A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VII Encontro Anual irá decorrer de 10 a 13 de maio de 2017, na Universidade do Minho (Braga). Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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PhD Studentships in Film and Media at the University of Kent
The Centre for Film and Media Research (CFMR) at the University of Kent is pleased to invite applications for PhD studentships for October 2017 entry, through the AHRC Consortium for the Humanities and the Arts South-East England (CHASE) Doctoral Training Partnership.
Staff affiliated with the Centre for Film and Media Research have a wide range of expertise. We are particularly interested in receiving applications in the following areas:
· American cinema (Hollywood, formulaic movies, ‘independent’)
· Art cinema
· Avant-garde and experimental film
· Censorship and regulation
· Classical and contemporary film theory
· Digital technologies
· Distribution and exhibition, funding and policy
· Emotions and morality
· European cinema (in particular German, Spanish, French, Austrian and Scandinavian)
· Film authorship
· Film culture (reception, fandom, intersections with other cultural forms)
· Film criticism
· Genres (romantic-comedy, melodrama, gothic, horror)
· Latin American cinema
· Media industry studies
· Practice as research
· Pre- and early cinema
· Space and place
CHASE AHRC Doctoral Training Partnership
The University of Kent is part of the CHASE AHRC Doctoral Training Partnership (alongside the Courtauld Institute of Art, Goldsmiths, University of London, the Open University and the Universities of East Anglia, Essex and Sussex) and successful applicants for PhD study will be able to apply for studentship funding.
Our intellectual environment fosters the problem-driven and cross- and interdisciplinary research vital to addressing the new challenges of a world shaped by the speed of technological innovation and global change. Understanding and promoting the value of human culture and creativity in addressing such challenges is central to the CHASE vision of postgraduate research and professional development.
We support discipline-based projects, but also specialise in interdisciplinary research and research in emerging fields of study and creative practice. Our research and training environment encourages our doctoral students to develop interdisciplinary methodologies and to explore how to integrate their research with developments in digital technologies. In addition, our network of partnerships with leading arts and humanities organisations and creative industries provides an outstanding resource for future CHASE scholars.
Applications for funding will be considered by the University of Kent with the best applicants put forward to four CHASE selection panels. Applications will be considered on a competitive basis.
For UK students, these awards cover both fees and maintenance and for EU residents awards are on a fees only basis. The funding will cover professional development opportunities, including the enhancement of public engagement skills and placements with CHASE partner organisations in the UK and overseas.
How to apply
To be considered for one of these awards, please note that you need to have applied to a PhD programme by 11 January 2017. We encourage you to contact us as early as possible to discuss your proposal. The Kent application form can be accessed here: https://www.kent.ac.uk/courses/postgraduate/apply/
For any enquiries regarding the PhD programme please contact Dr Mattias Frey at M.J.Frey@kent.ac.uk <mailto:M.J.Frey@kent.ac.uk> and see the Centre website at: https://www.kent.ac.uk/arts/research/centres/filmcentre/
For full details of the subject areas covered, and how to apply, please see the CHASE website: www.chase.ac.uk <http://www.chase.ac.uk/>
(info atualizada em 28/10/2016)
CFP: Somatechnics: Cinematic Bodies
Somatechnics: special journal issue (Edinburgh University Press)
Co-edited by Cáel M. Keegan, Eliza Steinbock, Laura Horak
Submissions due: March 1st, 2017
Length: 6000 words + 200 word abstract + 150 word author biography
Submission email: firstname.lastname@example.org <mailto:email@example.com>
Journal submission details (incl. style): http://www.euppublishing.com/page/soma/submissions
This special issue of /Somatechnics/ invites contributions on the topic of cinematic bodies. Cinema, broadly construed, is ripe for a somatechnical approach. Derived from the Greek /soma/ (body) and /techné/ (craftsmanship), the term /somatechnics/ holds in view the lively enfleshment of /techné/ and the practices of embodying via hard and soft technologies. From the first actualities and trick films, human and non-human bodies have assembled in and around filmic events, producing powerful cine-social apparatuses with paratextual and intertextual appendages (e.g. fan cultures, remakes, “the oppositional gaze” [hooks 1999]). We thus invite scholars to approach “the cinematic” broadly, as a sensorial and temporal flow of interrelations around images and sound that governs and opens possibilities for various embodiments. What might it mean, now, to occupy a “cinematic body”?
We encourage submissions that develop an analysis of particular films or media texts, filmmakers, or film and media theories that are attentive to assemblages of cinematic bodies in their social, transformative, and transmorphing dimensions. We welcome contemporary and historical approaches to cinema’s specific political and aesthetic somatechnical qualities, but also scholarship in the speculative genre--what sort of sociality or apparatus could the cinematic body become?
Moreover, we petition contributors to reflect on how cinematic experiences might transition bodies in characteristically trans* modes of wayward gendering, inspired by definitions of transgender as “a movement away from an unchosen starting point” (Stryker 2008) and trans* as a “movement across vitality” (Hayward and Weinstein 2015). Is cinema paradigmatically /trans*/ in its somatechnical capacities? Reciprocally, does transgender phenomenology offer new modes for engaging with or imagining cinematic aesthetics? We invite authors to employ a trans* rubric to investigate cinematic bodies and to ask how are bodies like cinema.
We offer the following provocations and jumping off points:
* What new theories do we need to understand new trans* media and
* How might trans* offer us a way to map changes in the “cinematic
bodies” of the 21st century, both locally and globally?
* Do media formats attend to gender differentially? If so, which seem
most amenable to trans viewing practices, or practices of
* “Transsexual is to celluloid as transgender is to digital.” (Susan
Stryker, in conversation)
* Through the cinematic aestheticization of collective life, there are
bodies upon which the cultural imaginary inscribes “what can appear”
and “what is likely to become perceptible.” Could the “cinematic
body” name the process by which the life of images drives the shape
of phenomenal embodiment?
* Might Steven Shaviro’s anti-psychoanalytic assessment of film’s
affective, non-binary generation of on- and off-screen bodies in
/The Cinematic Body/ (1992) inspire a somatechnical theory of film?
* Has Eugenie Brinkema’s polemical assessment of film theory’s absent
center in /The Forms of the Affects/ (2014) advanced a call to
decapitate the Spectator-Theorist by insisting we trace the folds of
affect embedded in film form, rather than what it is to be affected
or made-over into a cinematic body?
* How could the phenomenological frameworks outlined by Vivian
Sobchack (1992, 2004) and Jennifer M. Barker (2009) account for
social categories of difference and patterning of stigma more
* Could Laura U. Marks’ (2000, 2002) theorization of the
Deleuzo-Guattarian AND of assemblage kindle a feminist critical race
analysis of cinematic bodies?
* What room is there to resuscitate and repair spectatorship theories
founded upon sexual difference that (wrongly) align
masculine-feminine with male-female?
* In /The Witch’s Flight/ (2007), Kara Keeling writes, “Neither
cinematic perceptual schemas nor cinematic matter precedes the
other. Together they constitute the cinematic, an assemblage that
might also be referred to as ‘twentieth-century reality’ because we
neither posit nor access ‘reality’ except via these processes, which
were perfected by film” (12). What are the embodied stakes of living
in an age when digital and information-based processes have
supplanted the “mechanical reproduction” of reality via celluloid?
Complete submissions are due March 1st, 2017. Submissions must:
* Be approximately 6000-8000 words.
* Employ the Harvard Author–date reference system.
* Be saved as either a Word .doc or or .rtf file
* Include a separate title page, including author name, institutional
affiliation, contact information, and biography (150 words or less)
* Be accompanied by an abstract of between 200–300 words, as well as
between 4–6 research keywords.
* Be typed double-spaced with left justification and all pages numbered.
Note: Author name(s) should not appear on the article manuscript itself.
Submit by March 1st, 2017 to firstname.lastname@example.org <mailto:email@example.com>.
We invite potential contributors to email us at the above address to discuss their submission ideas. Following the deadline, guest editors will review the manuscripts and determine those to be sent for full peer review.
(info atualizada em 26/10/2016)
CFP: Poetics and Politics of Documentary 2017
Proposal abstracts of no more than 300 words (plus brief bio and indicative bibliography) are to be received by 6 January 2017. Please submit your proposal to:
(Please paste this link into your browser if it does not take you direct to the easy chair login in page where you will be asked to create a log in if you don't have one already for this submission system)
For more information: firstname.lastname@example.org
(info atualizada em 26/10/2016)
PhD Studentships in Film, Theatre & Television at the University of Reading, 2017 Entry
The SWW DTP will be awarding up to 56 doctoral studentships in the Arts and Humanities for entry in September 2017. The awards will be made on the basis of academic merit, with no fixed quota assigned to any one institution or subject area within the DTP. Studentships are available to applicants living in the UK and the European Union.
If you are interested in applying for a 2017/18 studentship we strongly advise that you attend the SWW DTP’s Information Day, which is being held on Monday 28th November at the National Museum Wales, Cardiff. The day will be an opportunity for those interested in applying to the SWW DTP to find out more about the consortium, its studentships and the opportunities we offer. DTP Hub and institutional staff will be on hand to answer questions, and academics from each of the subject areas supported by the DTP will be available to discuss your research plans. A selection of our non-HEI partners will also be in attendance.
Please use this link to access the portal: https://swwdtp.fluidreview.com/
Registration will close on Sunday 13th November at 11.59pm GMT.
The SWW DTP Student Competition for 2017/18 entry will open on Tuesday November 29th. The deadline for applications is Thursday 12th January 2017.
For more information and guidance, contact Alison Butler, Film, Theatre & Television, University of Reading (email: email@example.com).
(info atualizada em 25/10/2016)
CFP Convergence: YouTube Special Edition
YouTube Special Edition
Guest Editors: Jane Arthurs (Middlesex University), Sophia Drakopoulou (Middlesex University), Alessandro Gandini (Kings College, London)
This special issue aims to review the development and influence of YouTube to establish not only how it has changed in the last ten years but also its wider influence. It specifically aims to encourage cross-fertilisation of knowledge about YouTube and its users across different disciplines, and to identify the research questions and methods that best capture its ever-expanding reach, impact and significance.
CFP details can be found at http://www.crmcs.sunderland.ac.uk/journals/convergence/cfp-feb-2018/
Articles should be in the range of 6000–8000 words (including all references). Please submit manuscripts by 31 January 2017 via https://mc.manuscriptcentral.com/convergence.
Information about the submission process and guidelines are available at https://uk.sagepub.com/en-gb/eur/journal/convergence#submission-guidelines.
(info atualizada em 24/10/2016)
CfP: Apocalypse and Authenticity
"Apocalypse and Authenticity" – International Conference
, University of Hull
Conference of the Theology, Religion and Popular Culture Network
The aim of this conference is to explore the themes of the apocalypse and authenticity – either separately or jointly – in popular culture, their theological and religious roots, as well as their socio-cultural, political, and economic relevance. We welcome submissions that explore a broad range of topics on the conference themes both from scholars from various disciplines and from practitioners working in media or faith communities.
Details of the CfP can be found on the website: http://www.hull.ac.uk/apocalyp
(info atualizada em 24/10/2016)
PhD Scholarships in Film Studies
All PhD students in Film and Moving Image Studies receive at least 3 years of funding and are eligible to work as Teaching Assistants as well s Research Assistants. Opportunities also exist for designing and teaching undergraduate courses. Various University bursaries and fellowships are available as well. International fee remission is available for foreign students. Canadian Students entering the program with a SSHRC or FRQSC fellowship receive an extra $10,000 top up from the School of Graduate Studies.
Why pursue a doctorate in Film and Moving Image Studies at Concordia?
Film and moving images are the dominant forms of contemporary visual culture. Because their reach transcends territorial borders and disciplinary horizons, and because of the complex way in which they can influence our views and our understanding of the world, moving images ask us to continually re-examine, re-interpret, and re-evaluate both /where/ and /how/ we stand in the world individually and collectively.
To make sense of this ever-evolving medium requires academic researchers who are committed to investigating its variegated forms, its history (or histories), its philosophies, its meanings, as well as the ideological perspectives that help shape or transform the ways we interact in a global society. The doctoral program in Film and Moving Image Studies endeavors to train the next generation of moving image scholars and to provide them with the critical tools with which to revisit the past and map the future of one of the most vibrant fields in the fine arts and humanities. It is a field whose landscape and boundaries keep shifting as its object of study both instigates and actively responds to artistic, economic, cultural and technological change.
Fostering interdisciplinarity in both research and teaching yet deeply rooted in the discipline of film and media studies and in the aesthetic, philosophical, social and political debates that have shaped it, the *PhD in Film and Moving Image Studies* provides an ideal environment for you to deepen your understanding of cinema and other moving image media from a wide variety of historical, cultural and theoretical perspectives. As a PhD candidate, you will be encouraged to expand your critical skills and deepen your approach to critical research methods for investigating film and moving image practices in different national and transnational contexts and periods. Our seminars, which are designed exclusively for doctoral students, host a robust range of scholarship in film and media history and theory that recognizes the value of pluralism in moving image research. At Concordia, you will join a vibrant and enthusiastic research community, and you will be mentored and work alongside our acclaimed prize-winning faculty members <http://www.concordia.ca/finearts/cinema/about/faculty.html> while pursuing your scholarly goals and developing your own original scholarship.
Our students position themselves at the forefront of new scholarship by organizing screenings, workshops and seminars that interface with Montreal’s rich cultural and arts scene and beyond, and by actively disseminating their own research through conferences and publications. A plethora of distinguished guests participate in these events, while faculty and students from other fields and institutions contribute to discussions and activities.
Montreal is a throbbing cultural metropolis with an exceptional range of film venues <http://www.concordia.ca/finearts/cinema/student-life/cinema-in-montreal.html> and museums, galleries and artist-run centers <http://www.concordia.ca/arts.html>.
For information about the program, please contact:
Dr. Martin Lefebvre, Program Director, Ph.D. Film and Moving Studies: firstname.lastname@example.org <mailto:email@example.com>
or visit our Website at: https://www.concordia.ca/finearts/cinema/programs/graduate/film-moving-image-phd.html
(info atualizada em 21/10/2016)
Call for Abstracts (One Thousand and One Nights)
One Thousand and One Nights : Comparative Perspectives on Adaptation and Appropriation
A conference funded by the Honeyman Foundation and the School of Modern Languages at the University of St Andrews
University of St Andrews, 31 August – 1 September 2017
The proposed conference will try to bring old and new together by exploring parallels to and possible origins of tales of /1001 Nights/, as well as the wealth of modern and contemporary material that it has originated and continues to inspire.
Proposals (of no more than 250 words) for 20-minute papers that address the theory and practice of adaptations and appropriations of 1001 Nights into any type of literary text and media are invited. Proposed papers shall bridge any borders imposed by time and space as well as genre, and - most of all – language, for what we know as /1001 Nights/ was born as a transnational text 300 years ago. The interest in the magical and wonderful world of these captivating tales lead to a significant reception of these tales all over the world. In the exact same manner, some of the “original” tales of those early translations were in circulation prior to the 9^th century in Baghdad. By collecting and incorporating earlier tales from other cultures and literary traditions while elaborating and appropriating them into the local culture in several cycles, the path was paved for the emergence of different editions of tales spanning up to 1,001 of the so-called Arabian Nights. At times, these tales are transformations of other, earlier tales, and at others, they have striking parallels with later tales which clearly demonstrates how entangled the literary world is – in past and present.
Participants shall present on various adaptations of 1001 Nights, drawing parallels and highlighting the origin of their adaptation(s) in (and possibly the origin of) the original text traditions of the corpus. Through this, it will be possible to underline the dynamic nature and autonomous life that tales of /1001 Nights/ acquired and how they originated works like Edgar Allan Poe’s short parody, Jorge Luis Borges’s essays, Naguib Mahfouz’s novel, Nikolai Rimsky-Korsakov’s symphonic suite, Henri Rabaud’s opera, Paolo Pasolini’s film, Hanan al-Shaykh and Tim Supple’s play, or Haruki Murakami’s short story which was translated and published in the/New Yorker/ in 2014.
The keynote speakers will be Prof Ulrich Marzolph (University of Göttingen), Dr Claudia Ott (University of Göttingen), and Prof Sinan Antoon (New York University). Presented and submitted papers will be peer-reviewed and those accepted are planned to be published in an edited volume.
Please submit your proposal to Dr Orhan Elmaz at firstname.lastname@example.org <mailto:email@example.com> by 31 October 2016. Authors will be notified of acceptance by 15 November 2016, and details regarding registration deadlines and fees will follow.
(info atualizada em 20/10/2016)
CFP Reality and screen, a postmodern mirror, IX International Conference on Communication and Reality
Este mensaje sigue en castellano
Aquest missatge segueix en català
Subject: CFP Reality and screen, a postmodern mirror, IX International Conference on Communication and Reality, Barcelona, 8 – 9 June, 2017. Blanquerna School of Communication and International Relations, Ramon Llull University
Deadline for abstract submission: 15th Decenber, 2016
Please pass this message on to your department and to colleagues who may be interested in our conference.
We are pleased to announce that registration for the IX International Conference on Communication and Reality, entitled Reality and screen, a postmodern mirroris now in progress. The complete Call for Papers is posted in English, Spanish, and Catalan on our conference web site: http://cicr.blanquerna.edu/en/presentation <http://cicr.blanquerna.edu/en/presentation>.
We invite you*to submit individual abstracts and complete panel proposals <http://cicr.blanquerna.edu/?page_id=105&lang=en>*, and to peruse further information posted there.
In the last decade the screen has acquired a centrality that implies a cultural change and marks a tipping point in the massive process of digitalization. The screen itself is a singular phenomenon that deserves a specific and differentiated attention because it modifies the very nature of the information. Screen implies connection and, increasingly, interaction, both with information (e.g hypertext) and with people who produce it (e.g. social networks).The contemporary role of screen is not comparable to previous cultural changes, as those produced by Gunter’s printing press, photography or hertzian waves. Screen goes beyond, as it contains all formats: we read texts on a screen, we look at photos on a screen, we listen to the radio interacting with the screen of different devices, etc. The main feature of this transformation of the late postmodernity roots, thus, in the centrality and pervasiveness of the screen, which ceases to be a means to become a mediator.
For the 2017 edition, themedReality and screen, a postmodern mirror,we welcome scholars, practitioners, and students to provide new ideas and offer alternative, unorthodox, outside-the-box explorations of the issue, thus contributing to shaping the question of the role the screen is going to have in the cultural imaginary and cutlural practices of the future.
We look forward to hearing from you and receiving your comments at firstname.lastname@example.org <mailto:email@example.com>.
The organizing Committee
Ferran Sáez, Ph.D.
Lluïsa Llamero, Ph.D.
Blanquerna School of Communication and International Relations
Universitat Ramon Llull
Pl. Joan Coromines, s/n
Asunto: Convocatoria Realidad y pantalla, un espejo postmoderno, IX Congreso Internacional Comunicación y Realidad, Barcelona, 8 y 9 de junio de 2017. Facultad de Comunicación y Relaciones Internacionales Blanquerna, Universidad Ramon Llull
Fecha límite para la recepción de resúmenes: 15 de diciembre de 2016.
Por favor hagan difusión de este mensaje en su departamento y entre sus colegas que puedan estar interesados en este congreso.
La organización de la IX edición del Congreso Internacional de Comunicación y Realidad, que se celebrará los días 8 y 9 de junio de 2017 en la Facultad de Comunicación y Relaciones Internacionales Blanquerna-URL de Barcelona con el título Realidad y pantalla, un espejo postmoderno, le comunica que ya está abierto el plazo para enviar las propuestas de comunicación o de panel mediante la web del Congreso: http://cicr.blanquerna.edu/es/presentacion/ <http://cicr.blanquerna.edu/es/presentacion/>.Asimismo encontrará, entre otras primeras informaciones, la convocatoria o call for papers.
La centralidad que ha adquirido la pantalla en la última década implica un cambio cultural de carácter cualitativo, y marca un punto de inflexión en el proceso masivo y generalizado de digitalización. La pantalla en sí misma es un fenómeno que merece una atención diferenciada y específica ya que modifica la misma naturaleza de la información. La pantalla implica conexión y cada vez más, también interacción, sea con la información (hipertexto) o bien, directamente, con las personas que la generan (redes sociales).
Invitamos a académicos, profesionales y estudiantes a hacer un ejercicio de prospectiva que dé respuesta a preguntas como: ¿Cuáles son las perspectivas de futuro de este nuevo estadio de la sociedad de la información? Se trata de cambios irreversibles o, como ha ocurrido con el regreso del vinilo, aún pueden ser objeto de un replanteamiento? Podría ser que, a largo plazo, la pantalla se convirtiera la vía de acceso a la información de los pobres, mientras que las clases acomodadas optaran por el libro de papel en vez del pdf o por el disco en vez de un archivo mp3?
Esperamos su participación agradeciendo de antemano la atención prestada.
Reciba un cordial saludo,
*El comité organizador*
Dr. Ferran Sáez
Dra. Lluïsa Llamero
Facultad de Comunicación y Relaciones Internacionales Blanquerna
Universitat Ramon Llull
Plaza Joan Corominas, s/n
Assumpte: Convocatòria Realitat i pantalla, un mirall postmodern, IX Congrés Internacional Comunicació i Realitat, Barcelona, 8 i 9 de juny de 2017. Facultat de Comunicació Blanquerna, Universitat Ramon Llull
Data límit per a la recepció de resums: 15 de desembre de 2016.
Si us plau feu difusió d’aquest missatge en el vostre departament i entre els vostres col·legues que puguin estar interessats en aquest congrés.
L'organització de la IXa. edició del Congrés Internacional de Comunicació i Realitat que es celebrarà els dies 8 i 9 de juny de 2017, a la Facultat de Comunicació Blanquerna-URL de Barcelona amb el títol Realitat i pantalla, un mirall postmodern, us comunica que ja està obert el termini per enviar les propostes de comunicació o bé de panell mitjançant el web del Congrés: http://cicr.blanquerna.edu/ca/presentacio/ <http://cicr.blanquerna.edu/ca/presentacio/>on trobareu, entre d'altres primeres informacions, la convocatòria o call for papers.
La centralitat que ha adquirit la pantalla en la darrera dècada implica un canvi cultural de caràcter qualitatiu, i marca un punt d’inflexió en el procés massiu i generalitzat de digitalització. La pantalla en si mateixa és un fenomen que mereix una atenció diferenciada i específica ja que modifica la mateixa naturalesa de la informació. La pantalla implica connexiói cada cop més, també interacció, sigui amb la informació (hipertext) o bé, directament, amb les persones que la generen (xarxes socials).
La propera edició del Congrés Internacional de “Comunicació i Realitat” 2017, proposa el temaReality and screen: a postmodern mirror. Convidem a acadèmics, professionals i estudiants a fer un exercici de prospectiva que doni resposta a questions com: Quines són les perspectives de futur d’aquest nou estadi de la societat de la informació? Es tracta de canvis irreversibles o, com ha passat amb el retorn del vinil, encara poden ser objecte d’un replantejament? Podria ser que, a llarg termini, la pantalla esdevingués la via d’accés a la informació dels pobres, mentre que les classes benestants optessin pel llibre de paper en comptes del PDF o pel disc en comptes d’un arxiu mp3?
Esperem la vostra participació i agraïm per endavant l'atenció prestada.
Rebeu una cordial salutació,
*El comité organitzador *Dr. Ferran Sáez Dra. Lluïsa Llamero
Facultat de Comunicació i Relacions Internacionals Blanquerna
Universitat Ramon Llull
(info atualizada em 20/10/2016)
CFP: Queering the Whedonverses
Over the last 15 years, Slayage: The Journal of Whedon Studies and other publications have featured a range of writing and scholarship about queer issues, identity and representations related to the Whedonverses but there has not yet been a publication dedicated solely to queer Whedon studies. A renewed interest in feminism and queer identities in mainstream culture and academia, alongside greater public recognition for LGBTQ issues and more attention being paid to popular culture across media: all suggest that the time is right for a concentrated examination of the Whedonverses from the perspective of queer theory and queer identities as they overlap but also differ, in all their complexity as they exist within an intersectional world. The editors of this Slayage special issue thus invite proposals for papers on any aspect of queerness and the Whedonverses, in specific national or international contexts.
Contributions may focus on, but are not restricted to:
• Queer sex and sexualities
• Queer bodies
• Queering as a discourse or position of subversion or “troubling” normativity
• Queer studies, the Whedonverses, and the academy
• Teaching queer studies via Whedonverse texts
• Subject-specific approaches to queering the Whedonverses
• Intersectional approaches to queerness within the Whedonverses
• Production and creation
• Acting and performance
• Audiences, reception, consumption
• Fan activity and production
• Formats, platforms and media—are some more open to being queered than others?
• Aesthetics (including sound and music)
• Comparative studies of Whedonverse productions, or the Whedonverses and, e.g., the Marvel Universe
• Genres and genre-queering: comedy, musical, melodrama, horror, Gothic, action, science fiction, superheroes
• Tropes, stereotypes and the same old stories
• Cult and mainstream, high and low culture, taste and ‘quality’
Send a 200-300 word proposal and a short bio by 16 December 2016 to Lorna Jowett (firstname.lastname@example.org) and Hélène Frohard-Dourlent (email@example.com), who will notify you early in January 2017 if your proposal is accepted. If your proposal is accepted please note that a first draft will be due in April 2017.
(info atualizada em 19/10/2016)
CFP: Special Issue of Celebrity Studies on Reality TV Celebrity
In the late 1990s and early 2000s, scholarship on celebrity culture expanded to incorporate the rising popularity of reality television celebrities. Much of this early work used Chris Rojek’s concept of the celetoid and Graeme Turner’s identification of the “mass production” of celebrity to explain the nature of short-lived fame gained from reality television. Other scholars acknowledged the reality celebrity as a unique and specific form of the celebrity image that subverted traditional notions of stardom by emphasizing the revelation of the private and “ordinary” self as the point of entry into the public eye (Mole, 2004; Holmes, 2005; Turner, 2010). While many early reality celebrities experienced only fleeting fame, the greater longevity of certain individuals and the enduring existence of reality celebrity as a category point to the continued relevance of reality television to contemporary celebrity culture.
This special issue of Celebrity Studies seeks to build upon the robust body of existing work on reality celebrity within television and celebrity studies in order to interrogate the contemporary state of the reality television celebrity. In particular, this special issue aims to address the impact of contemporary shifts within the media landscape that defines celebrity culture as well as trace related changes to the category of reality television celebrity.
We seek scholarly essays that explore these shifts from a variety of disciplinary and methodological approaches. Questions to be considered include, but are not limited to: How has the reality television celebrity changed in the second decade of the twenty-first century and what do such changes tell us about broader shifts within celebrity and media cultures? Is the reality celebrity still a distinct part of the celebrity industrial system? How do reality celebrities leverage their fame across extratextual media in an increasingly convergent media system? How does the reality celebrity function as a brand? In what ways does the contemporary reality television celebrity challenge or reinforce norms of cultural identity, particularly race, class, gender, and sexuality?
Potential topics for essays include, but are not limited to:
* Specific contemporary reality television stars (e.g. the Kardashians, the Duggars)
* The changing industrial landscape of reality television and its impact on celebrity (e.g. networks that rely on reality television brand, the decline of reality television as a genre)
* The enduring and shifting celebrity status of earlier reality television celebrities (e.g. Lauren Conrad, Nicole “Snooki” Polizzi, Katie Price)
* Aging reality stars and long-running franchises
* Celebrity within the reality television franchise (e.g. the various incarnations of Love & Hip-Hop, The Real Housewives, The Bachelor/The Bachelorette etc.)
* Celebrity within “talent”-driven reality series (e.g. The X Factor, Project Runway, Top Chef)
* The re-circulation of reality celebrities across series (e.g. Dancing with the Stars, Marriage Boot Camp, Celebrity Apprentice, I’m a Celebrity... Get Me Out of Here!)
* Influence of other media on the fame of reality celebrity (i.e. social media, tabloids)
* The expansion of the conception of “ordinary” celebrity beyond the traditional reality star (e.g. what does it mean to be “Instagram famous”?)
* The reality television celebrity as a brand, extending beyond the scope of the show
* Existing traditional celebrities using reality television to reclaim their brand/image
* Masculinity and reality television celebrity (e.g. Duck Dynasty, The Bachelor)
Interested authors should send an abstract of 500 words, 3-5 sources, and a brief bio to Erin Meyers (firstname.lastname@example.org) and Alice Leppert (email@example.com) by Dec. 1, 2016. Acceptance
notices will be sent by Jan. 10, 2017, and full papers of 6000 to 8000 words will be due June 15, 2017.
(info atualizada em 18/10/2016)
Call for Papers - Edited Volume: The Families We (Do Not) Want
This edited volume aims to bring together important advances in studying family rituals across a range of disciplines including but not limited to sociology, social anthropology, gender, media, tourism and travel studies.
The Elementary Forms of the Religious Life (Durkheim, 1912) paved the way for sociology to explore, conceptualize and understand the power of rituals in our lives. Since then, rituals ceased to be envisaged in the restricted area of religion and the sacred; its study gradually extended to several dimensions of the everyday interaction and social imaginaries. Family rituals constitute no exception. Including the “big” days such as life-cycle events, family traditions and celebrations but also the “small” days arising from daily life, rituals have never been as studied and celebrated as nowadays all around the world.
This volume aims to present and discuss, across borders, the place of rituals in constructing contemporary families. Bringing together theoretical contributions and empirical studies on the “special” meaning of some events, days or occasions, this book aims to portray and understand contemporary family rituals in its multiplex dynamics: actors, spaces, times, feelings, symbols, actions and meanings.
The volume will have a strong international focus. Early scholars and established contributors are welcome to propose chapters addressing, among other, the following themes and issues:
- dealing with the “inherited” rituals: obligations and tensions among family members;
- planning the desired rituals: personalization and individualization;
- media representations and cultural imaginary on family rituals;
- the family ritual process: backstage and frontstage;
- family rituals and gender: old and new issues;
- family rituals and generations: other views and roles;
- beyond gold images: the “dark side” of family rituals;
- family rituals, ICTs and (other) mobilities;
- family rituals across borders, time and space;
Abstracts of no more than 300 words (in English) outlining the focus of the proposed chapter and the methodological approach employed should be submitted to Rosalina Costa (firstname.lastname@example.org <mailto:email@example.com>) no later than 31th October 2016. In addition, the submission should include details of the authors(s) name(s), institution and a short (150 word) biographical note. Authors whose abstracts are accepted will be required to submit their full paper for peer-review in early 2017.
(info atualizada em 17/10/2016)
PhD scholarship in media studies with special focus on visual images of conflicts (University of Copenhagen)
PhD Scholarship in media studies with special focus on visual images of
The Department of Media, Cognition, and Communication, Faculty of
Humanities, University of Copenhagen, Denmark, invites applications for a
3-year PhD scholarship. The successful candidate will be situated within
the "Images of Conflict, Conflicting Images" (ICCI) core group project
supported by the Velux Foundation. The scholarship is expected to begin
February 1, 2017, or as soon as possible thereafter.
Deadline for applications November 16 2016. Please see this link for
details about the position and the application requirements:
(info atualizada em 17/10/2016)
CFP: Critical Approaches to Monty Python
And Now for Something Completely Different: Critical Approaches to Monty Python
Editors: Kate Egan, Aberystwyth University, Wales
Jeffrey Andrew Weinstock, Central Michigan University USA
Deadline for 250-word proposals (plus CV): Oct. 20^th , 2016
Submissions to: firstname.lastname@example.org <mailto:email@example.com> and Jeffrey.Weinstock@cmich.edu <mailto:Jeffrey.Weinstock@cmich.edu>
Considering Monty Python's pioneering contributions to film and television comedy and to traditions of satire and subversion, Python scholarship in film and media studies to date is surprisingly scarce, despite some valuable and thought-provoking work on the television series (Landy 2005) and the Python films (Smith 2012) and mentions in works on cult media and British comedy. This collection aims to take a wider and more eclectic view, considering the whole Python phenomenon (television series, films, live shows, comedy albums and fan engagements with all of these) from a range of interdisciplinary, critical perspectives.
Topics may include (but are not limited to):
* Python and Politics
* Python and the British Satirical Tradition
* Python on Stage (including early Python appearances at the Edinburgh
Comedy Festival, Live at the Hollywood Bowl, Spamalot, and the
recent Monty Python live events in London)
* The Sketch Show tradition and Python
* Python and the BBC
* Python and Surrealism/The Absurd
* Python and Horror/Violence
* Python and the Gothic
* Python and Race
* Python and Class
* Python and Intertextuality
* Python and fandom
* Python and paratexts
* Python and Gender
* Python and The Historical Film/Conceptions of History
* Python and Sex/Nudity
* Python and Reflexivity
* Python as Cult (Television and/or Film)
* Python and Music (particularly the songs)
* Python and Language
* Python in the US
* The Films (And Now for Something Completely Different, Monty Python
and the Holy Grail, Monty Python's The Life of Brian, Monty Python's
The Meaning of Life)
* Python and Religion/The Church
* Python and the British Film Industry
* Gilliam and Jones as Directors
* Art Cinema and Python (e.g. the influence of Pasolini on The Holy Grail)
* Python and Medieval Legends and Biblical Epics
6000-word essays due August 2017
Proposals, and inquiries to Kate Egan at firstname.lastname@example.org <mailto:email@example.com> and Jeffrey Weinstock at Jeffrey.Weinstock@cmich.edu<mailto:Jeffrey.Weinstock@cmich.edu>
(info atualizada em 14/10/2016)
2 vacancies at Department of Communication Studies at Bridgewater State University
More specific information about each position is available through the application links below.
The Department of Communication Studies at Bridgewater State University offers students a liberal-arts approach to understanding how human beings come together to make meaning and how best to create and analyze effective aural, written, and visual communication. Bridgewater State University is a four-year comprehensive university in southeastern Massachusetts, serving over 11,000 undergraduate and graduate students via opportunities for close student/faculty interaction and a commitment to social justice. Two-thirds of our students are first-generation college students, students of color, and/or Pell Grant recipients.
BSU is committed to the achievement of academic excellence by students from diverse backgrounds. BSU is primarily a teaching institution with ample opportunity for research (especially in collaboration with students).
Assistant Professor of Film, Video, and Media Studies---Digital and Social Media Studies at Bridgewater State University
Tenure Information:Tenure Track
The Department of Communication Studies at Bridgewater State University seeks candidates for a tenure-track position in Digital and Social Media Studies. We seek candidates who are comfortable teaching both new media theory in the classroom and multimedia production on the set, on location, and online. This position could include teaching courses in audio, video, and multimedia theory and production, and critical/cultural media analysis, and will include participation in digital media curriculum development. The successful candidate will be an excellent teacher and possess a well-developed Communication- or Media-related scholarly and/or creative agenda. A background in digital project management is a plus. Candidates must also engage in research and service, and advise and mentor undergraduate students. The successful candidate may also teach core curriculum courses including first and second year seminars.
Applicants must have a Ph.D. or MFA in Communication, Media Studies, or a closely related field.
Applicants should be strongly committed to excellence in teaching, advising, and working in a multicultural environment that fosters diversity.
They should also have an ability to use technology effectively in teaching and learning, the ability to work collaboratively, evidence of on-going scholarly activity, and interest in engaging students in faculty-student research as well as a commitment to public higher education.
A record of successful college-level teaching is preferred.
Special Conditions for Eligibility:
Please be aware that employment at Bridgewater State University is contingent upon completion of a successful background check.
Online App. Form: https://jobs.bridgew.edu/postings/4373
(info atualizada em 14/10/2016)
Position Announcement: Assistant Professor of Media Studies at the University of San Francisco
Assistant Professor, Tenure-Track
Media Studies Department, University of San Francisco
Job Summary: The Department of Media Studies at the University of San Francisco invites applications for a full-time tenure-track Assistant Professor position to begin Fall 2017. We are seeking a scholar who specializes in Digital and Networked Cultures and Emergent Media. The successful candidate will demonstrate a commitment to situating questions surrounding emergent technologies and digital cultures within their historical, theoretical, and critical contexts, considering the consequences of these technologies and intersections between cultural identities, political economy and social/political formations. Possible areas of expertise may include the role of race/ethnicity, class, gender and sexualities within digital cultures; civic media; screen studies; and transnational and diasporic social justice movements.
Job Responsibilities: The successful candidate will be expected to teach three or four of the following core undergraduate classes offered by the department: Introduction to Media Studies, Multi-Media Storytelling, Media History, Cultural Industries, Civic Media, Media Theory & Criticism, Media Research, as well as courses in their area of research interest that would contribute to the overall direction of the major. The expected teaching load for this position at USF is two 4-unit courses per semester with an additional third course every fourth semester (2-2-2-3 over two years). In addition, the successful candidate will be expected to contribute to the Media Studies program and curriculum development, perform service for the department and college, as well as maintain an active research agenda that engages students when possible.
Minimum Qualifications: A PhD in media studies, communication, cultural studies, or a closely related field is required by the start of the appointment (no later than August 2017). A strong record of teaching at the university level, evidence of scholarship, and an understanding of and commitment to supporting the mission of the University of San Francisco are required.
Applications must be submitted online at http://gnosis.usfca.edu/search. Applicants should submit a cover letter summarizing interests and qualifications, curriculum vitae, a statement of teaching philosophy and experience, evidence of teaching ability (e.g., sample syllabi, teaching evaluations), a brief writing sample (no more than 20 pages), and three letters of recommendation. Additional materials may be requested later in the process. Questions can be addressed to MediaStudiesSearch@usfca.edu <mailto:MediaStudiesSearch@usfca.edu>. For full consideration, applications should be submitted by November 10, 2016.
The University of San Francisco is an Equal Opportunity and Affirmative Action Employer. The university does not discriminate in employment, educational services, or academic programs on the basis of an individual’s race, color, religion, religious creed, ancestry, national origin, age (except minors), sex, gender identity, sexual orientation, marital status, medical condition (cancer-related and genetic-related), disability, or other bases prohibited by law, and will provide reasonable accommodations to individuals with disabilities upon request. We particularly encourage minority and women applicants for all positions.
(info atualizada em 13/10/2016)
CFP: 10th Screenwriting Research Network (SRN) International Conference
Call for Papers
In order to ensure timely notification and subsequent travel planning, please note the deadline: Abstracts for original paper presentations and panels may be submitted until November 15, 2016. This date has been set as it is national vacation time over Dec/Jan in New Zealand and all committee members already have scheduled leave.
The 10th Screenwriting Research Network (SRN) International Conference will be hosted by the University of Otago’s Department of Media, Film and Communication, in partnership with the New Zealand Writers Guild. It will take place in Dunedin, Aotearoa/New Zealand, on Monday 28th through Thursday 31st August 2017.
The conference theme is Screenwriting: Fact and Fiction, Truth and the Real. SRN2017 will examine how we approach/frame our storytelling, in and from different contexts. This then brings in conventions, orthodoxies, claims about the real and the truth (which might be different from the ‘real’), as well as the cultural and industrial contexts of storytelling practice(s). In other words, how we justify telling our stories in a particular way and how these shifts impact our work as practitioners and scholars: for example, in Aotearoa New Zealand, why it is important to understand different cultural perspectives which include the very nature of storytelling, if we are to get (or get to) a particular truth. We want to discuss the role and function of conventions regarding fact and fiction, as well as interrogating the practices of certain genres and media.
We invite discussion about screenwriting as an art located somewhere between fact, fiction, truth, and the real. We are particularly interested in abstracts for presentations on the following topics:
• In relation to truth claims and narrative, can we separate the teller from the tale?
• Writing the Real: adapting events into stories
• How does collaborative screenwriting negotiate fact, fiction, truth, and the ‘real’?
• How do we frame the local, the national, and the indigenous?
• How can we narrate from a transnational position?
• How do specific orthodox screenwriting frameworks affect the tales we tell?
• Teaching fact, fiction, truth, and the ‘real’ in screenwriting
• Reflections on narrative theory and conventions
• Screenwriting and Literature: the adaptation of source narratives into scripts
• Censorship, ratings, and screenwriting
We would also like to invite abstracts for presentations beyond the theme of the conference. We are looking forward to abstracts that cover the wide field of screenwriting studies, including, but not limited to, the following topics:
• Practice-based research in the field of screenwriting
• Writing for series television
• Different screenwriting practices and formats
• Case studies on individual writers or texts
• Historical perspectives on screenwriting and screenplays
• Screenwriting, the screenplay and different production structures
• Screenwriting and narrative theory in writing for short films
• Screenwriting for games and animation
• Screenwriting for new media forms, online, transmedia, etc. Are stories fully transferrable from one medium to another?
• How does the digital age change screenwriting?
Proposals for individual presentations and pre-constituted panels:
Time allotted to each paper is 20 minutes plus discussion. Abstracts for original paper presentations and panels may be submitted until November 15, 2016. Earlier submissions are welcome. Please note: original, in-person paper presentations only (no repetitions from other conferences or former SRN conferences. Video presentations are not possible).
Proposals for pre-constituted panels should include no more than three presenters (20 mins for each paper), the overall issue of the panel, abstracts for all of the presentations and, if possible, the name and a short biography of the chair of the panel. The chair should not be one of the presenters. If a proposal for a panel does not include a chair, the conference committee will appoint one.
Please send abstracts (250-300 words) as a Word document, with the email subject heading “SRN2017 Proposal” to: firstname.lastname@example.org
Remember to state your name, affiliation and contact information. Also include a brief biographical statement (100 words) detailing your publications and/or screenwriting practice.
We are currently in conversation with publishers about an edited anthology. If you are interested in your abstract being considered for such a publication, please indicate this in your submission.
The organising committee plans to notify of acceptances/rejections by mid-December 2016. Please see our SRN2017 website at www.otago.ac.nz/srn-2017 in the meantime. It will be updated with this CFP/theme shortly, but currently has helpful general information regarding Dunedin, New Zealand, and travel planning options.
(info atualizada em 13/10/2016)
CFP: The American New Wave - A Retrospective
The American New Wave: A Retrospective
An International Conference to be held at Bangor University, North Wales
4th-6th July 2017
In 1967, amidst the dying embers of the old studio system, two films were released that extinguished them apparently for good. /Bonnie and Clyde/ and /The Graduate/ suggested the nascent promise of an American New Wave, as directors were emboldened by the collapse of the Production Code; inspired by the stylistic flourishes and narrative seriousness of their European counterparts; carried along by the youthful revolutionary fervour embodied by the optimism of the Civil Rights Movement and protests against the Vietnam War, and granted a creative freedom unheard of in Hollywood as producers and executives floundered desperately for the next big hit after a series of costly flops. Arguably, The American New Wave lasted only thirteen years, flaming out in spectacular fashion with the financial disaster of Michael Cimino’s /Heaven’s Gate/. The seeds of its demise were sewn even earlier. The blockbuster successes of /Jaws/ (Steven Spielberg, 1975) and /Star Wars/ (George Lucas, 1977) suggested that the following decade would be defined by film entertainment altogether more traditional in which ‘New Hollywood’ (as the New Wave was often known) took a shape distinctly similar to the old, albeit dominated by new technologies and styles. An American ‘auteur’ cinema, it seems, would be consigned to the dustbin of history.
While only very few American New Wave directors have enjoyed long and successful careers – it is difficult to name more than perhaps Martin Scorsese, Woody Allen, Mike Nichols, Robert Altman and Steven Spielberg (himself belonging more to the latter period than the former) who continued to enjoy something approaching mainstream success after 1980 – there are several who continue to do interesting, complex work in the margins of American film production, such as William Friedkin (/Bug/, /Killer Joe/), Francis Ford Coppola (/Youth Without Youth, Twixt, Tetro/) and Terrence Malick (/The Tree of Life, To the Wonder/).
Several of the classical genres, which The American New Wave ‘revised’ to take into account changing political and aesthetic concerns, continue to enjoy revivals inspired by this legacy, such as the Western (/The Assassination of Jesse James by the Coward Robert Ford, Slow West, Meek’s Cutoff/, to name but a few), while others that the New Wave arguably created, like the paranoid conspiracy thriller, are now part of the cultural landscape of film and television.
Furthermore, it is arguable that the belief in creative freedom, personal expression and autonomy which The American New Wave inspired continues to be felt within American independent cinema, with Wes Anderson, Quentin Tarantino, Richard Linklater, Kelly Reichardt, Jeff Nichols and Ava Duvernay (among many others) directing films of aesthetic and political significance on a variety of subjects.
This conference will consider The American New Wave’s cultural, political and aesthetic legacies fifty years since its birth. It will seek to look afresh at the films produced during its short lifespan and assess their continued significance. It will explore the films these directors produced in the years after 1980 to consider how far the values and ideals of the earlier period persisted or whether they were subsumed by the cultural conservatism that has dominated mainstream cinema since then. It will also investigate those filmmakers we might consider to have picked up the baton from their predecessors and pursued challenging material in more recent times.
To this end, _we invite proposals of no more than 500 words for twenty-minute papers on any aspect of The American New Wave_ and its aftermath. Topics may include but need not be confined to the following:
•New Perspectives on The American New Wave – looking at the films again, fifty years on: politics, history, industry, reception, audiences, aesthetics, culture;
•The continued work of American New Wave Directors – e.g. Scorsese, Allen, Spielberg;
•The post-New Wave work of Robert Altman, Roman Polanski, Mike Nichols, Brian De Palma (amongst others);
•The Cultural Legacy of Steven Spielberg;
•The gender politics of The American New Wave;
•The ethnic and racial politics of The American New Wave;
•The neglected filmmakers of The American New Wave: Penn, Cimino, Ashby;
•Contemporary independent filmmakers and the influence of The American New Wave;
•New Wave Genres and their influence;
•Authorship in Global Hollywood;
•The New Wave and The Blockbuster;
•The New Wave and Cult Film.
The conference will be held from 4th-6th July 2017 at Bangor University in North Wales. It is planned to publish the proceedings. A series of complementary screenings will be held at our new Pontio Arts and Innovation Centre.
Proposals (no more than 500 words) and a one-page CV should be sent in an email titled ‘The American New Wave Conference’ to: email@example.com*_ no later than 1st January 2017. For further information, please contact the conference organisers: firstname.lastname@example.org_ and email@example.com_.
Follow the conference on Twitter: @AmericanNewWave
(info atualizada em 12/10/2016)
Society for Phenomenology and Media: 19th Annual Conference
SUBMISSION DEADLINE: October 30th, 2016
Society for Phenomenology and Media
19th Annual Conference
‘Living in the Anthropocene’
March 15-17, 2017
Free University of Brussels, Belgium
The Society for Phenomenology and Media (SPM) is pleased to receive abstracts (200 words maximum) for consideration of inclusion in its 19th annual international conference. The conference will be sponsored and hosted by the Free University of Brussels (VUB), Belgium.
Proposals for 3-person panels are also accepted. These should be organized around specific media — for example: film, the Internet, mobile communication, medieval manuscripts, print media (books, newspapers, and magazines), stage drama, television, visual art, dance, etc. Panel proposals should include three papers, one of them by the panel organizer. Individual abstract submissions are assigned to a panel by the conference host.
The overarching theme of this year’s conference will be ‘Living in the Anthropocene.’ According to many climate and environmentalist scientists, we have entered a new phase in history: the anthropocene, in which the human (anthropos) has become the most influential factor, impacting significantly upon the earth’s atmosphere and biosphere – often in destructive ways. The notion of the anthropocene faces us with pressing questions concerning the status of technology, capitalism, industrialization, societal organization, and many more. At the conference, we want to investigate the anthropocene concept in the light of media – an underexposed angle up until now – and vice versa.
We kindly ask contributors to align their submission with the conference theme, but welcome proposals about all areas covered by the Society.
The Society for Phenomenology and Media encourages interdisciplinary approaches and theoretical diversity. Individual papers and panels need not be limited to phenomenological approaches. In the past, papers have come from diverse theoretical perspectives, including critical theory, cultural studies, hermeneutics, Marxism, New Historicism, post-colonial theory, pragmatism, semiotics, speech-act theory, and so on. Participants have come from a wide range of disciplines: philosophy, media studies, communications, psychology, history, political science, sociology, rhetoric, literary theory, cognitive science, cultural studies, and other fields.
Deadline for individual abstracts and panel proposals: October 30th, 2016.
Doctoral students are invited to submit proposals, but should note that SPM limits the number of papers from students.
Conference abstracts and panel proposals submitted are peer-reviewed. Papers accepted and presented are published in the SPM annual Conference Proceedings; selected papers are also published in Glimpse, the annual publication of SPM.
For consideration, submit abstracts/panel proposals by using the EasyChair system at:
For up-to-date information on the conference and the Society, see the SPM website:
If you have questions about the conference hotel and getting to and from Brussels, see the SPM website:
Other questions may be addressed to:
Dr. Francesca Dell'Orto,
(info atualizada em 11/10/2016)
CFP: Audiences? The familiar unknown of communication historiography
Audiences? The familiar unknown of communication historiography
ICA Preconference San Diego, USA, May 25, 2017
Sponsor: ICA Communication History Division
ECREA Communication History Section, IAMCR History Section, DGPuK Communication History Section
Organizers: Christian Schwarzenegger, Thomas Birkner, Kevin Grieves and Samantha Oliver
Media consumers have largely remained in the shadows of communication history research. Methodological hurdles abound, and the relevance of this type of research to the broader field of communication scholarship has not always been clearly articulated. These challenges present an opportunity to advance the conversation on audiences, and to chart new directions for communication research. This ICA preconference is dedicated to bringing together scholars from across the spectrum of communication research and from around the globe to illuminate the history of audiences, media practices and media use. Submissions are invited to consider the full breadth of intellectual engagement with audiences, media users and media practices in the past. This scope includes examination of the historical interaction between audiences and various media technologies. It also includes the historical engagement of audiences with various types of journalistic sources and content as well as the connections of different audiences with one other in various social and public contexts of the past. Submissions that address audience history from transnational and/or de-Westernized perspectives are especially encouraged. We welcome papers on a wide array of historically grounded themes that shed light on the current state of historical research on audiences and media practices as well as potential directions for future research:
(1) Audiences as they were then and are remembered now
Case studies on past media and communication practices from a variety of perspectives are invited to shed light on current knowledge about past audiences. These can range from exceptional audiences in extraordinary circumstances (e.g. clandestine practices of media use in totalitarian regimes or during war times) as well as mundane and everyday practices of media users in the past. Nostalgic memory reveals how we imagine past media audiences, and to what extent those audiences appear different from today. The inter- and transgenerational exchange of media memories and the designated role of media technologies in family life can also help us understand past patterns and logics of media use.
We also welcome studies that emphasize the changing role of audiences in different situations: Audience as civic public and its role in public debate, audiences of journalism in contrast with audiences of entertainment as well as the history of media use between collective and individual practices in private or in public (e.g. while on the move in public
transport or in the family home). This includes not only mass media but also the history of means of communication and technological devices (e.g. the temporal liberation of audience experiences by the video recorder).
(2) Historical ideas of the audience in popular and public debate
Historical understandings of media audiences are not only shaped by academic knowledge but also by public debate and representations in popular culture. Examining the regulation of and protection of audience members’ media activities helps in the understanding of past conceptions of audiences as well as implicit ideas of media effects. The perceived impact of technological developments on audiences by politicians, regulators and social pressure groups is also an area of interest for the preconference. This includes critical and journalistic notions of media audiences and associated fears (such as the notorious campaigns of newspaper editors against the perils of radio or television). How media users are depicted in a wide variety of popular culture formats makes ideas of audiences visible, especially in regard to stereotypes. How do depictions and characterizations of readers, listeners or viewers vary depending on the media they use? We are interested in popular and public ideas of the audience and their interplay with academic concepts and their influence on research (e.g. in terms of funding).
(3) Histories of audience research: Schools of thought, theoretical implications and change over time
We are interested in past developments within audience research and their intellectual implications as well as their legacy for audience research today. Papers are invited that probe or reconstruct shifting understandings of the nature of audiences in relation to different schools of thought. What epistemological shifts are to be observed in how audiences were implicitly and explicitly addressed in different areas, subfields and traditions of the field? For example, papers could ask if the audience in social science- oriented effects research is the same as in television studies, which were strongly influenced by British media studies and cultural studies. Differences between the role of audiences in transmission or ritual models of communication or the differentiation of audiences and civic publics and their implications for research are just a few further examples.
The field is characterized by changing ideas of audiences as rather passive, homogeneous and highly influenced by strong media effects as well as highly selective and active, participating, heterogeneous audiences and minimal-effect media. Temporal aspects of media use have also fluctuated over time. New media technologies have impacted the practices and roles of media users throughout history; how can conceptions of audiences be adapted accordingly? Are conceptions of audiences fit for research on media practices in new media environments?
(4) Methods and sources for researching historical audiences
Most of the methodological approaches of contemporary audience or reception research are not applicable for historical audiences or can grasp past media practices only in limited ways. Historical audience data may lack texture about the specific quality and meaning of media engagement. Historical audience researchers thus often have to resort to indirect methods and to reconstruct from obscure, scarce and incomplete source material. Papers are invited that make use of diverse original sources for historical audience research and discuss their value and potential pitfalls. How might the shift toward big data and digitization enhance our understanding of audiences of the past? Is the digital media user more accessible for historical reconstruction?
Methodologies specifically designed to reconstruct media practices of the past are also relevant. Oral history can be considered an invaluable method for historical audience research, with the caveat that this method is reconstructing shaped ideas and understandings of the meaning of media uses from the contemporary. Although often idealizing memories or highlighting the extraordinary while neglecting the mundane, the approach to personal media memories can help us to understand the discursive formation of media audiences. Submissions are invited that employ oral history or that reflect innovative uses of other historical methodologies to understand past media practices.
The composition and the practices, roles and possible actions of audiences change over time and in different cultural or geographical spaces. Media-centric perspectives on past media practices may neglect the contextual dimensions of communicative practices. Thus papers are also invited that help to reconstruct past media practices as embedded in everyday life and the daily routines of audience members in various cultures and geographies.
Abstracts of 300 words (maximum) should be submitted no later than 30 November 2016. Proposals for full panels are also welcome: these should include a 250-word abstract for each individual presentation, and a 200-word rationale for the panel. Send abstracts to: firstname.lastname@example.org <mailto:email@example.com>. Authors will be informed regarding acceptance/rejection for the preconference no later than 11 January 2017. Full papers will need to be submitted no later than 1 May 2017 as these will be posted online and made available to all those participating in the preconference. Early career scholars and graduate students are highly encouraged to submit their work. Please indicate if the research submitted is part of your thesis or dissertation project. The organizers will aim to arrange for discussants to provide an intensive response for graduate students projects.
Dr. Christian Schwarzenegger
Department of Media, Kowledge and Communication
Universitaetsstraße 10, 86159 Augsburg
(info atualizada em 11/10/2016)
Position in Cultural Studies at the Universidad de los Andes-Colombia
Dear all, we have good news despite the recent political turnouts in Colombia. Our CS departament here at the Universidad de los Andes in Bogota, Colombia is growing and we actually just opened a call for one or two positions for hiring two assistant professors...I hope this can help us to give us more leverage in our program for hosting a future ACS Conference or Institute... I was wondering if there might be a way in which we can circulate this throught all your listserves... The call is in Spanish...
Convocatoria Docente En Estudios Culturales
Convocatoria Docente En Estudios Culturales El Departamento de Lenguas y Cultura de la Universidad de los Andes (Colombia) ofrece un puesto de profesor o profesora de planta de tiempo completo para el área de ESTUDIOS CULTURALES a partir del 15 de julio 2017. El trabajo incluye la enseñanza de 5 cursos al año en pregrado y/o postgrado, investigación, desarrollo curricular y labores administrativas. Requisitos:Título de Doctorado en Estudios Culturales o en áreas afines (antropología, estudios literarios, filosofía, comunicación, lingüística, sociología, estudios visuales, etc.). El candidato o candidata debe demostrar, preferiblemente, interés simultáneo en campos como: estudios culturales y sociolingüística, estudios culturales y análisis del discurso, estudios culturales y teorías del lenguaje, estudios culturales y estudios visuales, estudios culturales y performance, estudios culturales y estudios latinoamericanos. No se aceptan candidatos a doctor. Mínimo 2 años de experiencia labo
>From Bogota.. cheers... Juan
Juan Ricardo Aparicio
Director Centro de Estudios Culturales
Departamento de Lenguas y Cultura
Universidad de los Andes
TEL 3394949, EXT. 4730, Oficina: GB-511
Horario de atención 2016-2: Martes 9:00-12:00am, Miércoles 2:00-3:00pm, Jueves 9:00-10:00am
(info atualizada em 10/10/2016)
CFP: Heroism as a Global Phenomenon in Popular Culture
Call for Papers:
International Conference "Heroism as a Global Phenomenon in Popular Culture"
Freiburg, Germany, September 28-30 2017
Organized by Michael Butter (Tübingen), Nicole Falkenhayner, Wolfgang Hochbruck, Barbara Korte (Freiburg) and Simon Wendt (Frankfurt a. M.)
In an age of globalization and transnationalism, heroes transcend their cultural spheres of origin and are re-rooted, adapted and translated in new local contexts across the world. We understand (male and female) heroes as a phenomenon of exceptionality that has a positive significance in relation to the values, ideals and norms of the communities in which these figures are admired, followed, functionalized but also debated. In this process of “glocalization,” popular culture, with its world-wide markets and media, is a driving force. Such different media as films, comics, graphic novels, computer games, or internet blogs construct and disseminate narratives about heroes and heroisms across the globe and are consumed in the Global North as well as the Global South. At the same time, there are centres of dissemination – including Hollywood, Bollywood, or Hongkong – that continue to dominate processes of production and dissemination of hero narratives.
This multidisciplinary conference aims to highlight the complex and interrelated processes of creation, marketing, consumption, and impact, of globalized hero narratives, as well as the numerous cultural flows of exchange that have made them possible since the end of World War II. We are interested in contributions (case studies) which conceive of heroism as a transcultural and transnational phenomenon that may originate in one particular nation but ultimately transcends borders. Questions to be discussed would include how the meanings of heroic figures and narratives are changed in cultural translation, or what specific processes are active in the world-wide exchange of figures and concepts of the heroic. Case studies can focus on situations in Europe, North America, Africa and Asia.
Possible topics include, but are not limited to:
- culturally different notions of the heroic that come into contact when hero narratives cross borders and function globally
- superhero movies and the role that global markets play in the ways in which they are designed and narrated
- the ways in which hero narratives from one nation (e.g. the United States) are adopted and adapted in other nations or regions (e.g. Japan/Asia) and vice versa
- the processes of exchange between the fictional and the factual in relation to the heroic (e.g. the adoption of the /Hunger Games/ gesture by political protesters in Thailand)
Please submit abstracts of c. 200 words and a short CV to the organizers via firstname.lastname@example.org<mailto:email@example.com> by December 31, 2016*.
Selected speakers will be reimbursed for the travel and accommodation costs.
Dr. Nicole Falkenhayner
Projektleiterin DFG FA 1253/1-1 "CCTV Beyond Surveillance"
79085 Freiburg (Germany)
(info atualizada em 10/10/2016)
CFP: Eighth International Conference on the Image
Venice International University, San Servolo, Venice, Italy
31 October-1 November 2017
CALL FOR PAPERS
The Eighth International Conference on the Image will be held at Venice International University, San Servolo, Venice, Italy, 31 October-1 November 2017, alongside the Venice Biennale’s 57th International Art Exhibition. We invite proposals for paper presentations, workshops/interactive sessions, artistic works, virtual lightning talks, virtual posters, or colloquia addressing one of the following themes:
Theme 1: The Form of the Image
Theme 2: Image Work
Theme 3: The Image in Society
CONFERENCE SUBMISSION DEADLINES
The next proposal deadline is 25 October 2016. We welcome the submission of presentation proposals at any time of the year up until 30 days before the start of the conference. All proposals will be reviewed within two to four weeks of submission.
A COLLECTION OF JOURNALS
The International Journal of the Image encourages the widest range of submissions and aims to foster the highest standards of intellectual excellence. Articles may be submitted by in-person and virtual participants as well as Research Network Members.
The Journal is indexed by:
-Art Abstracts (EBSCO)
-Art Full Text (EBSCO)
-Art Index (EBSCO)
-Art Source (EBSCO)
-The Australian Research Council (ERA)
Venice International University, Venice, Italy
For more information and to submit a proposal visit:
Please forward this announcement to your colleagues and students who may be interested.
Web address: http://ontheimage.com/venice2017
Join us on Facebook: https://www.facebook.com/OnTheImage
Sponsored by: The Image / Common Ground Research Networks
(info atualizada em 07/10/2016)
CfP Media and Time
Call for Papers
CRCC symposium on /Media and Time/
Loughborough, UK, 15-16 June 2017
We are inviting applications for a symposium on Media and Time, organised by Loughborough University’s Centre for Research in Culture and Communication, due to take place in Loughborough on 15-16 June 2017.
Confirmed key-note speaker: Professor Paddy Scannell, University of Michigan
Media and communication technologies are inextricably bound up with the passage of time. Different forms and genres of mediated communication shape our sense of time in different ways, structure our daily routines, invite us to join in festive occasions, and help us manage the unexpected. They offer narratives and images of the past, contribute to the formation of collective memories, and help us imagine the future. Media are also themselves subjected to the passage of time: established forms of communication are unsettled by new technologies, as well as by the economic, political and cultural changes occurring in the society at large. Finally, media old and new play an important role in both furthering social change and reproducing the status quo, a fact that only becomes fully apparent once we study the media over a longer stretch of time.
Despite the ubiquitous presence of time in mediated communication, the relationship between the two has so far received only sporadic attention, and is often discussed across different disciplinary field and subfields. This two-day symposium seeks to bring together scholars from diverse disciplinary backgrounds to discuss selected aspects of the relationship between media and time. The event will be organised around three key themes, each addressing a set of related questions:
·Theme 1: /The challenges of temporal comparison/: While comparative media research typically engages with spatially defined units, it is also possible to apply comparison diachronically, across different points in time. What challenges are brought by shifting from a synchronic to a diachronic plane of comparison, and what are the possible solutions to them?
·Theme 2: /Times of memory, times of media/: Remembering and mediation are of necessity time-bound practices, yet so far we know rather little about how the temporalities of memory and media interact. Does, for instance, the temporal organisation of mnemonic practices change depending on the temporality of the media form used? How do new technologies, both historically and today, impact on the perceptions of time passing and subsequently also on the way we remember past events?
·Theme 3: /The temporalities of media history/: Engaging in historical research inevitably involves dealing with temporally bound phenomena, but the temporal character of historical developments in media is rarely explicitly reflected upon. What can be gained by paying more explicit attention to issues of temporality, such as periodization, the differing pace of historical change, or the relationships between simultaneous vs. successive developments?
Convenors: Melodee Beals, Ele Belfiore, Emily Keighley, Thoralf Klein, Sabina Mihelj, Simone Natale, Alena Pfoser, James Stanyer and Peter Yeandle.
Please submit a c. 250 words abstract with a brief bio to Emily Keightley (E.Keightley@lboro.ac.uk) and Peter Yeandle (P.Yeandle@lboro.ac.uk) by Monday 12 December 2016.
Participants will be asked to contribute a small fee to cover meals and related expenses (up to £50, with a discount for PhD students and participants from low-income countries).
(info atualizada em 07/10/2016)
Call for Participants: Videographic Criticism workshop, June 2017
We are pleased to announce that we are accepting applications for the NEH-funded workshop Scholarship in Sound & Image: Producing Videographic Criticism, to be held in Middlebury Vermont. This workshop is only open to graduate students in Film & Media Studies or a related discipline. (There will be a similar workshop in June 2018, open to those holding Ph.D.s.) See information at http://sites.middlebury.edu/videoworkshop/apply/ - applications are due.
Additionally, if anyone is interested in hosting a mini two-day workshop for faculty & grad students on your campus, we are available to bring our show on the road! See info at https://justtv.wordpress.com/2016/09/26/learn-videographic-criticism-at-middlebury-and-on-the-road/ .
(info atualizada em 06/10/2016)