PT/EN

A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O V Encontro Anual irá decorrer de 21 a 23 de maio de 2015, no ISCTE-IUL, Instituto Universitário de Lisboa. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
[Saber mais] [Inscrever-se na AIM]


NOTÍCIAS

Lecturer in Media Studies at Wits (Johannesburg, South Africa)
Faculty of Humanities, School of Literature, Language and Media
LECTURER IN MEDIA STUDIES

The School of Literature, Language and Media (SLLM) invites applications from suitably qualified candidates with teaching and research experience in Media Studies, Cultural Studies, Communications or related disciplines, to join a research-active, growing department at an internationally acclaimed institution. Candidates with a research specialisation in media, culture and communications in relation to news, politics, race, gender, or social activism will be considered preferable, although all relevant research expertise will be considered.

Qualifications required:
A completed PhD in Media Studies, Cultural Studies, Communications or a closely related discipline in the social sciences/humanities.
An active research agenda with a clear sense of future directions and existing contributions to the field.
Evidence of publications in progress or of plans to publish out of the PhD.
Teaching experience in Media Studies or related disciplines from a critical orientation, and with the ability to teach across diverse theoretical areas and methodological approaches.

Duties: Teaching at undergraduate and postgraduate levels; supervision of Hons, MA and PhD research, administration within the department and at School level; service to the Faculty and contributing to the research output of the University.
Remuneration: A competitive package will be offered depending on qualifications and relevant experience.
Enquiries: Dr M. Iqani (011) 717 4123 or _mehita.iqani@wits.ac.za
To apply: Submit a letter of motivation, detailed CV and the names and contact
details of three referees (incl. e-mail addresses)
Internal employees are invited to apply directly on Oracle by following the path: _iWits /Self Service application/”Apply for a job”_/
External applicant are invited to apply, by registering profile on the Wits/i-recruitment platform located at _https://irec.wits.ac.za and submitting your application.
CLOSING DATE: 22 May 2015
(info atualizada em 24/04/2015)

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Documentary Summer School (Locarno, Switzerland)
The Institute of Media and Journalism of the Università della Svizzera italiana invites applications to participate in the 15th Documentary Summer School (10-14 august 2015), a residential educational program jointly organized with the Locarno International Film Festival. This year we address the theme of ethics in documentary filmmaking. During 5 days of lectures, meetings and screenings, we will explore a wide range of ethically-charged topics in three main content areas:
- Direction: the filmmaker’s ethical responsibility to the subjects of the film and to the viewers
- Production: ethical/unethical practices in documentary production
- Transnational issues in documentary cinema: an Eastern/Western perspective

The program also entails exclusive meetings with filmmakers from La Semaine de la Critique, the Festival’s documentary section.

Detailed list of lecturers and their biographies can be found here:http://www.imeg.com.usi.ch/en/summer-school

Participation is limited to 25 undergraduate and early postgraduate students in the fields of film, media and communications studies. The official language of the Documentary Summer School is English. A participation fee of 455.- CHF (427 Euros) is required, and it covers:
- Bed and breakfast accommodation for 7 nights at the Locarno Youth Hostel (from Sunday 9 to Sunday 16 August)
- Participation to the Documentary Summer School program (from Monday 10 from Friday 14 August)
- Accreditation valid for the full program of the Locarno International Film Festival, plus the official catalogue
- WiFi at the summer school venue
- Water bottles and coffee at the summer school venue
- Farewell dinner

Meals other than breakfast and travel to and from the Festival are at the expense of participants. Please note that the Festival provides participants with a shuttle service free of charge between Milano Malpensa airport and Locarno, prior booking.

Deadline for submission is Friday 22 May 2015.

Candidates shall submit via email (to: gloria.dagnino@usi.ch) the following documents:
- Personal CV
- Short motivation letter
- Passport size digital photo (max 1MB) to be used for the Festival’s accreditation

Selected participants will be notified via email by Monday 8 June 2015.

Applications and requests for information shall be addressed to:
Gloria Dagnino
Documentary Summer School – Organizing committee
Università della Svizzera italiana
via Buffi 13, 6900 Lugano
Tel. +41 (0)58 666 4814
gloria.dagnino@usi.ch

More information available here: http://www.imeg.com.usi.ch/en/summer-school
(info atualizada em 24/04/2015)

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Social Movements and Media Technologies
The Centre for the Study of Global Media and Democracy at Goldsmiths is delighted to invite you to the first event of the:
Social Movements and Media Technologies: Present Challenges and Future Developments ESRC Seminar Series.

The Seminar Series is jointly organised by the Centre for Global Media and Democracy (CGMD) at Goldsmiths University of London and the Centre on Social Movement Studies (COSMOS), European University Institute Florence.

The aim of the series, which will take place in 2015 and 2016 for a total of six seminars, is to tackle and critically understand one of the crucial societal changes of our times: the relationship between political participation and media technologies.

The first seminar MOBILISATIONS, CHANGING PROTEST CULTURES AND WEB 2.0 TECHNOLOGIES will be held at
Centre for Global Media and Democracy, Goldsmiths University of London, UK – 14th and 15th of May, 2015 (Professor Stuart Hall Building, LG02 and 314)

This first workshop will look at contemporary ‘protest cultures’ and explore the changing relationship between political participation and media technologies in the age of social media by considering three different dimensions a) organisation b) political imaginations c) lived experience. Scholars and activists will be invited to discuss this relationship by considering culturally and context specific examples. The aim of this workshop is to overcome much of the ethnocentric bias, which can be found in current research, to enable processes of meaningful comparison and to develop a critical and culturally sensitive approach to the analysis of Web 2.0 and social movements.

ALL WELCOMED. This is a free event for anyone interested. However, spaces are limited so make sure that you register your interest by writing to v.barassi@gold.ac.uk by the 8th of May, 2015.
(info atualizada em 24/04/2015)

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SEMINÁRIO INTERNACIONAL || 12-13 NOVEMBRO 2015: “O TRABALHO NO ECRÃ: MEMÓRIAS E IDENTIDADES SOCIAIS ATRAVÉS DO CINEMA”
CALL FOR PAPER

O trabalho nas sociedades contemporâneas tem vindo a sofrer, desde o início do século XX, processos vários de mudança que, com o contexto atual de crise económica e emprego, exigem equacionar a estruturação das identidades que sobre o trabalho se constroem e modificam.

Durante este período, o cinema tem sido um veículo privilegiado na criação e disseminação de representações do trabalho, e como tal, na formação de memórias sociais. Tem constituído um canal privilegiado na construção de narrativas de memórias de trabalho, contribuindo para a formação, reprodução e reconfiguração de identidades sociais.

Este seminário internacional e multidisciplinar tem como objetivo reunir e discutir contribuições que analisem os processos envolvidos na formação de identidades sociais e suas representações através do cinema. O seminário explorará como o cinema e as práticas cinematográficas – a produção, realização e usos dos filmes – têm contribuído para a formação de memórias sociais sobre o trabalho.

O seminário aceita comunicações que analisem as principais continuidades e descontinuidades presentes nas narrativas de memórias do trabalho, desde o início do século XX até ao presente, com base na análise de filmes ou de um corpo de filmes (tanto ficções como documentários), e sua receção. Encorajamos abordagens interdisciplinares, teórica e metodologicamente inovadoras, bem como propostas que pretendam incorporar material visual nas suas apresentações.

Os tópicos incluem, mas não se limitam a:
Cinema e trabalho (por exemplo, filmes sobre a classe operária, militantes, educativos, de encomenda);
Identidades sociais e cinema (documentário, ficção, etc.);
Memórias sociais sobre o trabalho;
Usos e contextos de receção dos filmes;
Cinema utilitário
Industrialização e desindustrialização no cinema;
Abordagens de género;
Espaços de trabalho;
Técnicas, conhecimento e aprendizagem.

Aceitam-se propostas em português, inglês e espanhol.
Comissão organizadora:
Luísa Veloso, Frédéric Vidal, Emília Margarida Marques, João Rosas
Prazo para as propostas: 30 de Junho 2015
Contacto: workscies@gmail.com

(info atualizada em 23/04/2015)

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CfP: Journal of Italian Cinema and Media Studies | Intersections between Italian, Portuguese and Brazilian Cinemas
Themed Issue
DEADLINE: 31 May 2015

Italian cinema is translational, transnational and rhizomatic. It is imported and exported, transferred, translated, adopted, adapted and re-interpreted. It is also both European and Mediterranean, moves in many directions constantly intersects with other cinemas and in particular with cinema in Portugal and Brazil. Within such transnational framework, scholars are invited to engage in a methodological tension between studying national cinema and transnational critical approaches to Italian cinema, thus recovering these overlooked connections and re-composing them in a historic and aesthetic map, marked by cross-national dialogues and trans-generational exchanges.

JICMS intends to focus on the rising role that Italian cinema plays in Portugal and Brazil, as well as on cooperation opportunities between Italian and foreign film industries. With this CFP, the Editor aims to shift the critical paradigm outside the inwardly focused field of Italian film studies and invites contributions that would further (1) explore the influence of Italian cinema in Portugal and Brazil; and (2) investigate how it reaches beyond the imagined boundaries of its (pen)insularity. Abstracts submitted to JICMS should be entirely original and unpublished, should not be under consideration by any other publisher, and should not have been published previously even in part by any other publication.  Interviews, events’ reports, independent and experimental artists’ biographies are considered. Proposals of English translations or edited versions of previously published works will not be considered.

Abstracts should be sent to the Editor, Flavia Laviosa (flaviosa@wellesley.edu) by 31 May 2015, and should include the following information:
1) A 500-word abstract outlining:
a) The topic
b) Critical approach
c) Theoretical bases of the proposed article.
The abstract should clearly state the goals of the article and provide a cohesive description of the objective of the argument. In addition to a 500-word abstract, authors should send:
2) Relevant bibliography and filmography
3) 200-word biographical notes followed by a detailed list of academic publications
4) The date of submission of the article, if the proposal is accepted, will be within 8 weeks from the official invitation to submit the article.
(info atualizada em 23/04/2015)

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Media Trends Conference VI: Power and Media: Ownership, Sponsorship, Censorship
10-12 September, 2015

Webster Vienna Private University, Austria

We invite proposals from academics, media professionals, and students.
Proposals should critically analyze the relationships between media and power with an emphasis on:
· Corporate influence on media narratives
· State censorship
· Overt and covert control of communication
· Concentration of ownership
· Advertiser, commercial, political, military and other external influences
· Agenda-setting, framing, technological and organizational constraints on decision-making
· Media empowerment

The conference language is English. Three presentation formats are available. Abstracts must be limited to 350 words. Three top presentations, including poster presentations, will receive a monetary
award. Criteria for the assessment include: originality of approach, potential impact on the field of research, and worthiness of publication. On-site technological infrastructure includes WiFi, screens, beamers, etc. Supported presentation programs include Powerpoint, Keynote, etc. Conference attendees will be given opportunity to evaluate each presentation. Depending on submissions, we may offer a publication possibility.

For further details and abstract, poster and panel proposal submission, see http://webster.ac.at/media-trends-2015

Deadline for submission: 1 May 2015
Notifications of acceptance: 15 May 2015

(info atualizada em 23/04/2015)

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University of East London - Excellence PhD Studentships
University of East London (UEL) invites applications from highly qualified and motivated students, for twenty Excellence PhD Studentships starting in September 2015. The Excellence PhD Studentships are the premier postgraduate merit studentship at UEL and provides full tuition fees, a generous stipend and access to a research training grant.

UEL is an innovative academic community, delivering high-quality applied research that is impact-led, intellectually stimulating, socially relevant and for public good. In the recent REF2014, UEL was ranked in the top 10 of modern UK universities, with almost 20 per cent of its research classified as world-leading and 95 per cent deemed at least at an internationally-recognised level. The university was particularly strong in the areas of allied health, art and design, cultural and media studies, psychology, and sociology. We are also developing and encouraging excellence in STEM related areas.

UELs research efforts are shaped by its location, East London, one of the most diverse regions in the UK undergoing rapid urban transformation that presents both challenges and opportunities for thinking and acting out city futures. In addition London is at the heart of a rich global landscape and UEL is entwined into this landscape through its research engagement with areas of central and local government, science, technology, education, health, and arts.

The Excellence PhD Studentships are central to the University’s interdisciplinary strategic research interests in SMART, healthy, liveable and resilient cities. In particular, UEL is keen to strengthen its research in: big data and smarter cities; business and environmental sustainability; health and wellbeing; role of media, arts and culture in future cities; social and spatial justice; social and cultural questions around borders, migration and refugees; technology enhanced learning; and urban resource efficiency.

The Excellence PhD Studentships will be available across all seven academic schools at UEL. While we encourage applications in the research areas described above, we will welcome applications in any area of research strength at UEL (please visit respective academic school websites to identify other research areas that maybe of interest).

At UEL, PhD researchers will be supported by a community of scholars and teachers committed to their timely progress and development as professional researchers with publishable outputs, well-trained practitioners, and effective teachers.

Funding
The studentship is for a period of three years with a maintenance allowance of £16,057 for the 2015-16 academic year, plus a training bursary of £2,000. The candidate will be expected to register at the start of the Autumn term 2015.


*Applicants from outside the UK/EU are eligible to apply for the studentship on the understanding that they pay the difference between the full time cost of UK/EU and International fees.

Additional Information
Prior to making your application you are encouraged to identify a UEL school and supervisor which matches your area of interest. Details of school staff and their research and supervisory interests can be found by browsing the school pages on the university’s website. Simply visit http://www.uel.ac.uk and click on ‘Schools’ on the homepage.

Informal enquiries about the studentships should be addressed in the first instance to the Graduate School at UEL.

To further discuss your application please contact Ben Whitham in the Graduate School at pgrenquires@uel.ac.uk or by telephone on 020 8223 6274.

Information on submitting an application can be found under ‘How to Apply’ on the studentships page of our website: http://www.uel.ac.uk/studentships

The closing date for completed applications is 24th May 2015. Interviews will be held in the week commencing 29th June 2015.

To apply please cut and paste the link:
http://www2.uel.ac.uk/study/pgr/funding/home_students/funding-_pgr/studentships/?utm_campaign=phd-studentships-2015&utm_source=jobs.ac.uk&utm_medium=job-posting&utm_content=studentships&utm_term=smrs&utm_term=117402199-290242412-0

(info atualizada em 23/04/2015)

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Funded PhD studentships in the School of Media, Culture and Society, UWS
Expressions of interest and applications are welcome from those interested in pursuing doctoral studies within the School of Media, Culture and Society at the University of the West of Scotland. The School has an impressive research culture. In REF 2014, across the two major Units of Assessment to which our work was submitted, 86% and 88% of the work overall was rated as internationally recognised (2* or higher) with at least one-third of the work in each submission rated as internationally excellent or world leading. In UoA 36 our research environment was assessed as 100% internationally recognised (with 60% internationally excellent - 3*). In this element of our submission, the impact of our research was entirely graded at the highest two levels (3* and 4*), with 30% considered to be ‘world leading’ (4*).

Currently we are seeking applications for PhD studentships in our Cluster in Culture and Creativity, which address the following themes:
• Theoretically and critically informed practice-based work in film, performance, popular and commercial music, visual arts, broadcasting, digital media and creative writing
• Cultural policy and critical events studies including arts and community regeneration, social impact and critical approaches to urban regeneration
• Digital media, culture and society, including citizen/participatory media, social media and cultural impediments to digital inclusion/exclusion, digital media, cultural memory and archiving
• Place-based studies employing methodologies drawn from the arts and humanities with a particular focus on diverse contexts of cultural participation and cultural memory in Scotland
• Media studies including critical discourse analysis of news media and work which engages with contemporary cultural politics, including debates about social inclusion/exclusion, cultural production and cultural entrepreneurship, and the politics of identity and belonging

Funding Notes:
UWS studentships offer an annual stipend of £13,863 per annum for three years and payment of tuition fees (current value £3900). Funding will be considered as part of a competitive round and there is no guarantee that projects submitted by applicants will be awarded funding.

Studentships are open to Home/EU candidates with a first degree in a relevant discipline. Non-EU students can apply, but will not receive the stipend and will be required to pay fees.

Candidates must be available to commence their studies 1st October 2015.

References:
For further information on the activities of each of the research clusters or for an informal discussion about your research proposal, please contact Professor David McGillivray, School Postgraduate Research Student Coordinator (david.mcgillivray@uws.ac.uk <http://www.findaphd.com/search/EmailEnquiry.aspx?FAPGID=2755&LID=360&EA=david.mcgillivray@uws.ac.uk>)  or Professor Robert Pyper, Assistant Dean (Research and Enterprise) (robert.pyper@uws.ac.uk <http://www.findaphd.com/search/EmailEnquiry.aspx?FAPGID=2755&LID=360&EA=robert.pyper@uws.ac.uk>) in the first instance. Applications received will be considered by the School after the closing date on 15th May and it is expected that a round of competitive interviews will be scheduled soon afterwards.

Postgraduate Degree by Research Applications should be completed online: further details here:
http://www.uws.ac.uk/research/graduate-school/prospective-students/

Please note that we are unable to consider applications without a research proposal.
The closing date for applications is 15th May 2015.
(info atualizada em 23/04/2015)

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Turning the Page: Digitalization, movie magazines and historical audience studies
A Conference organized by NoRMMA, CIMS and DICIS
Ghent University (Ghent, Belgium), 12 and 13 November 2015
Keynotes: Geneviève Sellier, University of Bordeaux; Eric Hoyt, University of Wisconsin-Madison

NoRMMA, the University of Kent’s Network of Research: Movies, Magazines and Audiences, and CIMS, the Ghent University’s Centre for Cinema and Media Studies, will be holding a conference on the impact of digitalization for the study of movie magazines and historical audiences. The conference is supported by the Digital Cinema Studies network DICIS. Proposals for papers are now invited.

The recent advances in research made by proponents of New Cinema History underline the importance of extending the field of scholarly focus beyond the film text to the wider movie-going experience. While material objects such as company records, theatre ledgers and fan letters have now gained a respectable place in this research, the movie magazine, whether fan or trade, still seems to be neglected or regarded with suspicion. This is perhaps due to the fan magazines' reputation for purveying scandal and gossip, their frequent mingling of gushing tone and blatant falsehood. Since the trade papers were aimed at industry insiders, theatre owners and exhibitors, studio employees and agents, periodicals such as Variety, The Hollywood Reporter and Motion Picture Herald have also been overlooked as somehow biased towards business interests. However, by treating movie magazines as the objects of primary rather than secondary research, important findings can be generated.

As Anthony Slide has noted, in their heyday from 1920s to 1950s, there were around 20 major movie magazines on offer every month at American newsstands (2010: 3), with more offered in Europe and across Latin America; trade publications, though sold to and for different markets, were also produced in steady numbers within each country involved in film production and distribution. This resulting material gives investigators a huge potential resource for study, especially now that the digitalization of periodical collections is becoming more common. With the Media History Digital Library making multi-issues of both fans and trades available for download, one of the major problems with working on these publications – access – is partially solved, for researchers now and in the future when even fewer of these ephemeral artefacts may remain physically available.

Robert Scholes and Sean Latham, modernist magazine scholars, announced the birth of a new academic area of interest in 2006, periodical studies, and noted further that “The rapid expansion of new media technologies over the last two decades…has begun to transform the way we view, handle, and gain access to these objects. This immediacy, in turn, reveals these objects to us anew, so that we have begun to see them not as resources to be disaggregated into their individual components but as texts requiring new methodologies and new types of collaborative investigation.” (PMLA 121.2) The networks hosting this conference believe that the study of movie magazines can be just as revealing to film and cultural historians as the highbrow Modernist and Little Magazines, and that the fans and trades equally demand “new methodologies and new types of collaborative investigation.”

This conference therefore aims to bring together researchers whose work examines movie magazines intended for any audience and from any period or locale. We hope to attract colleagues from a wide range of disciplines who wish to pose questions about how to read these artifacts, how to interpret them, and how to assess the impact of digitalization on periodical research. We are seeking abstracts for individual papers and panels of three or four contributors on topics including, but not limited to:
* the advantages and potential disadvantages of digitalisation
* comparative studies of a topic in the trades and fan magazines
* imagining/recovering the audience of the fan magazines
* reading movie magazines as extensions of the cinema-going experience
* idiosyncrasies of national models of movie magazine – alternatives to the Hollywood template
* methodologies for working with the fans and trades
* issues of censorship and industry regulation
* cross-overs in methods and objects of research between the areas of magazine, and periodical, studies
* we are particularly keen to see proposals that cross the borders between academia and industry, and/or archives and libraries

Please send abstracts of 300 words and a 100-word biography to normma.network@gmail.com by 15 May 2015, and address any queries to the same email. After the conference, you may be invited to submit a revised version of your paper for consideration in a special issue or edited volume to be organized by the planners.

Conference committee: Tamar Jeffers McDonald & Lies Lanckman, University of Kent (UK) * www.normmanetwork.com /// Daniël Biltereyst & Lies Van de Vijver, Ghent University (Belgium) * www.cims.ugent.be * www.digitalcinemastudies.com
(info atualizada em 23/04/2015)

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2 fully funded PhDs and 1 post-doc in Brussels
Interdisciplinary project on European politics and values based at the Université libre de Bruxelles (ULB, Brussels, Belgium)
Call for applications:
- 1 full-time post-doctoral position (2015-2019)
- 2 full-time doctoral positions (2015-2019)

The deadline for submitting applications is 10 May 2015. Successful candidates are expected to start working in Brussels on 1 September 2015.
Full text of the call:
http://goo.gl/o1cknR
(info atualizada em 22/04/2015)

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Participations: Journal of Audience & Reception Studies
Special themed issue - Inside-the-scenes: The rise of experiential cinema
Guest Editors: Sarah Atkinson and Helen W. Kennedy, University of Brighton

In recent years, there has been a growing trend toward the creation of a cinema that escapes beyond the boundaries of the auditorium whereby film-screenings are augmented by synchronous live performance, site-specific locations, technological intervention[1] <#_ftn1>, social media engagement, and all manner of simultaneous interactive moments including singing[2] <#_ftn2>, dancing, eating, drinking[3] <#_ftn3> and smelling[4] <#_ftn4>. Whilst recognizing that these experiences are not radically new (some belong in a continuum of peripheral marketing around film screenings that have existed since early cinema) we do now see these previously marginal experiences (i.e. /The Rocky Horror Picture Show/) beginning to find access to a much wider public, and a significant rise in organisations dedicated to the design and delivery of augmented cinematic /main /events (such as /Secret Cinema[5] <#_ftn5>/ and /Sneaky Experience/). We would like to make the distinction between the focus of this CFP – which is directed toward the study of ‘event-/led’/ cinema - the /creation /of live events around a particular film screening, and its contrasting proposition - ‘event cinema’ - the /coverage/ of live events in cinema auditoriums (such as sport, opera and theatre - around which there is already much lively academic discussion, and an organization established to support such activities/[6]/ <#_ftn6>). This CFP is situated with the context of a growing demand for atmospheric, immersive and participatory cinematic experiences and the recent turn towards event-led distribution models, within a burgeoning experience economy. This area presents a fertile site for analysis and one that remains relatively untapped within past and current academic literature. This special issue aims to bring together the latest audience research into these areas to interrogate and explore the experiential cinema economy and to provide deepened understandings of recent immersive cinema phenomena through the analysis of both industrial and audience perspectives; to reveal economic, social and technological imperatives which underpin these innovations; and to evolve new conceptual frameworks and language of analyses suitable for their study.

The editors are particularly interested in encouraging submissions from a range of research contexts and from a diversity of methodological approaches. We are happy to receive submissions from a variety of disciplines such as film, media, games, theatre & social media studies.
We are keen to encourage submissions from work that has combined multiple methodologies leading to innovations in audience research. Contributions will be welcomed, but are not limited to, articles
addressing the following questions or areas of enquiry:
·To what extent do these experiences extend and intensify narrative affect, heighten spectatorial absorption and enable vicarious audience engagement?
·How are non-fictional augmentations such as cast and crew satellite link-ups to Q&A staged in order to engage an audience with a greater expectations of interactivity?
·What new business models are emerging? At recent film festival events, industry talk and focus has turned to ‘eventising’. This is high on the agenda of an industry seeking to evolve new business models which address an apparent audience demand for enhanced and/or augmented experiences.
·How do such experiences embrace or challenge existing fan practices including cosplay?
·How are the relations and tensions between the experience economy and the social media economy played out within these experiences?(i.e. participation in events engendered by the experience economy provide audience members who are engaged in the social media economy with the fodder with which to sustain their voracious social media streams)
·How far can these augmented cinematic events be understood with recourse to a wider understanding of a shift in focus towards the design of experiences and multiple points of access around key (and often much loved) intellectual properties?
·Where do the boundaries of the filmic-text, traditionally the key site for analysis in film studies, begin and end within immersive and participatory cinema experiences?

While we expect that not every submission will include any specific kind of audience research, we would welcome submissions that address the /implications /their investigations and arguments have for audience experience.

Please submit 500-word abstracts along with 100-word author biographies to both:
Sarah Atkinson: S.A.Atkinson@brighton.ac.uk and Helen Kennedy: h.kennedy@brighton.ac.uk
Deadline for abstracts: Tuesday 5^th May, 2015
Decisions issued to authors: w/b 1^st June, 2015
Deadline for full papers: Tuesday 1^st September, 2015
Journal publication: May 2016
Please see journal information including submission guidelines at: http://www.participations.org/

(info atualizada em 21/04/2015)

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BFI Media Conference 2015
Thurs 2 & Fri 3 July, BFI Southbank, London

The BFI Media Conference is a unique event for teachers of film and media at 16+ and in HE to meet, learn and be inspired. We are delighted to welcome a wide range of speakers to the conference to discuss creative approaches, innovative ideas and successful projects across the three strands of Industry, Teaching and Research.

Industry highlights include plenary speakers Will Saunders (Creative Director, Digital, BBC TV), Rachael Prior (Head of Development, Big Talk Pictures), Ben Roberts (Director, BFI Film Fund) and Polly Stokes (Senior Development Editor, Film4). Further speakers include Mike McGee (Co-Founder and Creative Director, Framestore) on immersive media, Madeleine Brettingham (co-writer /Newzoids, Have I Got News for You/) on writing TV comedy, Rajiv Nathwani (Social Media Manager, BBC) on social media and /Sherlock/, Isaac Densu (Shorts Commissioner, Channel 4) on short format and All4, director Sarah Gavron (/Brick Lane, Suffragette/) on her recent work, and William Owen (Founding Partner/Strategy Director, Made By Many) on creating the ITV News App.

Teaching and Research sessions cover everything from the launch of UKfilmNet, an essential new film skills resource for teachers (Dom Foulsham, UKfilmNet) to Transmedia Production with students (Anna Zaluczkowska, Leeds Beckett) to the History and Role of the BBC (Jonathan Nunns, Collyer’s College) to Gay Identity in Reality TV (Michael Lovelock, UEA) to accessing gender theory in the classroom via The Bechdel Test (Rebecca Ellis, Thomas Rotherham College).

The Early Bird offer gives up to 20% off until 22 May.
Web http://www.bfi.org.uk/education/conferences
Email mediaconference@bfi.org.uk mediaconference@bfi.org.uk>
Phone +44 (0)20 7815 1329
(info atualizada em 21/04/2015)

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Urban Media Studies: Concerns, intersections and challenges
University of Zagreb, Faculty of Political Science, 24–25 September 2015

Confirmed keynote speaker: Ole B. Jensen, Professor of Urban Theory, Dept. of Architecture, Design and Media Technology, Aalborg University.

Call for papers and panels
Media related practices are grounded in the city – where the majority of human population today lives – and media as both technologies and representations pervade nearly all aspects of urban living, cutting through diverse forms of public appearance, community, control, resistance and habitation.

As a result, none of the established perspectives in media studies, whether that of democracy and participation, production and technology, representation and use, or belonging and identity, can claim to have an exhaustive understanding of their problematics without appreciating the urban context. In the same way, no urban process can be fruitfully tackled without taking into account the involvement of media and media related practices.

Yet, despite being closely – though unevenly – entwined, from small towns to megalopolises, the two complexes, media and the city, have remained disjointed in the scholarly analyses. In fact, it can be argued that for media scholars in particular, the city has remained a terra incognita.

Wishing to revive the initial enthusiasm in media studies, which started as an interdisciplinary endeavour, Urban Media Studies conference aspires to provide a dialogic space for disciplines interested in mediated urbanism. We also hope to stimulate critical reflections on the challenges of collaborating across disciplinary boundaries. Thus, though speaking from the position of media studies, we invite submissions from scholars who work in all relevant fields that interface with the key issue of media and the city. These include, but are not limited to, such fields as urban geography, urban sociology, architecture, anthropology, science and technology studies, visual and sound/auditory culture studies, sociology of the senses, and other related subfields.

We specifically welcome submissions which deal with the following themes and approach them with an interdisciplinary curiosity – as potential intersections between two or more fields of research:
Historical connections between urban studies and media studies
Urban spaces and media practices
Urban sociality and media
Mediation of urban daily life
Media, architecture and urban design
‘Media cities’ as production clusters and complexes
Performing and audiencing (in) the mediated city
Media, urban power, resistance and conflict
Media, gender and the city
Media, ethnicity and the city
Urban spaces of media consumption
Urban law in the digitally sustained cities
Mediated urban sensescapes
Urban, outdoor and ambient advertising
Fashion as urban communication
Urban gaming
Journalism and the city
The city as a mediated ecosystem
Urban mediation and spatial negotiations
Methodologies of urban media studies
Teaching about media and the city

We welcome both individual and multi-authored abstracts, and full panel proposals (with four presentations; 15–20 minutes per presentation). In the case of panel proposals, the candidate chair should provide a title and a short general description of the proposed panel, together with the abstracts of all presenters.

In addition to conventional academic presentations of original theoretical, methodological and/or empirical research of any of the above or other related themes, we encourage practice-based presentations, like urban films and documentaries, sonic projects and other exploratory artwork that probe issues of media and the city.

Abstract proposals (300 words) for presentations and panels, together with short bios, should be submitted to mediacity.twg@gmail.com by May 1st, 2015. Authors will be informed of acceptance by June 1st, 2015.

The conference will also feature a special dialogic plenary where participants from different disciplines will be invited to share views on their work in the context of media and the city.

As part of our commitment to stimulate interaction between scholars from different disciplines, we shall also be organising a guided urban exploration of Zagreb’s industrial, modernist/utopian architectural heritage, and post-industrial urban developments.

A selection of papers will be published in an edited book and/or in a journal special issue.

Conference fee is 50 Euros for ECREA members, 70 Euros for non-members. The fee will cover conference materials, and coffee and lunch both days.

Any queries should be sent to conference organizers Seija Ridell (University of Tampere, Finland), Simone Tosoni (Catholic University of Milan, Italy) and Zlatan Krajina (University of Zagreb, Croatia). Please use the conference e-mail address:mediacity.twg@gmail.com.

OBS. For the conference updates, please follow the Media & the City websites onhttp://twg.ecrea.eu/MC/ and https://www.facebook.com/mediaandthecity
(info atualizada em 20/04/2015)

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Journal/Gender in series: cinema, television and the media/
Authors can submit anytime they want:
- A proposal for a special issue that would include a call for papers, a list of potential contributors and a presentation of the stakes and perspectives.
- A book review (research monograph or edited volume).
- An article dealing with cultural, intercultural or interdisciplinary approaches of cinema, television and media in the fields of art, humanities and cultural studies.

Every article, in English or French, will be peer-reviewed anonymously. 

We may ask the authors to amend, rewrite or correct their papers.
If you provide visuals, they must be copyright-free.

Articles should range approximately between 25.000 and 45.000 characters, including references and bibliography. Book reviews should range approximately between 6.000 and 10.000 characters.
Articles, book reviews and special issues can be sent anytime to:
Laetitia Biscarrat : laetitiabiscarrat@hotmail.com
Gwénaëlle Le Gras : gwenlegras@wanadoo.fr
Presentation of the Journal
/Gender in series: cinema, television and the media/ is an online Scientific Journal based on both an international scientific committee and a double-blind peer review policy. It is sustained by the French
Maison des Sciences de l’Homme d’Aquitaine and it focuses on gender in media cultures. Gender Studies were born in the UK in the 1950s and 1960s. They developed extensively in the USA and the English-speaking world. They contributed to the renewal of approaches and corpuses. The Journal Gender in series: cinema, television and the media can be considered as a pioneer in the French context as it articulates Gender and Media Studies. The Journal’s goals can be encapsulated into two key points. First, it contributes to the late appropriation by the French Media and Film Studies’ fields of theories and methods. Secondly, the increasing importance of the media in social life, as a specific
resource for the making of identities and gender relationships, entails us to analyze collectively the power relationships, social structures and norms at work in media cultures.

Issues are released on a semi-annual basis. They provide articles to a large academic public (students, teachers and researchers), hence facilitating the spreading and teaching of these approaches in the French-speaking world.
To find out more : http://genreenseries.weebly.com/

(info atualizada em 17/04/2015)

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GRA/Studentship Opportunities at Leicester
The Department of Media and Communication at the University of Leicester, invites applications for its September 2015, PhD and Graduate Research Assistantships in its world-leading research areas:
Social Media and Vulnerable Communities (4 year PhD programme plus 0.2 research assistant post)
http://www2.le.ac.uk/study/research/funding/vulnerable-communities

Media Dissent and Urban Life (4 Year PhD plus 0.2 research assistant post)
http://www2.le.ac.uk/study/research/funding/media-democracy

Media Representations of Traditional Femininity and Domesticity (3 year PhD studentship)
http://www2.le.ac.uk/study/research/funding/representations

Closing date for applications on 17th April, 2015
For further information, please contact Liz Bonnett by email at mcresearch@le.ac.uk
(info atualizada em 17/04/2015)

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GLaSS : GameLab Summer School
From June 8th to July 31st 2015
For eight weeks, in the center of Paris, fifteen international students will build scientific video games, with the aim of presenting an innovative game in front of a jury. They will be assisted by experts in science, game design, technology and education. In the spirit of collaboration, they will work in teams and contribute to open source and open data. Accompanied by fascinating classes, varied challenges, new technologies and exciting events, they will share their skills, experiment, and learn by doing, all to create successful scientific games!

15 places open, applications deadline is April 23rd 2015.
More info: http://cri-paris.org/gamelab/glass/

(info atualizada em 17/04/2015)

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European Cinemas, Intercultural Meetings: Aesthetics, Politics, Industry, History
A Two-Day International Conference
Conference date: Friday 13th and Saturday 14th November 2015
Venue: University of Copenhagen, Denmark
Organised by: ECREA Film Studies Section
Deadline for abstracts: 4 May 2015
Conference website: europeancinemainterculturalmeetings.wordpress.com

More radically than ever before, European countries – and even the idea of the continent – are being shaped by international relationships and pressures, and by meetings and clashes of cultures, identities and traditions. Simultaneously, its cinemas are undergoing changes in many respects, in terms of genres and aesthetics as well as of production and distribution. On the one hand, the notion of transnationalism, that has been used for some time to capture these changes and move beyond national frameworks for the study of film, is currently being extended to account for an increasingly cosmopolitan, global imagination that is reflected in contemporary European lifestyles, as well as in the aesthetics of contemporary European cinemas. On the other hand, film production and distribution often transcend national boundaries, and so do the new digital platforms for film dissemination and consumption, thus creating new market configurations as well as new transnational audiences. The growing impact of mobile social media contributes to forming an increasingly participatory, networked transnational spectatorship. EU funding for the cinema is at once adapting to and shaping these trends, as does contemporary EU policy on film and the media.
The objective of this conference is to address and discuss the implications of both novel and past intercultural meetings for European cinemas and their consequences on its history, identity and evolution through discourses of aesthetics, politics and industry.

Keynote Speakers:
Professor Daniela Berghahn, Royal Holloway, University of London
Professor William Higbee, University of Exeter

Abstracts are invited on topics related to European Cinema, Intercultural Meetings: Aesthetics, Politics, Industry, History, including but not limited to:
Intercultural Meetings on European Screens
National Cinemas and Diaspora
Global Cinema in Europe, European Cinemas in the Global Market
Cosmopolitanism and Film
Political Cinema, Politics of Cinema
Conflict, Violence, Reconciliation
Fortress Europe, Borders and Border-crossing
Culture and Identity of Contemporary European Cinema
European Film Festivals and Politics
European Film Financing and Policy
The Changing Face of European Co-production
Digital Platforms, Interconnected Audiences

Abstract Submission: Please submit your abstract (max 300 words) along with key references, institutional affiliation and a short bio (max 150 words) or a panel proposal, including a panel presentation (max 300 words) along with (no more than four) individual abstracts.

Submission Deadline: May 4th 2015. Please send your abstract/panel proposals to Helle Kannik Haastrup: jxc817@hum.ku.dk.

Conference Details: The Conference is hosted by the Department of Nordic Studies, University of Copenhagen, Denmark.

Registration: 50 Euros (ECREA membership is not required).

Contact Information:
Helle Kannik Haastrup: jxc817@hum.ku.dk University of Copenhagen
Anders Marklund: anders.marklund@litt.lu.se University of Lund
Laura Rascaroli: l.rascaroli@ucc.ie University College Cork

Conference website: https://europeancinemainterculturalmeetings.wordpress.com/
(info atualizada em 17/04/2015)

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Four jobs in Bergen, Norway
A Professor and Director of Studies
http://www.jobbnorge.no/en/available-jobs/job/112399/professor-associate-professor-and-academic-director

An Associate Professor in Media Studies
http://www.jobbnorge.no/en/available-jobs/job/112414/associate-professor-in-media-studies

An Associate Professor in Television
http://www.jobbnorge.no/en/available-jobs/job/112406/associate-professor-in-television-production

An associate Professor in Interactive Digital Design
http://www.jobbnorge.no/en/available-jobs/job/112411/associate-professor-in-interaction-design-for-digital-media
(info atualizada em 17/04/2015)

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Doctoral Fellowships London
A couple of doctoral fellowships for folks who may be interested in studying with me—one on cultural citizenship, the other on electronic waste and/or greenwashing culture. I managed to persuade the school to go beyond the new nativism (i.e. favoring UK/EU candidates financially over the rest of the world)
http://www.findaphd.com/search/ProjectDetails.aspx?PJID=63020
http://www.findaphd.com/search/ProjectDetails.aspx?PJID=63019
(info atualizada em 17/04/2015)

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Positions at the University of Vienna
The Department of Communication at the University of Vienna is one of the world’s largest departments for communication science. Set up during the 1940s, the Department now has almost 4,000 students, more than 60 employees and more than 120 teaching staff. For more information please visit: http://publizistik.univie.ac.at/en/

In the department’s Media Governance, Media Industries and Media Organisation Research Group (chair: Professor Katharine Sarikakis), there is a post doc position to be filled.
Nature of post: 40 hours/week
Fixed Term: 6 years

*Areas of work:*
The position involves research, teaching and administrative work. As part of their research, the successful candidate is expected to publish and present research work at an international level and to participate in acquiring external funding. The preparation of a post-doctoral thesis (habilitation) is encouraged. Teaching at the Bachelor’s and Master’s levels and the supervision of students is done independently; teaching load is in accordance with the collective agreement. In addition, candidates are expected to perform administrative duties and to participate in evaluation activities and quality assurance processes. This position will be associated with the professorship for Media Governance Media Industries Media Organisation (Univ.-Prof. Dr. Katharine Sarikakis) (Homepage: http://mediagovernance.univie.ac.at)

*Profile:*
-PhD/doctorate in Communication or related discipline with a focus on one or more of the following: communication governance, media policy, regulation, legal dimensions of intellectual property/copyright, creative industries, public service media, privacy, digitalization, social media, political economy of communication, global media. 

-Track record of international publications, presentations and scholarly activity
-Competencies in qualitative and/or quantitative research methods and epistemology
-Teaching experience at university-level
-Ability to work in a team, flexibility and commitment
-Knowledge of university structures and processes and experience in managing research projects

You will be expected to proactively propose and be involved in the design of new research projects, undertake coordination and mentoring tasks in relation to doctoral assistants and be actively involved in the maintenance and development of the research group’s activities, including communication, web presence and team projects.

Please send to jobcenter@univie.ac.at:
a detailed CV with a list of publications, highlighting the five most important publications/presentations
b. a motivation letter
c. a research plan proposal
d. names of three referees

Job Ref 5678
**deadline April 21**

For more information about the university of Vienna please visit www.univie.ac.at

For more information about the Media Governance Research Group please
visit http://mediagovernance.univie.ac.at

https://univis.univie.ac.at/ausschreibung/flow/bew_ausschreibung-flow?_flowExecutionKey=_c40F7F712-52E6-DD91-00D5-9DEE4B156690_kAEB8D40C-4809-15D4-BD8F-A1C959B15D99

(info atualizada em 17/04/2015)

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La Lumière dans le Cinéma, de Maria Raquel Paulo Rato Alves
La Lumière dans le Cinéma
Étude de l’œuvre d’Acacio de Almeida comme Directeur de la PhotographiePresses Académiques Francophones ( 25.02.2015 )

Ce livre a comme thème l’Étude de l’œuvre du Directeur de la Photographie Acácio de Almeida. Un travail inédit abordant l’importance de la direction de photographie dans le cinéma et pouvant contribuer à sa valorisation. L’histoire du cinéma n’a pas su relever le mérite d’Acácio de Almeida, plus précisément, dans des œuvres de: António Reis; Raúl Ruiz; João César Monteiro; entre autres. Il a été fondamental dans la réalisation de grand nombre de films, parfois il «les a sauvé», dans ce sens que son travail est à la base du succès qu’ils ont obtenu, et sans lequel certains films n’auraient pas existé. Une question très sensible est celle de la détermination de la ligne de séparation entre le travail du directeur de photographie et celui du réalisateur. Les deux ont également des équipes à diriger. Le directeur de photographie est le vrai interprète du réalisateur. C’est lui qui complémente visuellement le travail de mise-en-scène du réalisateur. Ce travail de recherche vise démontrer que le directeur de photographie, au-delà d’être considéré comme un collaborateur/créateur dans l’art cinématographique, mérite être considéré un auteur dans la direction de photographie.



(info atualizada em 17/04/2015)

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PALESTRA/EXPOSIÇÃO: "A Luz no Cinema" com Acácio de Almeida (Centro Cultural de Belém - Lisboa/ 17 Abril)
Hoje, dia 17 de Abril, decorre no Pequeno Auditório do Centro Cultural de Belém, em Lisboa, a palestra e exposição sobre "A Luz no Cinema", conduzida pelo Director de Fotografia e Membro Honorário da Academia Portuguesa de Cinema Acácio de Almeida e integrada no ciclo de conferências O Lugar da Cultura - Modelos e Desafios.

Acácio de Almeida nasce em São João da Pesqueira em 1938, mudando-se para Lisboa em 1959 onde começa a sonorizar filmes amadores em película de 9,5 mm, acabando por ingressar no Curso de Cinema do Centro Universitário de Lisboa. Inicia-se como director de fotografia com a longa-metragem de António da Cunha Telles, "O Cerco" (1970). Conta no seu currículo com mais de uma centena de títulos portugueses, de realizadores como João César Monteiro, Ricardo Costa, Jorge Silva Melo, António da Cunha Telles, Paulo Rocha, Alberto Seixas Santos, João Botelho ou Manoel de Oliveira.

O evento tem início pelas 14h30 e a entrada é gratuita.
(info atualizada em 17/04/2015)

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Twenty-First Century TV: Television in the Digital Era
Postgraduate Conference
12 May 2015
The University of Northampton

This one day conference aims to bring together postgraduate students working on all aspects of television in the digital, or post-digital, age. Television today can be online, on demand, downloaded, streamed, live, timeshifted, watched on multiple screens across multiple platforms. Producing and consuming television might involve games, apps, extended narratives, social media and a range of ancillary products. Have recent changes in technology radically transformed TV, or do traditional means of making and watching TV still persist?

Proposals are invited on (but not limited to) the following topics:
* Overflow and paratexts
* Online content
* User-generated content
* Social media
* Red button
* Regional and local TV
* International TV
* Branding
* Authorship, collaboration
* Marketing
* Advertising
* Platforms and delivery
* Multi screening
* Time shifting and recording
* Archiving
* HD, 3D
* CGI, special effects
* Production, consumption
* Communities, audiences, fans

We welcome contributions from students registered on any postgraduate degree, and perspectives are invited from different disciplines.

Please send proposals (250 words) for 20 minute papers plus a brief biography (100 words) to Lorna Jowett and Michael Starr by 12 March2015:TVCultures@northampton.ac.ukTVCultures@northampton.ac.uk
>

Website:http://www.culttvonline.com/workshop-events

The Cult TV: TV Cultures Network is funded by the Arts& Humanities Research Council (AHRC) as part of the Digital Transformations in the Arts and Humanities theme and is affiliated with the Centre for Contemporary Narrative and Cultural Theory (CCN&CT) in the School of the Arts at the University of Northampton.
(info atualizada em 16/04/2015)

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Marie Curie Actions research fellowships of the Research Executive Agency (REA)
The Centre for Research in Applied Communications, Cultures and New Technologies (CICANT) at Lusófona University invites scholars and researchers to submit applications in the context of the open call for Marie Curie Actions research fellowships of the Research Executive Agency (REA) under the Horizon 2020-Work Programme 2014-2015, in the the following areas:
- Health and communication
- Participation, empowerment and media technologies
- Creative industries, media arts and innovative design

Selected applicants will be offered support in submitting their application to the Research Executive Agency (REA), with CICANT as host institution, under the topic of Marie Sktodowska-Curie Individual Fellowship (IF-EF) – MSCA-IF-2015-EF.

Applications must contain the following documentation and be sent by email to sandra.abrantes@ulusofona.pt or mjdamasio@ulusofona.pt (the subject line should be Marie Curie
Fellowships Applications 2015)
- Curriculum vitae
- Project to be developed according to the form of the REA
- Indication of the subject area of CICANT for which the candidate is applying

Important Dates:
Application: April 30, 2015
Deadline for CICANT submission: July 31, 2015
Deadline for final submission: September 9 2015 17:00:00 (Brussels local time)
ULHT <http://www.ulusofona.pt/>
(info atualizada em 15/04/2015)

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Participations: Journal of Audience & Reception Studies
Special themed issue - Inside-the-scenes: The rise of experiential cinema
Guest Editors: Sarah Atkinson and Helen W. Kennedy, University of Brighton

In recent years, there has been a growing trend toward the creation of a cinema that escapes beyond the boundaries of the auditorium whereby film-screenings are augmented by synchronous live performance, site-specific locations, technological intervention[1], social media engagement, and all manner of simultaneous interactive moments including singing[2], dancing, eating, drinking[3] and smelling[4]. Whilst recognizing that these experiences are not radically new (some belong in a continuum of peripheral marketing around film screenings that have existed since early cinema) we do now see these previously marginal experiences (i.e. The Rocky Horror Picture Show) beginning to find access to a much wider public, and a significant rise in organisations dedicated to the design and delivery of augmented cinematic main events (such as Secret Cinema[5] and Sneaky Experience). We would like to make the distinction between the focus of this CFP – which is directed toward the study of ‘event-led’ cinema - the creation of live events around a particular film screening, and its contrasting proposition - ‘event cinema’ - the coverage of live events in cinema auditoriums (such as sport, opera and theatre - around which there is already much lively academic discussion, and an organization established to support such activities[6]). This CFP is situated with the context of a growing demand for atmospheric, immersive and participatory cinematic experiences and the recent turn towards event-led distribution models, within a burgeoning experience economy. This area presents a fertile site for analysis and one that remains relatively untapped within past and current academic literature. This special issue aims to bring together the latest audience research into these areas to interrogate and explore the experiential cinema economy and to provide deepened understandings of recent immersive cinema phenomena through the analysis of both industrial and audience perspectives; to reveal economic, social and technological imperatives which underpin these innovations; and to evolve new conceptual frameworks and language of analyses suitable for their study.

The editors are particularly interested in encouraging submissions from a range of research contexts and from a diversity of methodological approaches. We are happy to receive submissions from a variety of disciplines such as film, media, games, theatre & social media studies. We are keen to encourage submissions from work that has combined multiple methodologies leading to innovations in audience research. Contributions will be welcomed, but are not limited to, articles addressing the following questions or areas of enquiry:
· To what extent do these experiences extend and intensify narrative affect, heighten spectatorial absorption and enable vicarious audience engagement?
· How are non-fictional augmentations such as cast and crew satellite link-ups to Q&A staged in order to engage an audience with a greater expectations of interactivity?
· What new business models are emerging? At recent film festival events, industry talk and focus has turned to ‘eventising’. This is high on the agenda of an industry seeking to evolve new business models which address an apparent audience demand for enhanced and/or augmented experiences.
· How do such experiences embrace or challenge existing fan practices including cosplay?
· How are the relations and tensions between the experience economy and the social media economy played out within these experiences? (i.e. participation in events engendered by the experience economy provide audience members who are engaged in the social media economy with the fodder with which to sustain their voracious social media streams)
· How far can these augmented cinematic events be understood with recourse to a wider understanding of a shift in focus towards the design of experiences and multiple points of access around key (and often much loved) intellectual properties?
· Where do the boundaries of the filmic-text, traditionally the key site for analysis in film studies, begin and end within immersive and participatory cinema experiences?

While we expect that not every submission will include any specific kind of audience research, we would welcome submissions that address the implications their investigations and arguments have for audience experience.

Please submit 500-word abstracts along with 100-word author biographies to both :

Sarah Atkinson: S.A.Atkinson@brighton.ac.uk and Helen Kennedy:h.kennedy@brighton.ac.uk
· Deadline for abstracts: Tuesday 5th May, 2015
· Decisions issued to authors: w/b 1st June, 2015
· Deadline for full papers: Tuesday 1st September, 2015
· Journal publication: May 2016

Please see journal information including submission guidelines at:http://www.participations.org/


[1] The first 4DX cinema opened in the UK earlier this year in Milton Keynes, UK.
[2] See http://www.singalonga.net
[3] Last year, Edible Cinema delivered a screening of Paolo Sorrentino’s The Great Beauty, using ‘taste, aroma and texture to heighten the viewers’ sensory experience of the film’s most famous scenes.’
[4] Polyester, the 1981 John Waters film was recently re-screened at 35 UK cinemas, in the way that it was originally intended, accompanied by audience interaction with the Odorama ‘Scratch n’ Sniff’ cards, as part of the National Scalarama film festival.
[5] The editors have themselves carried out extensive analyses of Secret Cinema, see both Atkinson, S. and Kennedy, H. (2015):
- Tell no one: Cinema as game-space - Audience participation, performance and play, G|A|M|E: The Italian Journal of Game Studies, 5/2015
- Not so secret cinema: when independent immersive cinematic events go mainstream, SCMS conference, Montreal, March 2015
[6] The Event Cinema Association seeks to support and promote event cinema – see http://www.eventcinemaassociation.org/
(info atualizada em 15/04/2015)

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