
the hegemonic powers of society, asserting themselves as counter-memory.
The practices of memory are thus fields of political action where
various agents interact in relationships of power that seek to give
visibility to memory, against forgetfulness, marginalization and
subjugation. The productions of memory and forgetfulness are not passive
acts, but denote conflicts and tensions between different modes of
knowledge. We seek to highlight the different perspectives and
multiplicities of discourses that converge in the formation of memory
guided by heterogeneity and plurality.

From this theoretical and interpretive framework appeared new models
of organization and re-activation of memory; discussions on the
interactions between individual / collective identities; postcolonial
perspectives; gender policies; marginal / peripheral discourses gained

We invite academics, students and independent researchers to think the
photographic and filmic image as “a place where recollection - memory –
materializes” (Bergson, 1896) and real and fiction intersect (Dubois,
2016) affirming their power to transgress and open other narrative and
visual paths. The scope of the conference includes, but is not limited to:
- counter-hegemonic narratives;
- temporal densities of/in images;
- archive dynamics in relation to counter-power and counter-memory;
- self-representation between fiction and reality;
- political and sociohistorical dimensions of authorship;
- artistic practices as resistance strategies;
- the use of vernacular images and processes in artistic production.

Abstract Submission
Proposals for communications - of max. 20 minutes - must be sent to
<> , for the attention of
Professor Ana Lúcia Marsillac, until the 10th of December 2018, and
include: a .docx file with the name of the author(s), a biographical
note (max. 100 words), the title of the proposal, keywords (max. 5) and
the abstract (max. 300 words).

Venue and Date
The conference will be held at Auditório 1 - Torre B in Faculdade de
Ciências Sociais e Humanas of Universidade Nova de Lisboa, on the 6th
and the 7th of May 2019.

Confirmed Keynote Speakers
David Campany (Westminster University)
Susana de Sousa Dias (Faculty of Fine Arts – University of Lisbon)

Accepted languages
English and Portuguese

Paper Submission: free
Regular Registration: 30€
Student Registration: 15€

More information: <>
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CFP: Beyond the Console: Gender and Narrative Games

Beyond the Console: Gender and Narrative Games

8 / 9 February 2019, at the V&A and London South Bank University, UK

The Centre for Research in Digital Storymaking at London South Bank
University is organising a two-day conference to showcase and explore
narrative games through the experiential and critical lens of gender.
From tabletop live roleplay to mobile apps with user story creation
platforms, from interactive performance to interactive fiction,
narrative games create vibrant participatory communities. Since their
modern incipience, narrative games are also contestedly gendered.
/Little Wars/, a live roleplay strategy game book by H.G. Wells (1913)
is subtitled: ‘for boys and for that more intelligent sort of girl who
likes boys’ games and books'. Yet in the networked age, narrative games
have also opened up a diversity of stories. Open source authoring tool
communities empower personal game authorship (Twine, since 2008);
classic game genres, such as live table top games, are reconfigured as
journeys of becoming (/Monster Hearts/, 2012); commercial mobile apps
place ‘Hollywood-calibre stories’ of melodrama at the centre of their
social media games (/Episodes/, 2014); live action role play games
(LARP) reflect and incorporate gender neutrality in their immersive game
design (/College of Wizardy/, 2018); while interactive performances
invite audience members to play at being a different gender (/Disaster
Party, / 2017).

*Call for Papers

The conference invites submissions from a broad range of disciplines,
and is particularly interested in fostering links between research
scholarship, game making, and curation. We are interested in paper
proposals (including theoretical and methodological proposals,
comparative studies, and case studies), as well as creative research
demonstrations from scholars, art practitioners, curators and
gamemakers. Possible areas for consideration might include, but are not
limited to:

·‘The personal game’: subjectivity and game authorship

·Gender (re-)activism: social media, authoring tools, crowdsourcing

·Language, gender, programming: translation, procedural narratives

·Gender through immersive live action role play (LARP) games

·Gender in interactive performance

·Radical reappraisals of game genres

·The state of ontological play: who plays who, what, where and how

The conference will include a live keynote game by Porpentine,
introduced and chaired by Emily Short, hosted by the V&A Museum. The
keynote speaker is the interactive artist and scholar Hannah Wood.

*Proposals *

Proposals (20 minute length for papers; 10 minutes for demonstrations
and provocations) should include a title, an abstract of max. 300 words,
and a brief biography.

The proposal deadline is 26 November 2018.
Please address proposals to:

Registration will open soon at

Conference Organiser: Dr Karlien van den Beukel, Arts and Creative
Industries, London South Bank University

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CFP: The Films of Jane Campion

Call For Papers: ReFocus The Films of Jane Campion Contact Email: /

Deadline for Submission of Abstracts: 31st January, 2019 

Eds: Dr Alexia L. Bowler and Dr Adele Jones (Swansea University)

As the only female director to win the Palme d’Or, and the second to be
nominated for an Academy Award (both for The Piano [1993]) which is
celebrating its 25th anniversary, Jane Campion is a figure who garners
both critical and popular acclaim, as well as industry-wide respect.
With over thirty years standing as a film, and now television, director
(with Top of the Lake attracting collaborations with critically
acclaimed actresses such as Elizabeth Moss, Holly Hunter, and Nicole
Kidman), Campion’s work shines a spotlight on gender roles, often
through complex female characters and an innovative approach to the
screen representation of women habitually at the edges of society. As
such, Campion’s name is synonymous with women on screen. Indeed, Campion
is also vocal about the under-representation of females in the film
industry more generally, concluding that, as ‘women are going to tell
different stories – there would be many more stories in the world if
women were making more films’ (Pulver, A. The Guardian, 14th May, 2014).

However, her commitment to the place of feminism itself is tempered by
an ambivalence towards the term. Indeed, Campion has stated that ‘I no
longer know what this [feminism, in the context of her filmmaking] means
or expresses...I am interested in life as a whole. Even if my
representation of female characters has a feminist structure, this is
nevertheless only one aspect of my approach’ (Wright-Wrexham, 1999). The
body of scholarship on her work to date is testament to her celebrated
position within film, producing an eclectic and wide-ranging mix of
responses extending to biography, nation and identity, adaptation, sex
and eroticism, as well as authorship in her work. All these
contributions celebrate the multiplicity in, and breadth of, her art and
her vision. Thus the collection aims to interrogate, contribute to, and
extend contemporary scholarship on Campion by bringing together new and
innovative analyses from emerging and established scholars in the field.
There will, then, be a shared focus on the legacy and contribution made
by Campion to films made by, for, and about women, as well as Campion’s
filmmaking (vision and practice) and engagement with (or ambivalence to)
feminist theory past and present, providing new and exciting approaches
for understanding Campion’s work.

We seek contributions that engage with Campion’s work in film,
television, and/or the film and television industry more generally, and
which consider (and potentially re-evaluate) her contributions and
position vis-à-vis feminism and feminist discourse, as well as our
understanding of representations of women and/or gender in the twentieth
and twenty-first century.

The edited collection will be aimed at Edinburgh University Press’s
ReFocus series, examining overlooked international film directors.
Series editors are Robert Singer, PhD (NYC) and Gary D. Rhodes, PhD
(Belfast, N.I.).

Possible topics could include but are by no means limited to:

* Analysis of individual films (including shorts) and/or television

* Female Authorship

* Campion and women’s cinema

* Men, Masculinity and relationships in the work of Campion

* Genre and experimentation in Campion

* Campion and collaboration (with other directors/actors/writers)

* Campion and adaptation (as feminist practice)

* Feminist ethics, politics and aesthetics in Campion’s work

* Problematising feminism

* Sex, sexuality, and the erotic

* The female gaze

* Language, selfhood, subjectivity and agency

* Motherhood

* Generational feminisms

* Film, feminism and philosophy in Campion’s work

* French feminist critical readings of Campion

* Nation and/or institution, identity and subjectivity

* Industry, indie, Hollywood and the festival circuit/prizes

* Trauma, loss, and grief

* Campion, feminism and film philosophy

* Comparisons between feminist filmmakers’ work Campion

If you have any questions regarding the suitability of possible topics
and material for inclu-sion in the volume, please do not hesitate to
contact the editors, Dr Alexia L. Bowler ( & Dr
Adele Jones at (

Abstracts of 350 words, for chapters of between 7,000-8,000 words
including endnotes (referenced in Chicago style), along with a short
biographical note, should be emailed to both editors by 31st January,
. Successful proposals will be notified by 1st March, 2019. Chapters
will be expected, in full, by 30th June, 2019.
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Funded PhDs in Film Studies at the University of Surrey

The University of Surrey has a number of PhD scholarships available for
October 2019 entry for both UK and international students interested in
pursuing doctoral research in film studies (and allied areas). These are
available via the AHRC-funded TECHNE scheme and also internally via the
Faculty of Arts and Social Sciences and Doctoral College schemes.

The deadline is in December and prospective students are advised to make
contact as early as possible with their potential supervisor to discuss
their application.

We particularly welcome applications in the following areas:

* Animation
* Documentary
* French Cinema
* Contemporary British Cinema
* German Cinema
* Austrian Cinema
* Industry Studies
* Music and Cinema
* Film and environmentalism (inc. nuclear issues)
* Cognitive Film Theory
* Multi-modal approaches to film analysis

Potential supervisors include

Bella Honess Roe

Helen Hughes

Maria Poulaki

Phil Powrie
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Encyclopaedia of Gender, Media and Communication - call for contributors

Dear colleague – we recently circulated an invitation to contribute to a
brilliant new project which a small team of us are working with Wiley
Blackwell to deliver, which is the first ever Encyclopaedia of Gender,
Media and Communication: this constitutes the latest project in the ICA
series of Sub-Disciplinary Encyclopaedias of Communication. We hope you
agree that this will be an exciting and important contribution to the
field. While there are several handbooks and edited collections which
focus on many of the gendered aspects of media, culture and
communication, an encyclopaedia which maps the broader landscape is
currently missing: our project intends to remedy that lack.

The project is obviously ambitious and we will not be able to please
everyone or include everything, but we have identified a potential topic
list and so far, the response from the academic community to this first
invitation has been brilliant and we have now identified authors for
around 200 entries. However, there are number of topics for which we
have yet to find authors, so we are sending out a follow-up invitation
in relation to this particular list of topics which we set out below. We
are keen that the Encyclopaedia is as inclusive and broad-based as
possible and we are therefore seeking a mix of established and less
experienced contributors, from all parts of the global research community.

We are also including a list of all the topics which have so far been
commissioned. If you believe there is a topic missing from this list
that you would like to write about, please let us have your
suggestion/s. Also, if there is a particular personality, or film or TV
show who/which you believe has been significant in shaping/driving
forward the gender-media-communication agenda in some way who is not
featured in the list and about whom you would like to write then again,
we are ready to hear about that as well.

As an editorial team, with our various experiences of researching and
writing on aspects of the gender-media relationship, we are mindful of
issues such as intersectionality, fluid sexual identities and
stereotypes. You will see that in the list, we continue to use certain
terms (e.g., women, men, disability, age, race, LGBTQi, trans) in order
to mark out the parameters for the topics to be discussed and in this
way, hope to make the Encyclopaedia a useful and useable resource. We
encourage you to develop a critical approach to the use of these terms
in the entries which (we hope!) you will write. The Encyclopaedia is
focused on gender (albeit itself a rather contested category) so all
contributions must engage with this central theme, either privileging
one ‘identity’ category or else adopting a comparative or intersectional

If the broad ambitions of the project sound appealing, please read on.

* Timescale – we expect the three-volume Encyclopaedia to be published
in early 2020 so working backwards, we would expect to receive first
drafts of entries by Friday 29 March 2019.

* Style – an encyclopaedic entry is a summary of the research on a
particular topic: it is not an opportunity to talk about your original
research although you can obviously do this in a modest way.

* Length – entries are of different lengths, from very short ones
(1-2,000 words), to longer ones (between 6,000-10,000 words), so please
let us know how long your entry will be if you are suggesting a
completely new one.

* Payment – contributors will be paid in books and given online access
to the Encyclopaedia for a specified length of time, currently 24 months
from publication and for as long thereafter as you are prepared to
provide updates: for long essays (10,000 words) = $350 worth of
Wiley-Blackwell books; mid-length essays (4,000 - 8,000 words) = $250;
short essays (2,000 - 4,000 words) = $150; and very short essays (1,000
- 2,000 words) = $100.

* Next steps – if you are interested in writing an entry, please
provide: 1) a <200-word synopsis of what you intend to cover including
key authors (4-6), key themes, etc; and 2) a <150-word biographical
statement to include current affiliation and your job title.

* Deadline – please forgive tight turnaround, but it would be great if
you could send your synopsis and bio by 9 November to: <>

Thanks very much for getting to the end of this email and we hope to
hear from you soon.

Best wishes,

Karen Ross for the Editorial Team/Encyclopaedia for Gender, Culture and
Communication Ingrid Bachmann (Associate Editor) Valentina Cardo
(Associate Editor) Sujata Moorti (Associate Editor) Marco Scarcelli
(Associate Editor)

LIST OF TOPICS SEEKING AUTHORS (the number after each topic indicates
the approximate word count range we imagine)

- Big data – 2-4k

- Comic book heroes and villains – 2k

- Community/local media – 4k

- Digital bodies – 4k

- Ethnic minority characters on TV /film – 4-6k

- Fashionable masculinity [men in fashion advertising] – 2k

- Female action heroes – 4k

- Gender and political journalism – 24k

- Lesbians on film – 4k (or could be a combined ‘lesbians on screen’ to
include TV and film)

- Lesbians on TV – 4k (ditto)

- Male action heroes – 4k

- Mediated intimacies (eg online dating, sex online, sex-based websites,
but not hook-up or dating apps) – 2-4k

- News presenters/anchors – 2k

- Pick-up artists – 2k

- Radio shows for women [eg Woman’s Hour]- 2-4k

- Romcoms – 2k

- Real crime shows – 2k

- Reality TV genres – 2k

- Sexual identities on screen – 2-4k

- Stereotyping race on screen – 2-4k

- Women / men / as radio professionals / producers – 2k


- Advertising in cross-cultural comparison

- Advertising masculinities

- Affect

- Ageing bodies on television

- Ageing, media and communication

- Apps and the quantified self

- Archives of women's media

- Audiences, gender and horror

- Black women and television: a short history

- Body image

- Bromance

- Cam-girls

- Camp and queer cinema

- Camp TV

- Celebrity

- Celebrity bloggers and vloggers

- Censorship

- Children and online sexual content

- Childrens' television

- Children's TV presenters

- Commodification

- Contemporary women's films

- Crime drama

- Cultural resistance in the Middle East

- Cyberfeminist art

- Dating apps

- Digital divide

- Digital labour

- Disability and masculinity

- Disability, gender and desire

- Disabled characters in film and television

- Diva magazine

- Domestic labor in popular media

- Doxxing

- Election campaigns, general

- Election campaigns, leaders

- European women filmmakers

- Fan girls

- Fans and fan cultures

- Fashion media

- Fathers in the media

- Fat-shaming online

- Female friendships on film

- Femininity and food

- Feminism in the news

- Feminist camp cinema

- Feminist data studies

- Feminist film and video production

- Feminist film theory

- Feminist media activism

- Feminist media studies as a field

- Feminist moving image practices

- Feminist press

- Feminist websites

- Feminist/activist responses to online abuse

- Food and lifestyle shows

- Gamergate

- Games and players

- Gay male characters

- Gay men and television

- Gay porn

- Gender and advertising

- Gender and celebrity politics

- Gender and crime news

- Gender and Iranian cinema

- Gender and media

- Gender and media policy

- Gender and news

- Gender and political cartoons

- Gender and political speech

- Gender and representation in Nigerian media

- Gender and style in political communication

- Gender and technology

- Gender in Islamic media

- Gender in postcolonial India

- Gender in the films of Rituparno Ghosh

- Gender on Bulgarian television

- Gender representation on Turkish television

- Gender, ICTs, development and labor

- Gender, media and political economy

- Gender, politics and news in Nigeria

- Gender, race and news

- Gendered hate online

- Gendered identities online

- Gendered representations of war

- Gendering music in popular culture

- Gender-positive advertising

- Girl child in popular culture

- Girls and Japanese popular culture

- Girls and microcelebrity

- Girls' bedroom cultures

- Girls' media cultures

- Global Alliance on Media and Gender (GAMAG)

- Global Media Monitoring Project (GMMP)

- Globalization, gender and media

- Helen Clark

- History of women in journalism

- Hook-up apps

- Images of women in conflict zones

- Infertility and the barren woman

- Intersectionality and sports media

- Intersectionality in sports reporting

- Japanese manga and anime

- Japanese women in popular media

- Journalism and gendered mediation

- Julia Gillard

- Lads' films

- Latina bodies

- Leeds Animation Workshop

- LGBTQi in reality television

- LGBTQi online

- Male characters on television

- Margaret Thatcher

- Marketing women political leaders

- Masculinities and men's magazines

- Masculinities on television

- Mean girls

- Media and gendered victims

- Mediatization

- Men's Rights Movement/Activists

- Minority women politicians

- Mobile cultures

- Moral panics and gender

- Mothers in the media

- Muslim women, sport and social media

- New racisms in the news

- News reporting on women, war and conflict

- Newsroom cultures

- Non-normative characters with disabilities

- Nordic women journalists

- Older women and cinema: audiences, stories and stars

- Online abuse and harassment

- Online dating

- Online identities and intersectionality

- Online women's networks

- Organisational responses to cyber-bullying

- Orientalism

- Participatory cultures

- Personalization in politics

- Pink press

- Podcasting

- Political recruitment

- Political spouses

- Pornography

- Pornography as education

- Postcolonialism

- Postfeminist media cultures

- Pro-ana and thinspiration

- Programming for women

- Queer digital cultures in India

- Queer early cinema

- Queer Globalization and the Media

- Queer TV

- Queering horror genres

- Rape fantasy sexblogs

- Rape porn

- Religion, gender and digital media

- Reporting football in Brazil

- Representing rape

- Researching women's film and TV history

- Revenge porn on trial

- Romcoms in indie cinema

- Sarah Palin

- Selfies and sexual identities

- Self-representation and social media

- Sex and culture

- Sex and gender on film

- Sex as entertainment

- Sex, gender and the law

- Sexbots and post-human love

- Sexism and misogyny

- Sexting

- Sexual violence

- Sexual violence in popular media

- Sexualising the father figure

- Slash

- Social media influencers

- Social networks

- Stereotyping in advertising

- Superhumans

- Supernatural gender

- Surveiillance

- Surveillance apps

- Teens, tweens and in-betweens

- Telenovelas

- Television for women

- The Disney Princess

- The L-Word

- The women's page

- Trans characters

- Trans cultures online

- Trans identity in the media

- Transparents and queer politics

- Uses of social media

- Visual representations and the feminist challenge

- Vloggers

- Waves of feminism

- Women and comedy

- Women and games

- Women and images of war

- Women and sitcoms

- Women and television in Asia

- Women cinematographers

- Women filmmakers in the United Arab Emirates

- Women filmmakers, Ann Hui

- Women filmmakers, Catherine Breillet

- Women filmmakers, Dorothy Arzner

- Women filmmakers, Isobel Lennart

- Women filmmakers, Jill Soloway

- Women filmmakers, Nora Ephron

- Women filmmakers, Sally Potter

- Women filmmakers, Stephanie Rothman

- Women gamers

- Women in African cinema

- Women in film and TV history

- Women in the advertising industry

- Women in the films of Ingmar Bergmann

- Women war reporters

- Women, men and elite sport

- Women, sport and film

- Women, sport and media

- Women, technology and the gender gap

- Women's activism, general

- Women's alternative news sites

- Women's blogs

- Women's community newspapers in India

- Women's lifestyle magazines

- Women's periodicals

- Women's pornography cultures

- Women's radio production

- Yaoi/Boys’ Love/Danmei

- Zine culture
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CFP: No culture is 'low' culture

Centre for Film, Television, and Film Studies

Bangor University

No culture is ‘low’ culture

One day peer conference for post-graduate students
Tuesday 16 April 2018

Culture which was traditionally excluded from academia has found its way
into scholarship in recent years. Screen studies, media studies and
popular culture are now considered by many to be legitimate lines of
academic enquiry. However, students within these disciplines still must
fight against prejudice towards supposedly ‘low’ culture. Finding
courses and postgraduate supervisors, securing funding for research,
having conference papers received with interest and discussing projects
with colleagues can all be challenging. Furthermore, the tendency of
research into culture to be interdisciplinary creates further challenge,
in that students are required to know and cite scholarship across a
wider range of areas than they might have encountered prior to
undertaking their projects. Traditional school and department structures
at universities can make this difficult.

This conference aims to bring together current post-graduate students
conducting research within the areas of screen and media studies and
popular culture, giving them the opportunity to present and discuss
their research with their peers. The conference will facilitate the
exchange of ideas across disciplines, enable post-graduate students to
gain experience presenting at a conference and allow students to make
contacts with peers who are likely to be their academic colleagues in
the future. The conference also aims to show that topics which are
considered by some to be beneath scholarship can be studied rigorously
and can contribute to academia.

Papers will be 20 minutes in length. Proposals are invited from
postgraduate and undergraduate students only. Topics may include but are
certainly not limited to:

·All aspects of film, television and other screen studies (e.g. games
and gaming)

·All aspects of media studies


·Online fame

·Cult franchises, e.g. MCU

·Inter-display studies involving traditional academia and popular
culture, e.g. historical fiction on TV

·Marketing aesthetics

·Meta-studies about the study of ‘low’ culture itself

Please send 300-word abstracts and a short biographical note to Emma
Buchanan, ( <>) by 1st
February 2019
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Practices of Displacement: Mapping Migration in Cinema, Contemporary Arts and Cultural Heritage

Practices of Displacement: Mapping Migration in Cinema, Contemporary
Arts and Cultural Heritage.

XVII MAGIS International Film Studies Spring School - March 23d - 26th 2019
Gorizia (Italy)

In occasion of the XVII edition of the MAGIS Spring School, the Cinema
and Contemporary Arts section will address the ever topical issue of
migration and its manifold relationships to art (and film) making,
curatorship and exhibition. As suggested by Bourriaud (2007), in a
global scenario contemporary art can be seen as “a practice of
displacement”, for the way it transcodes and translates signifying
elements from one context to another. If interpreted in relation to
migration as a social phenomenon, “human displacement” can constitute a
challenge to artistic practices as well as archival and curatorial ones
(Ring Petersen, 2017; Johansson, Bevelander 2017): whenever dealing with
the representations and heritage of deterritorialized communities,
artworks and art institutions become
sites to negotiate cultural differences (Durrant, Lord, 2017).

We are interested in investigating how the concept of migration
gets remodulated in those theories, practices, projects, artworks and
artefacts situated in between the realms of cinema and contemporary
arts. With this aim, we will encourage proposals addressing (but
not limited to) the following research questions:

How do contemporary artists deal with migration and displacement?

How might the notion of mobility be channelled through different visual

What role have media technologies played in reshaping the concept of
human and iconic “displacement” and how have flows of images and sounds
informed the practices of artistic documentation?

What role have digital media and networks played in reshaping the
concepts of “mobility”, and how have these data flows informed practices
of artistic documentation?

How are migrant identities exhibited and represented in the context of
museums, art galleries and art institutions? Which
displaying /displacing strategies are being adopted so as to reject an
ethnocentric perspective?

We invite the submission of individual paper proposals,
workshop proposals and panel proposals specifically addressing the
Cinema And Contemporary Arts section. Proposals should contain a short
CV (10 lines max) and be no longer than one page. The deadline for
their submission is December 3rd 2018.

A registration fee (€ 150) will be applied. For more information,
please contact us at /

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CFP: Conference - "Regarding the Pain of Others. What emotions have to do in the History of Humanitarian Images?"

Conference - "Regarding the Pain of Others. What emotions have to do in
the History of Humanitarian Images?"

A workshop organised by the Institute for Ethics, History, and the
Humanities (iEH2), and the Geneva Center for Education and Research in
Humanitarian Action (CERAH), University of Geneva

4-5 July, 2019, University of Geneva, Switzerland

Taking the title of Susan Sontag’s seminal work as a starting point,
this workshop aims at re-opening an old debate about the potentialities
of exhibiting other’s suffering in order to promote a culture of peace,
prevent war and/or resolve conflict. Sontag concluded in her book that
images of atrocities had led the Global North to a form of exhaustion,
also called compassion fatigue, which has been criticised more recently
as a myth. Yet, images remain today the main strategy of humanitarian
organisations to raise awareness and funds.

In this workshop we would like to propose considering the importance of
images (not only photographs, but also drawings as well as motion
pictures) within the long-term history of humanitarianism, in order to
explore the role of emotions in shaping and mobilising public opinion.
More particularly, we encourage scholars to think about the ways through
which humanitarian images affect us as material objects that have
expressive effects related to the circuits, places or circumstances in
which they are exhibited. This perspective gives us the possibility to
read humanitarian images as cultural, social and political practices
implemented by actors (individual or collective) in a specific
historical context. By engaging emotions with images, we seek to
understand what they have done in the history of humanitarian relief,
rather than merely looking at the meaning of their visual representations.

Therefore, we invite scholars working on the history of humanitarian
images, who are interested in analysing their performative and material
entanglements with emotions, to send a 300-word proposal and a short
biography by December, 14, 2018 to

For all speakers who are invited to present papers at the conference,
the organizing committee will cover the travelling and accommodation costs.

_Organising Committee_
- Valérie Gorin (CERAH, University of Geneva/Graduate Institute)
- Marie Leyder (iEH2/Institute of Gender Studies, University of Geneva)
- Dolores Martín-Moruno (iEH2, University of Geneva)
- Gian Marco Vidor (iEH2, University of Geneva)

_Scientific Committee_
- Roland Bleiker (University of Queensland, Australia)
- Emma Hutchison (University of Queensland, Australia)
- Jo Labanyi (New York University, USA)
- Beatriz Pichel (De Montfort University, Leicester, UK)
- Davide Rodogno (Graduate Institute, Geneva, Switzerland)
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CFP: Straight to the Front Row: Investigating Contemporary Western Gay Male Cinema

Straight to the Front Row: Investigating Contemporary Western Gay Male Cinema

Conference to be held at the University of Northampton (UK)
16/02/2019 – 17/02/2019

Abstract deadline: Monday 5th November 2018.

From /Weekend/ (dir. Andrew Haigh, 2011) to /Call me By Your  Name/ (dir. Luca Guadagnino, 2017), from/God’s Own Country/ (dir.  Francis Lee, 2017) to /Moonlight/ (dir. Barry Jenkins, 2016) and /Love, Simon/ (dir. Greg Berlanti, 2018), contemporary Western gay male cinema has endured a shift in both representational strategies and a boom in popularity within both mainstream and independent spheres, since 2010. ‘Western gay male cinema’, more specifically, refers to cinema that features a gay male protagonist, has narrative themes that relate to gay male identities and films that are primarily produced for gay male audiences. Prior to 2010, there have been Western gay male films that have been significant in either their representations or their popularity (ranging from the films that centred on gay men in New Queer Cinema to films such as /Brokeback Mountain/ [dir. Ang Lee, 2005]), however, Western gay male films since 2010 have: gained (mass) attention within hegemonic spheres of success such as the Academy Awards and the BAFTAs, infiltrated a plethora of genres from the Teen (Young Adult) Film to the Erotic Thriller and Romantic Drama, and some have begun to (further) investigate intersectionalities of age, gender, class, race and sexuality.

This two-day conference aims to investigate both independent and mainstream contemporary Western gay male cinema, and its many facets and iterations. We welcome contributions from postgraduate researchers, early career academics and established scholars, from Film, Media, and Cultural Studies more broadly, and we of course welcome papers from a queer, feminist or intersectional lens too. For the purpose of this conference, ‘contemporary’ connotes new and modern gay films, and therefore discussion and analysis should focus on films released since 2010. Lastly, while what constitutes ‘Western cinema’ or the ‘Western world’ is a much-debated topic, by ‘Western’ we mean films that are produced and released in Europe, North America, Australia and New Zealand.

Our confirmed keynotes are:

* Prof. Richard Dyer (King’s College London, UK)

* Dr. Andrew Moor (Manchester Metropolitan University, UK)

We welcome abstracts that centre on, but are not limited to the following in direct relation to contemporary Western gay male cinema:

* Representations of gay male identity

* Space, place, temporalities and time

* Genre, ideology and iconography

* Representations of sex and/or intimacy

* Representations of love and/or romance

* Stylistic and narrative techniques (representational strategies)

* Analysis of critical and commercial reception of contemporary Western gay male films

* Gay male audiences, fans and fandom

* Intersectionality (age, race, class, gender, sexuality and disability etc.)

* The relationship between mainstream and independent gay male filmmaking practices

* The relationship between contemporary Western gay male cinema more specifically, and contemporary ‘queer’ cinema more broadly

* Contemporary Western gay male films and their place in Queer Film Festivals

Please send abstracts of 250 – 300 words, with a supporting bio of no more than 100 words, to both Connor Winterton ( <>) and Anthony Stepniak ( <>).
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Fully Funded TECHNE Collaborative Doctoral Award on history of UK TV drama

The Centre for the History of Television Culture and Production, in
association with the British Film Institute, is in a position to
advertise a TECHNE Collaborative Doctoral Award funded by the AHRC. This
fully-funded studentship will focus on the history of UK television
drama with specific reference to the /Play for Today/ series which
reaches its 50^th anniversary in 2020. The project is designed to
revisit the history of the series, assess its place within the history
of television drama and examine how it is regarded fifty years after its
launch. The successful candidate will require a familiarity with debates
in television history, an awareness of television archiving and normally
possess a MA or equivalent. The successful candidate will be based at
Royal Holloway, University of London but will also undertake work at the
BFI where they will have the opportunity to collaborate with colleagues
in the National Archive.

For further information, and details of how to apply, please contact <>.

For more information on the Centre for the History of Television Culture
and Production at Royal Holloway, University of London see:

Adam Ganz
Director of Graduate Studies

Department of Media Arts

Royal Holloway University of London

TW20 0EX

01784 443734
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CFP: Short Film Studies 10.1


For the full CfP, click here >>

Aims and Scope

Short Film Studies is a peer-reviewed journal designed to stimulate
ongoing research on individual short films as a basis for a better
understanding of the art form as a whole. In each issue, two or three
short films will be selected for comprehensive study, with articles
illuminating each film from a variety of perspectives. These are the
works that will be singled out for close study in Short Film Studies
Vol. 10, Number 1:

Stephanie Morgenstern,
Canada, 2001, 19 min.

Siegfried A. Fruhauf,
Austria, 2000, 1 min 40 sec.

Article submissions

We invite all students of the short film – including researchers,
teachers and filmmakers – to contribute to Short Film Studies Vol. 10,
Number 1. Each article should focus on either of the two works
mentioned above and should not exceed 1500 words. Any aspect of the
selected work may be chosen for study, including interpretive issues,
dramaturgy, camera work, editing style, sound, closure, etc.
Preference will be given to submissions which explore the premises of
the film itself instead of taking the postulates of a particular
theoretician as their principal focus. And submissions should be
conceived as analyses rather than reviews of the films. Potential
contributors should begin by sending a max. 50-word abstract to the
editor, Richard Raskin at A prompt
response will follow, regarding the suitability of the proposed
contribution and authors encouraged to proceed with their articles
will be given submission guidelines that include a link to a
shot-by-shot breakdown of the selected film.

The deadline for submitting completed articles for peer-review is 1
March 2019.

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CFP: Screen Studies Conference

The 29th International Screen Studies Conference, organised by the
journal /Screen/, will be programmed by /Screen/ editors Alison Butler
and Alastair Phillips.

Confirmed keynote speakers are :

* Dr David Campany (University of Westminster)
* Professor Laura Marcus (University of Oxford)
* Professor Haidee Wasson (Concordia University)

The Editors welcome proposals for papers, audiovisual essays and
pre-constituted panels on any subject for this year’s conference. We are
particularly keen to encourage contributors to a programming strand
titled ‘Screen Studies Beyond the Field’, devoted to the themes of
interdisciplinarity and impact in the contemporary audiovisual
humanities and beyond.

Screen studies have from their inception taken a plural and hybrid
approach to the ways that pedagogy and scholarship may be constituted
and located. Many of its key vectors of enquiry remain shaped by the
ways that research questions may be inflected by their conversation with
other established, or emerging, disciplinary practices or bodies of
knowledge. As we move into the second decade of the century, audiovisual
scholarship is increasingly shifting beyond the boundaries of the
academy into not just traditional locations such as the museum and art
gallery, but other sites of public engagement and civic discourse. Much
of this work is also becoming more multi-dimensional with the space of
the screen as both an idea and a form of embodied critical practice
becoming aligned with broader questions related to science, medicine,
politics, the environment and philosophy.

This year’s Screen conference seeks to not only explore these current
developments, but also take stock of the long history of the field’s
engagement with disciplinary plurality. We are keen to encourage work
that speaks to the following topics:

* Conceptual and methodological interrogations of interdisciplinarity
within the disciplinary contexts of screen studies
* Explorations of formative historical moments of interdisciplinarity
within screen studies and film theory
* Case-studies of innovative forms of public engagement or impact
within the audiovisual humanities
* Research projects that engage with the relationship between the
moving image and other forms of intellectual enquiry that either
exist beyond the arts and humanities or the academy as a whole
* Innovative modes of publishing and disseminating research

The deadline for submitting proposals is Sunday, 6 January 2019. Please
note that submissions for pre-constituted three-person panels will be
considered, but not prioritised.

Visit for full
submission details and to download proposal templates.
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Lecturer in Film Studies Post, University of St Andrews

We are seeking to appoint a Lecturer in Film Studies to join our
department and contribute to a vibrant environment of research,
teaching, and public engagement at the University of St Andrews. The
successful candidate should demonstrate: evidence of outstanding
research that complements departmental strengths; a commitment to
excellence in teaching; the ability to take on significant
administrative roles; and the initiative, innovation, and range to
support the department in public engagement and student activities.

This role involves producing excellent research, convening and teaching
a range of modules at the undergraduate and masters levels, supervising
both undergraduate and postgraduate students, and contributing to the
administration of teaching, research, and public engagement in the

To make informal enquiries about this position, please contact Head of
Department, Dr. Leshu Torchin (
<>) or Dr Tom Rice (

Applications are particularly welcome from women, who are
under-represented in Arts posts at the University. You can find out
more about Equality & Diversity at

The University is committed to equality for all, demonstrated through
our working on diversity awards (ECU Athena SWAN/Race Charters; Carer
Positive; LGBT Charter; and Stonewall). More details can be found at

*Please Quote Reference: AC1086MR
*Closing Date: 14 December 2018
*Further Particulars: AC1086MR FPs.doc

School of Philosophical, Anthropological and Film Studies
Salary: £40,792 - £50,132 per annum
Start Date: 1 August 2019, or as soon as possible thereafter
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CFP: Gender and digital media: Friend or foe in times of change

Special issue: Social Science Computer Review

Edited by:
Shelley Boulianne, MacEwan University
Karolina Koc-Michalska, Audencia Business School
Thierry Vedel, SciencesPo Paris

Deadline for the manuscripts January 15, 2019
Desk rejection January 30, 2019
Accepted manuscripts published as online first ~ August 2019

Call for papers

Gender and digital media: Friend or foe in times of change
Special issue: Social Science Computer Review
Edited by:
Shelley Boulianne, MacEwan University
Karolina Koc-Michalska, Audencia Business School
Thierry Vedel, SciencesPo Paris

Time’s Person the Year (2017) was the Silence Breakers. The award recognizes efforts across
the globe to raise gender issues including those related to sexual  violence. This movement
aligns with other movements challenging the ways in which women's voices are silenced or
dismissed, as represented by the rise in discussions about mansplaining.
This special issue will highlight the role of digital media in these movements as well as
more generally the relationship between gender and digital media. Sometimes digital media enables, other times it limits or impedes. For  example, #metoo raises awareness of sexual violence, but using the hashtag makes people  vulnerable to further victimization from trolls. Pointing out incidents of mansplaining can help raise awareness of this issue, but is social media able to support reasoned discussion that can inform social change? Is the online sphere able to support a complex discussion about (gender, race, class, sexuality-based) inequality in our society and do those discourses yield
practical solutions to this problem? Social media affordances can enable large scale mobilization, which may help the women’s movement as well as counter-movements, such as the men’s rights
movement. While digital media can help produce large, diffuse networks, does it produce the
strong ties required to sustain a movement? Tweeting at a protest event helps cultivate one’s
civic identity, but it also enables government and police surveillance of these events. How are
feminist organizations and groups responding to the challenges and opportunities
presented by digital media?
We encourage a broad range of papers covering digital media’s advantages and disadvantages along two main research dimensions:

- Gendered political uses of digital media, such as:

o Women's use of digital media for civic or political purposes
o Gendered discourses in political and social environments
o Changing repertoires for online activism
o Gender dynamics of trolling (perpetrators, targets)
o Gender and digital inequality (skills, capital-enhancing uses) across
the globe

- Gendered organizations and social movements, such as:

o Studies of #metoo and similar movements across the globe
o Role of social media in protest events, such as the Women’s March
o Adoption or rejection of the digital tools by movements seeking gender
o The challenges of creating and cultivating an online collective
identity that
balances similarity and diversity
o Interactions between gender-oriented movements and their counter-movements
and states

We invite submissions from research conducted across the globe. We encourage qualitative, quantitative and mixed methods approaches. Cross-national and
longitudinal studies are especially welcome. As per Social Science Computer Review guidelines,
all manuscripts must be empirical (must include data).

Manuscripts should be a maximum of 8,000 words (all included).
All manuscript will go through a double-blind peer review process.

Important dates:
Deadline for the manuscripts January 15, 2019
Desk rejection January 30, 2019

Accepted manuscripts published as online first ~ August 2019
The manuscript and all additional documents should be send to:
All questions about the special issue should be directed to this email
address, not to SSCR.

Author/s must submit in one email:
1. Manuscript in Word .doc or .docx format (all items as one file
ordered as follows: title,
abstract, keyword list, body, references, and endnotes (if any), tables,
then figures).

2. Permission form:
The lead author must fill out, sign, and email a pdf file of the
original form. Scanning the signed forms to pdf and emailing is optional if digitally signing is
impossible at your location, but this will slow processing. Please do this not waiting for
final peer review as it expedites handling if the paper is accepted. For multiple-author papers,
the lead author may sign for all authors.

3. Information Form:
4. Title page with brief Author(s) Biographical Note with email address
5. Statement about data availability (it may refer to the website where
the anonymized data are available; a statement that the data are available from an author at
a given email address; or another method for accessing the data).

Please consult the SSCR guidelines below concerning formatting of the paper. Without it we are not
able to start the peer-review process.
Quick style guide:
Style guide:

The points below, some of which you may have met, are for your reference.
1. The abstract should contain study conclusions in as much detail as
consistent with abstract brevity,
not just name study topics.
2. Send a final copy, without markup. Do not have the title page or
author bios in separate files. We
do anonymization on our end. Do not have a running header, but do have
page numbers. Do not
have line numbering. Do not send in "read only" format.
3. APA style references (see the guide, above). In the body, cite
references by name (e.g.,(Smith,
2016)). The reference list should be alphabetical by last name and
should not be numbered.
4. Endnotes for comments only, not citations. No footnotes at all.
5. All tables and figures must be on separate pages at the end, numbered
and with captions. In the
text, all tables and figures must be referred to and all must have
call-outs (" [Figure 1 about
here]"). Have call-outs in the body (“[Figure 1 about here]”). Do not
embed figures and tables in
the body.
6. We can support online supplements and appendices. These are printed
only in the online version.
Send the supplement in one file (.zip if necessary, but with the zip
file containing only the online
supplement file or files) under the filename beginning with the lead
author name, such as
“Smith_Online_Supplement.docx”. Then in the body of the article, enter
text such as “see
Appendix B [located in the Online Supplement to this article]”. Material
in online supplements
does not count toward the word count for the manuscript.
The main article should be readable in its own right, with the reader
having the option to consult
more information in the supplement if desired. The essential tables and
figures should remain in
the main article, with callouts in the body and then appearing on
separate pages at the end with
captions. These essential tables and figures should be marked with
callouts like "[Insert Table 1
about here]".
Non-essential figures and tables, along with other supplementary
material, should be in the
online supplement file. In the body of the main article, they should not
have call-outs. Rather there
should be some reference to the additional material in the online
supplement. For example, "For
the breakdown of the sample by demographic group, see Table S2 in the
online supplement
accompanying this article." Then in the online supplement, have a Table
S2 marked as such, with
7. Everything must be double-spaced, even references, except tables are
not double-spaced.
8. Do not use columns or any other special formatting.
9. Use 12 point font (this is needed for page count purposes).
Manuscripts over 50 pp. are usually
required to be shortened.
10. Left justify only.
11. Please cite articles from the Social Science Computer Review where
appropriate. You can search
at this page:
12. Do use page numbering.
13. In the "Author Information" section, each author must include his or
her email address.
14. Replication and critique is at the heart of social science. You must
have a note citing where the
data may be obtained. We do not publish papers based on proprietary,
classified, or otherwise
unavailable data. If absolutely necessary, the availability date may be
as much as one year in the
future, dating from the date of your original manuscript submission.
Data availability information
should be in a short "Data Availability" section following the "Author
Information" section.
The data availability statement may refer to the url of an archive
through which the
anonymized data are available; a statement that the data are available
from an author at a given
email address; or that the data are available for use under controlled
conditions by applying to a
board/department/committee whose charge includes making data available
for replication; or that
the data may be purchased at a non-prohibitive price from a third party,
whose contact information
is given. Replication includes any statistical exploration of variables
in the model or dataset, not
limited to approaches taken by the author, and may involve publication
of findings. There is no
point to replication kept secret from the scholarly community.
The relatively new NSF policy is our lead in this matter. That policy
states "Investigators are
expected to share with other researchers, at no more than incremental
cost and within a reasonable
time, the primary data, samples, physical collections and other
supporting materials created or
gathered in the course of work under NSF grants. Grantees are expected
to encourage and
facilitate such sharing." (
By extension, it is the
responsibility of researchers and review boards to comply with this
policy. Though your work may
not be NSF-funded, we believe this should be a general principle in
support of the scientific
process. The alternative, ultimately, would not be having no data
availability statement but rather a
statement from SSCR that the data are unavailable for replication and
consequently findings based
on inference from the data should be viewed as unverifiable.
15. If not specified in the body, there must be "Software Availability"
section detailing with some
specificity what software was used to arrive at reported results and
where it may be obtained. In
the case of author-originated code (e.g., in R, Stata, SAS), we welcome
an appendix or online
supplement containing the code. This appendix may be designated for
online publication only,
particularly if length is an issue.
16. We MUST have the permission forms and author information forms as
noted above. Send these in
immediately, not waiting for the final manuscript. Submission of signed
forms does not constitute
acceptance but does expedite manuscripts if accepted.
Helpful Links
• Manuscript guidelines:
(note SSCR policy may override general Sage policy; for instance, we do
not accept LaTeX
• Prior publication:
• English language editing services:
• Online supplements:

• Open Access:
• Open Access II:
• Open Access III:
• Publishing policies:

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CFP: Cars and screens: cinematic automobilities. A special issue of Film Studies.

Cars and screens: cinematic automobilities

A special issue of Film Studies

Co-edited by Elizabeth Parke and Will Straw

Scholarship on the relationship of film to “automobility” has traced the
historical and technological interweaving of film and cars. Much of this
work has focused on American cultural inflections of these two
technologies, from the genre of the road movie through those films
documenting southern California hot rod subcultures. In the years since
volumes like /Autopia/(Peter Wollen and Joe Kerr, 2002), /Crash/(Karen
Beckman, 2010), and /Zoomscape /(Mitchell Schwarzer, 2004) explored
analogies between automobility and the experience of cinema, the growth
of in-car display screens, dash scams and other technologies has
rendered that relationship more complex. So, too, has the use of
personal screens in automobiles, the rise of driver-less and
rider-sharing automobiles and a growing tendency to view the automobile
as a challenge to doctrines of the pedestrian city. Elsewhere, in chic
European films like /Un homme et une femme/(1966) or the opening
sequence of /The Italian Job/(1969) the elegance of the modern
automobile and picturesque character of European landscapes have fueled
exercises of stylistic cinematic bravura. Cinema and cars (and their
attendant infrastructures, e.g., roads, bridges, gas stations, parking
lots) have shaped our built urban environments, forming a symbiotic
dyad, with the history of each marked by innovations that influence the
other, leaping back and forth from screen to road. Both cars and films
have changed our relationship to visuality, inflecting the ways we
perceive the world, move through space and time, and in turn, experience
(or expect to experience) distance and duration.

This special issue of /Film Studies/seeks to expand on the existing
scholarship on film and automobility. We invite articles that explore,
in a theoretical sense, the historical relationship of the automobile to
cinema. We hope, as well, to expand the geographical and temporal frame
through which this relationship might be understood, with articles
exploring cinematic automobility from transnational perspectives or in
non-Western contexts and proposals that consider this phenomenon in
relation to a variety of audiovisual formats and vehicle types. Topics,
for a 6000-8000 word essay to be delivered by 1 February 2019, may
include (but are not limited to):

- business relationships between cars and film (e.g., studios’ ownership
of car parks and petrol stations)

- car company industrial films and investments in filmmaking

- car-film aesthetic challenges and solutions (e.g., shooting in moving
cars; auto-mobile production techniques)

- ‘smaller screen realities’ which form part of the automobile
experience: e.g., the small mobile screens of smartphones, built-in car
interfaces, backup cameras, and dashcams

- case studies of car-film relationships that involve specific vehicle
types (e.g., passenger cars, specific car models/brands, buses, taxis,
motorcycles, mopeds, ride-sharing vehicles or autonomous cars)

- case studies of specific films, genre formats or cycles that hinge on
motor vehicles

The editors will be contributing an introduction essay to the special
issue outlining the major themes and research questions brought to light
by the contributors.

Please send abstracts (250-300 words) by 15 November 2018 to Elizabeth
Parke <>
and Will Straw
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CFP: Experimental and Expanded Animation: Current Perspectives & New Directions

Proposals are invited for an interdisciplinary one-day conference with
an evening reception, screening and exhibition.
At the University for the Creative Arts, Farnham, Surrey, UK.
Conference date: Wednesday, February 13th 2019.

With their recent volume: Experimental and Expanded Animation: Current
Perspectives & New Directions, Hamlyn and Smith aimed to reach further
into understandings of what experimental animation is, and has been,
since Robert Russett and Cecile Starr defined it in 1976. This
conference aims to further focus our project and to develop findings
from the publication through more immediate methods of open dialogue
and/or film practice. The prompts listed below have been condensed from
themes emerging in the volume. However we welcome proposals that respond
to these areas and also those that pursue other lines of enquiry. A
range of disciplinary approaches is encouraged and the conference aims
to include papers from practitioners, practitioner/scholars and
scholars. As well as traditional 20 min papers we encourage alternative
methods for sharing ideas and materials through, for example, performed
presentations, artistic works, mini-workshops and lightning talks.
Craft/ materiality
Transparency of process and use of materials has been central to
experimental/ materialist film practice and theory. To what extent has
the homogenization of media today prompted a rise in more recent craft
theory? How do Marxist materialist theories relate to post-human and new
materialist discourse and in which ways do these more recent
methodologies impact upon our understandings of experimental expanded
Feminism/women in experimental animation
It’s understood that the privacy of animation production conditions
facilitates exploration into issues relating to feminism. Female
animators today are translating concerns, such as the domestic,
sexuality and the body, into large scale, expanded and performed
animation. Does such work, installed in spaces beyond the
gallery/cinema, and in which the female animator is visible on stage,
impact upon expression of the female experience, or has this become less
crucial to articulate, and how does feminist theory offer insights into
this area?
Industry/ independent
Critically reworked commercial animation is occurring today within the
purview of experimental film. Outwardly appearing as traditional
cartoons, how does this material sit within a field that has tended to
emphasise the auteur and has avoided the graphic, the narrative and the
Increasingly we see interdisciplinary approaches employed to analyse
animation, including for example post-humanist scholarship; aesthetics;
phenomenology; feminism and critical theory. To what extent do these
methods cast light on animated texts, or do they detract from
fundamental questions concerning form and the medium?

Medium/ context
Media including photography, dance, and performance for example have
been central to animation since vaudeville, and then through the
expanded cinema of the 60s. How is experimental animation advanced
through media ‘impurity’, and to what extent are theories such as
inter-mediality, which suggests that individual qualities of distinct
media are enhanced through their interlocking, of value?
Animation that is articulated beyond the single screen could be said to
emphasise a perceptual and phenomenological engagement. Flicker for
example, is located in the physiology of the viewer, while animated
installation demands a mobile spectator. Both modes of spectatorship
are contingent and situated in the present of their apprehension. How
is animation in the expanded field continuing to elicit new modes of

Representation/ technologies 3D-CG and internet animation has the
capacity to invent and manipulate the extant world in myriad ways. How
is CG being used in the context of experimental expanded animated film?
Utopia/ ecology Gene Youngblood hailed expanded cinema as reflecting a
utopian expansion of both consciousness and technology. Today much
experimental expanded animation, made through contracted means of found
or old materials, can be regarded as a response to resources made scarce
through either forced obsolescence, unsustainable practice and/or as a
creative resistance to media acceleration. How does the trend toward a
careful ecology of materials impact on experimental animation languages?
Please submit an abstract (up to 500 words), 3–5 bibliographical
sources, 3-5 keywords as well as a short bio by 15th of November 2018
to: with the subject heading: ‘Experimental
Animation Conference’. The selected abstracts for the conference will be
announced by late November 2018.
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CFP: British Women Documentary Filmmakers 1930-1955

Proposals are invited for a one-day symposium to be held at the London
School of Economics on 5th April 2019.

As the work of filmmakers including Jill Craigie, Kay Mander and Marion
Grierson testify, women have played a significant part in the early
decades of British documentary and informational film-making. Women were
a vital part of the war effort and this was apparent in the films made
by the Ministry of Information as well as newsreels, documentaries and
dramas. Women also worked behind the camera as directors, editors and
scriptwriters on instructional and propaganda films.Yet much early
British documentary history on Grierson and the Documentary Movement
tends to elide the ways in which non-canonical works engage differently
with questions of the nation, gender, class and identity and the ways in
which form and content are linked to context of production.

This one-day symposium seeks to deepen understanding of women’s creative
presence in British documentary film-making. Papers may explore
individual films and filmmakers, as well as the industrial, social and
historical contexts in which they worked. While WWII has been
foregrounded in accounts of women’s participation in British film
production, the day will consider a longer historical period including
the innovations in documentary of the 1930s and the changing industry of
the post-war period.

Topics and questions might include:

·Women working within informational film-making

·New approaches to women and non-fiction film-making in wartime and/or
post-war period

·How do emerging accounts of women’s role in the industry reshape
standard accounts of documentary?

·What can individual careers tell us about the obstacles and
opportunities faced by women in the sector at different times within the

·Does the study of women’s participation in film problematize dominant
conceptions of ‘talent’, creativity and authorship?

·The impact of distribution and reception on historical awareness of
films by women

·How can wider histories of women’s work during World War inform studies
of women’s labour in film?

·Feminist film historiographies and documentary film-making

·Emerging methodologies for constructing women’s film histories

*Please email abstracts of 300-500 words, 3-5 keywords and up to 5 key
references to: <> Deadline for
submissions is 17.00 on 1 November 2018.

Please note:

·The abstract should be in word format as an attachment with your
Surname and Initials as the file name and please make sure you put BWDF
in the subject line.

·Please also include a 100 word bio.

·Please include your NAME, EMAIL ADRESS AND INSTIUTION (if any) on the
proposal/abstract itself.

·Any queries please contact: Kate Steward

We will respond to submissions by 30th November 2018.

The symposium is funded by the Arts and Humanities Research Council

as part of the project, /Jill Craigie: Film Pioneer,/ led by Lizzie
Thynne (PI, University of Sussex) with Yvonne Tasker (Co-I, University
of East Anglia) and Sadie Wearing (Co-I, LSE). We anticipate producing a
journal issue from selected papers.
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CFP: Brevity and the short form in serial television

Short Circuit: Brevity and the short form in serial television

As critics, creators and academics alike herald the new “Golden Age”
of television, the accent has increasingly been placed on the excess
inherent in the form, the temptation to “binge-watch” a single fiction
over several hours, or the proliferation of narratives and storylines in
American television’s “endless present” (which, unlike its British
equivalent, is not traditionally designed to end at any specific point). 

Melissa Ames (Time in Television Narrative: Exploring Temporality in
Twenty-First-Century Programming, 2012) reminds us however that time is
at the very center of the television narrative, and that television
differs from its cinematic equivalent notably by its incremental
approach to storytelling –alternately playing with and combining
duration and brevity. Thus, in this publication, we would like to come
back to what originally distinguishes TV series from films, i.e. their
specific connection to shortness. We will be examining television as a
short form, insisting on the structure implicit in the television
episode, be it the traditional forms (30 or 60 minutes), or the
increasing popularity of webseries that feature microepisodes (of 2-10
minutes), like The Lizzie Bennet Diaries, Frankenstein, MD, Carmilla, or
Kings of Con and Con Man.

We will attempt to examine this balance  between short episodes and long 
duration, as well as the association of
episode length with genre – traditionally, hour-long series have been
dramatic, and half-hour series comic. (All the webseries with
microepisodes mentioned here are comedies.) Further investigation into
the serial nature of these webisodes might examine other, often dramatic
series, rooted in transmedia and multiplatform storytelling, notably
those like The Walking Dead’s webseries, intended to complete the larger
narrative. Looking at the format of the series themselves, from
miniseries (a form that has become popular beyond British television) to
short-lived series (some of which have become cult despite – or because
of – their cancellation), we will interrogate the notion of brevity in
the specific context of the television narrative and ponder on the lures
and constraints of the short, or relatively short, series. 

Finally, the tendency towards summary in the televised short form will also be 
broached, whether it is in the authorized content of the series (the
credits or the “previously on” sequences) or the fan-made videos on line
(like “5 seasons of LOST in 8 minutes”; “Best of” videos showcasing the
viewers’ preferred jokes, insults, love scenes, etc.; alternate credits,
or indeed vidding). The publication thus hopes to emphasize television’s
brevity, in all its forms (and all its platforms), and its relation to
serial storytelling.

Articles on case studies are also welcome.

The articles will be selected with a view to submitting the collected
volume for consideration to Edinburgh UP. 5000-word articles (Times New
Roman, 12 font, double-spaced, MLA style) should be sent to Sylvaine
Bataille (, Florence Cabaret
( and Shannon Wells-Lassagne
( by January 15th 2019.

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DOC On-line: Chamada de artigos para Edição Especial: Revolução Cubana e documentário - 60 anos

DOC On-line 
Edição Especial: Revolução Cubana e documentário – 60 anos


Ignacio Del Valle Dávila
Universidade Federal da Integração Latino-americana

Mariana Villaça
Universidade Federal de São Paulo

Em 2019 a Revolução Cubana completa 60 anos, bem como o Instituto Cubano del Arte e Indústria Cinematográficos (ICAIC), o primeiro organismo cultural criado pelo novo governo, que elegeu o cinema documental como uma de suas prioridades no campo da política cultural. Desde então um sem número de documentários foram produzidos sobre Cuba, dentro da Ilha ou fora dela, sobre os mais diversos temas políticos, sociais e culturais. Esse vasto acervo se ramifica em edições do famoso cinejornal Noticiero ICAIC Latinoamericano (1960-1990), dirigido por Santiago Álvarez; curtas didáticos destinados à formação da cidadania por meio do cinema; material “instrucional” militar; reportagens especiais sobre guerras; longas entrevistas; ensaios poéticos de Sarita Gómez e Nicolás Guillén Landrián; registros de discursos e cerimônias oficiais; além de olhares estrangeiros sobre Cuba – de Agnès Varda, Chris Marker, Joris Ivens, Roman Karmen, entre outros. Tão variados quanto os suportes, formatos e estéticas empregados também são os tons e percepções que revestem essas produções, algumas de caráter celebrativo, propagandístico, passional; outras irônicas, indignadas, ambíguas.

A edição especial da DOC On-line intitulada “Revolução Cubana e documentário – 60 anos” tem o objetivo de reunir trabalhos voltados à analise da produção documental dedicada à Cuba pós-1959, em toda sua pluralidade, mas focando principalmente três eixos: 1. A articulação entre experimentação estética e a veiculação de discursos políticos revolucionários. 2. As diferentes fases da política cultural cubana orientada à produção documental. 3. Os olhares resultantes das circulações transnacionais, intercâmbios, transferências culturais e percepções de Cuba presentes em obras documentais ou nas trajetórias de realizadores.

A edição “Revolução Cubana e documentário – 60 anos” terá as seguintes secções:
Artigos (nº máximo de 45.000 caracteres)
Análise e crítica de filmes (nº máximo de 20.000 caracteres)
Entrevista (nº máximo de 45.000 caracteres)
Traduções (a cargo dos editores)
Leituras (recensão crítica de livros) (nº máximo de 20.000 caracteres)

Prazo: 15 de março de 2019.
Notificação de aceitação: 15 de junho de 2019.

Os trabalhos devem ser enviados diretamente aos Editores convidados da DOC On-line:

Ignacio Del Valle Dávila, Mariana Villaça:

Os trabalhos devem ser inéditos e as normas de publicação são as seguintes:

A edição especial da DOC On-line intitulada “Revolução Cubana e documentário – 60 anos” será lançada em 1 de outubro de 2019.

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PhD Studies (in Film Studies) at the University of Macau, starting Spring 2019

SAR, CHINA (Academic Year 2018/2019)

The Department of English, Faculty of Arts and Humanities, UM has
onefundedopening for its PhD in Literary Studies (English), beginning
Spring 2019.

The applicant should have:

• A MA degree from a reputable university (preferably in Film Studies or
related areas).

• Solid evidence of high English language proficiency.

• A viable research project.

The successful applicant will receive a monthly doctoral stipend of MOP
12,500 (or approximately USD 1,550) for up to 3 years, with annual
review. Renewals beyond the first and subsequent years are subject to
demonstration of satisfactory progress.

During the study period, the successful applicant will be required to
take up residence in Macao and take up auxillary duties as the
supervisor’s Research/Teaching Assistant. Generous conference travel
support is provided, usually one per academic year, for PhD students to
present their research work internationally.

Applications should be submitted on-line via the UM Graduate School
( Please consult the instructions,
expectations and requirements, including admission and eligibility
criteria, which are spelled in English and in Chinese.

Application deadline: end-September 2018 (absolute).
Prospective supervisor: Dr. Tan See Kam, Associate Professor of Film
Studies (
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