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The Association of Moving Image Researchers [AIM] came out of the desire to bring together in Portugal, in the same organism, a group of researchers sharing the same investigation interests.

Become Member

Join an international community of motion picture researchers and stay abreast of all AIM initiatives and news!

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Encontros no ANIM 2019

A Cinemateca organizará em maio deste ano a segunda edição dos “Encontros no ANIM”. Os Encontros, que terão lugar este ano nos dias 21 e 22 de maio, são um momento de partilha de conhecimentos e de reflexão crítica sobre a história do cinema em Portugal realizados conjuntamente por investigadores universitários, conservadores de cinema e, também, pelos protagonistas daquela história. Procurando promover o diálogo entre o trabalho de arquivo e o trabalho sobre o arquivo, os Encontros no ANIM incluirão debates sobre trabalhos de restauro ou digitalização em curso ou recentemente terminados, projeções comentadas de filmes recentemente restaurados ou pouco mostrados em sessões públicas, visitas às áreas técnicas do ANIM e comunicações acerca de investigações recentes ou em curso, preferencialmente sobre obras da coleção fílmica e museográfica da Cinemateca.

Em 2019, os Encontros estendem-se por dia e meio. Na tarde do dia 21 de maio terá lugar a visita ao ANIM, seguida de um painel temático intitulado “Sobre a digitalização de cinema português: boas práticas, fluxos de trabalho e casos de estudo”, com a participação de técnicos do ANIM e de empresas especializadas em restauro digital de imagem e som. No dia 22, a manhã será preenchida por uma painel de conferencistas convidados que abordarão filmes cujo processo de restauro e/ou de digitalização está em curso. Da parte da tarde terão lugar dois painéis abertos com comunicações selecionadas por uma comissão científica independente.

A participação como palestrante ou como ouvinte implica o pagamento de uma taxa de inscrição única de €20.

Chamada de trabalhos
Os Encontros no ANIM aceitam propostas de comunicação para os dois painéis abertos que terão lugar na tarde do dia 22 de maio. Estas comunicações podem incidir sobre qualquer tema e período cronológico da história do cinema em Portugal, devendo preferencialmente analisar obras da coleção fílmica e museográfica da Cinemateca. As comunicações serão selecionadas por uma comissão científica independente.

Envio de propostas, prazo e seleção
As propostas de comunicação devem usar o formulário online (hiperligação abaixo) e ser submetidas até 15 de abril. Todas as propostas serão sujeitas a um processo de avaliação cega pelos membros da Comissão Científica. As notificações de aceitação serão enviadas até 22 de abril. O programa final será publicado a partir de 29 de abril.

A participação como ouvinte ou conferencista implica o pagamento de uma taxa de inscrição única de €20 e será limitada pela lotação da sala onde se realizará o Encontro.

Inscrições e submissão de propostas: formulário

Mais informações: acesso@cinemateca.pt
) ) [1] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: The Creative Process in Portuguese Film: Materialities ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>

The deadline for submissions is Friday 22 March 2019. Organisation: Centre for Portuguese Language and Culture (King´s College, London) and Utopia - UK Portuguese Film Festival.

https://www.kcl.ac.uk/archive/events/splas/conferenceutopia2019-call-for-papers.pdf
) ) [2] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: Special issue of the Journal of Italian Cinema and Media Studies: F. Fellini ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>


Special Issue of the Journal of Italian Cinema and Media Studies

With hat and red scarf. The building of Federico Fellini’s public image.


Guest-edited by Clizia Centorrino, Marco Dalla Gassa, Andrea Minuz

The centenary of the birth of director Federico Fellini in 2020 invites
a unique opportunity to reassess his contribution to the history of
Italian culture from new perspectives.

Withhis monumental film production, which has been extensively
studied—at least from/La dolce vita/forward—the Riminese director
gradually seeped into Italy’s daily life. While his films have sparked
lively debates since he first became popular in the 1950s, less
attention has been devoted to the process that has led many scholars to
consider him the emblematic figure of the film artist, both as a major
character in the cultural history of Italy and as the symbol of what is
quintessentially ‘Italian’.

Unlike other Italian directors, Fellini became a newsworthy and
publicized figure beginning in the 1960s. He contributed to the creation
of an ‘elusive’ image of himself (Hodsdon 2017) both through the
construction of several cinematic alter-egos and through unmistakable
appearances with his hat and red scarf in documentaries, feature films,
illustrated news magazines, press and TV reports, and other forms of
media. Equally, he emerged as a staunch defender of certain political
and cultural struggles, such as those against television commercials or
against Berlusconi (who was still an editor at that time). Additionally,
he became an object of scrutiny and discussion for journalists, critics,
cinephiles, colleagues, and biographers searching for an openly
hagiographical definition of the threshold of the Italian artistic
tradition.

Earlier theoretical contributions have thoroughly assessed the concept
of ‘author’. Had Mikhail Bakhtin studied Fellini as an aesthetic and
narrative object, he might have introduced him as a case study in/Author
and Hero in Aesthetic Activity/to highlight the reciprocal nature
between his creative acts and his activism on the public scene
(Bakhtin 1920-23). Michel Foucault, on the other hand, would have
praised the discursive feature “characterized by […] plurality of egos”
(Foucault 1969). Roland Barthes, for his linguistic sensibility, might
have asked how Fellini influenced even common vocabulary such as the
transformation of his name into an adjective as well as other words such
as ‘dolcevita’, ‘amarcord’, and ‘vitelloni’ (Barthes 1967-68).

However, from our point of view, it becomes essential to consider
Fellini from a social and historical angle, calling upon cultural and
social disciplinesto furnish new analytical perspectives— measuring the
impact of his personality on today’s and yesterday’s Italy, and on the
Italian identity abroad. For example, Fellini was keen on creating a
public image of himself both as a ‘magician’ and as a country bumpkin,
playing with a combination of two Italian stereotypes: the creative
artist (the ‘maestro’) and, by a sort of ‘reverse patriotism’, a heap of
irredeemable flaws (Patriarca 2010). In short, the creation of his
reputation is a crucial case study of how an ‘artist’ is socially
constructed and of the cultural forces that influence his public image
(Kapsis 1992).

This angle unlocks promising and abundant research possibilities: the
idea of masculinity offered by Fellini’s voice and body
(his/acousmatic/force, as Chion [1999] would say, is flagrant); the
fashion in which his cumbersome presence has transformed urban spaces,
such as Rimini, a film library dedicated to him, the Cinecittà theme
park, Rome, and the EUR district. Moreover, contributions to this
special issue can discuss the exoteric vein in Fellini’s life
experiences as often illustrated in magazines and news outlets; the
numerous parodies of which he is the unconscious victim; the
proliferation of commercial activity using the names of his films (here,
too, are-semanticizedlexicon); and the way in which his wife, and his
collaborators, friends, and colleagues evoke him in biographies,
interviews, public statements (Giulietta Masina, Marcello Mastroianni,
Vincenzo Mollica, Tullio Kezich, Milo Manara).

Overall, the broad and innovative perspective described in this call for
papers pursues the goal of rediscovering the aspects that contributed to
Fellini’s mythification and integration into the sphere of Italian
public speech.If we can believe Morin when he says Fellini “is more than
an actor incarnating characters, [since] he incarnates himself in them,
and they become incarnate in him,” (Morin 1961) is it then possible to
study Fellini as a character//divo/ in the film of social history and
Italian culture in the last half century? If the articles composing this
single-issue journal confirm that proposition, may one consider
Fellinian heritage as the ability to inhabit social spaces, the ability
to be inscribed in the (Italian) public sphere but in flesh, bones, and
other phantasmal forms?

Possible topics include, but are not limited to:

1.Fellini as an actor (in his films, in others’ films and in documentaries;

2.The embodiment of Fellini: voice and body of the ‘maestro’ on the
radio, in his films and the question of dubbing his voice;

3.The mediatized Fellini on television, the radio, and in magazines: for
example, the relation between Fellini and reporter Mollica in RAI
programs; Fellini in feminist magazines; Fellini in daily newspapers in
Italy and abroad; the ceremony at Cinecittà following Fellini’s death
and its representation; and Fellini in contemporary art;

4.Fellini recounted and invented (by his wife Giulietta Masina, his
collaborators and actors;

5.Fellini and public spaces: transformations in Rimini and Cinecittà,
‘Fellinian’ commercial activities in the world and cinema tourism;

6.Fellini’s image abroad: the mythification of the director from a
particular perspective (be it American, European);

7.The illustrated Fellini: comics, graphic novels;

8.The photographed Fellini: themes, motifs, poses; the construction of a
visual semiotic through famous photographs, in magazines devoted to him;

9.The Fellinian lexicon and its re-semantization: ‘Fellinian’ as an
adjective.

The deadline for the submission of abstracts is 15th April 2019.
Interested contributors should send:

-500 word abstracts outlining the topic, approach and theoretical bases

-relevant bibliography and filmography

-200 word biographical notes (including academic publications)

to the three Guest Editors:

Clizia Centorrino, Université Grenoble Alpes

Marco Dalla Gassa, Ca’ Foscari University of Venice

Andrea Minuz, Sapienza University of Rome

at the following addresses:

clizia.centorrino@univ-grenoble-alpes.fr
<mailto:clizia.centorrino@univ-grenoble-alpes.fr>

dallagas@unive.it <mailto:dallagas@unive.it>

andrea.minuz@uniroma1.it <mailto:andrea.minuz@uniroma1.it>

*The accepted proposals will be notified by 30^th April 2019; completed
articles should be sent by 31^st July 2019 for peer-review; authors
will be notified of the results of the peer-review by 15^th October 2019.*

*References*

Bakhtin, Mikhail Mikhailovich, “Author and hero in aesthetic activity”,
1920-23, Eng. trans. in Bakhtin, Mikhail Mikhailovich, /Art and
Answerability/, ed. by M. Holquist and V.V. Liapunov, Austin 1990.

Barthes, Roland, “The Death of the Author”, /Aspen Magazine/, n° 5/6, 1967.

Bondanella, Peter, /The Films of Federico Fellini/, Cambridge University
Press, Cambridge, New York, 2002.

Burke, Frank, Waller, Marguerite R. (edited by), /Federico Fellini:
Contemporary Perspectives/, University of Toronto Press, Toronto, 2002.

Burke, Frank; Waller, Marguerite; Gubareva Marita (edited by), /Wiley
Blackwell Companion to Federico Fellini/, forthcoming in 2019.

Chion, Michel, /The Voice in Cinema/, Columbia University Press, New
York, 1999.

Dyer, Richard, /Stars/, British Film Institute, London, 1979.

Fellini, Federico, /Making a film/, Contra Mundum Press, New York, 2015.

Foucault, Michel, “What is an author?” in Preziosi, Donald (edited by),
/The art of art history: a critical anthology/, Oxford University Press,
1998, pp. 299-314.

Hodsdon, Barrett, /The Elusive Auteur: The Question of Film Authorship
Throughout the Age of Cinema/, McFarland & Company, Inc., Publishers,
Jefferson, North Carolina, 2017.//

Kapsis, Robert E., /Hitchcock: the making of a reputation/, Univ. of
Chicago Press, Chicago, 1992.

Marcus, Millicent, /After Fellini: National Cinema in the Postmodern
Age/, JHU Press, 2002.

Morin, Edgar, /The stars. An Account of the Star-System in Motion
Pictures/, Grove Press, New York, 1961.

Patriarca, Silvana, /Italian Vices: Nation and Character from the
Risorgimento to the Republic/, Cambridge University Press, Cambridge, 2010.

Stubbs, John C., /Federico Fellini as Auteur: Seven Aspects of His
Films/, Southern Illinois University Press, Carbondale, 2015.*Call for
papers* ) ) [3] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: Ekphrasis. Images, Cinema, Theory, Media - Crossing Narrative Boundaries: Film and the Other Media ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>


EXTENDED DEADLINE

Ekphrasis. Images, Cinema, Theory, Media

“Crossing Narrative Boundaries: Film and the Other Media”, Vol. 21,
Issue 2 (2019)

From times immemorial people have been telling stories to one another;
humanity at large as well as entire civilizations have been built open
this storytelling impetus. First orally, later through other media and
art forms, stories have spread among cultures, eras, and generations
engendering an ever growing dissemination. Technical and technological
developments have helped in this enterprise, across a vast array of
long-lasting and canonical art forms as well as more popular and recent
ones. Film is precisely at that intersection, which makes it a
privileged form for media confluences at the service of narrative spreading.

But how does this dialogue between film and other media and/or art forms
operate? How are stories conveyed form the former to the latter(s), and
vice versa? To what purpose and through what means? What, if anything,
changes in that transposition, and what remains the same? How does
creativity work at this border-crossing and exactly what does it entail?
How can film and other media be contained in or influence one another,
not just in fictional-oriented works, but also, in keeping up with the
times, in more factual and self-representative artistic outputs?

The Vol. 21, Issue 2/2019 of Ekphrasis looks for novel and creative
approaches on film and mediality at large, be it dual-, multi-, -inter
or transmediality. We aim to contribute to the reflection on media
collaboration from the perspective of the content, i.e. the subject of
the films and other art works, i.e., its narrative aspects, whether
fictional or not. This, of course, is highly influenced by the nature of
the media/arts involved. Therefore, we will prioritize submissions that
are solidly grounded on theoretical work already published on this field
and that combine the argument on content with the requirements made by
the different media/arts involved.

Suggested Topics: (not limited to this sample)

Intertextuality, intermediality, intramediality.
Mediation, remediation, transmediation.
Art forms as qualified media.
Phenomena of hybridization.
Transfer among media.
Narrative adaptation, appropriation.
Cinematic ekphrasis.
Allusion, quotation, pastiche, parody, motifs.
Remakes, sequels, prequels, spin-offs, reboots.
Transmedia storytelling projects.
Cinematic worlds and other media.
Impossible worlds, characters, and narrative structures across media.
Medium specificity and collaboration among media/arts.
Palimpsest, embedding, layering.
Narrative genres in-between or across media.
Alternative realities, the reworking facts and fiction.
Myths, legends, fairytales and post-celluloid adaptation.

Issue editors: Fátima Chinita and Liviu Lutas
Deadline for abstracts of between 700 and 1000 words: MARCH 25th 2019.Acceptance notice: MARCH 31st 2019.
Final submission is due AUGUST 31st 2019.
Date of publication: DECEMBER 30th 2019.

Both proposals and final texts should be in English and should follow
the style sheet available on our website
(http://www.ekphrasisjournal.ro/index.php?p=subm
<https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.ekphrasisjournal.ro%2Findex.php%3Fp%3Dsubm%26fbclid%3DIwAR3iNXvMCT5fsc0KsApUeHvk6GhITGX1VsBMZp9MMo7XAkWdG-iYT_Q3YJs&h=AT2LpNNbXEM0wFcHvKwZ5Ab5nwarETHmUiehjDizYwI0q23vI3GV8O3XZ_3xCkx9zr_NtgbTl9xtbiruDHYuYZwhT4k2cxRGzA6NyYutzByXr96SvNTeWPMBQMYDaIiC3wqMkLQVrPGYlNtPPsMeF04v>). 

The final submission should be 5,000-8,000-word, including the full
article, a 150-word abstract, 5-7 keywords, a list of references (only
the cited works) and a 150-word author's bio. Proposals and final
submissions should be formatted as Word documents and sent to:
chinita.estc@gmail.com <mailto:chinita.estc@gmail.com> and
liviu.lutas@lnu.se <mailto:liviu.lutas@lnu.se>

The articles should be original material not published in any other
media before.

Ekphrasis is a peer-reviewed academic journal, edited by the Faculty of
Theatre and Television, “Babes-Bolyai” University, Cluj-Napoca, Romania.
Ekphrasis is indexed in Emerging Sources Citation Index (Clarivate
Analytics), ERIH PLUS, EBSCO, NSD, and CEEOL.
) ) [4] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CFP: Writing for Screens Symposium ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] =>


Writing for Screens Symposium June 14th, 2019
University of Portsmouth, Portsmouth, UK
School of Creative Technologies & School of Film, Media & Communication

Email contact: peter.howell@port.ac.uk/jane.steventon@port.ac.uk
Deadline for Submission of Abstracts: 22nd March 2019

Writing for Screens is a one-day symposium for academics and industry
professionals to explore the intersection of screenwriting practices and
academic research. There is a particular focus on industry partnerships
and academic collaborations and also on practice-based research.
In today’s burgeoning media landscape, writing for screens reflects on
the broad range of opportunities for the storyteller, from TV & film to
computer & video games and interactive drama. The Writing for Screens
symposium will offer discourse on how the practice of writing for
screens has evolved and how, in a post-Bandersnatch landscape, there are
more opportunities and collaborative methods to present narratives on
screen than ever.

The increasing visibility of interactive, non-linear storytelling
outside of its typical home territory of games, alongside an
ever-growing demand for high quality writing within contemporary games,
presents opportunities for interdisciplinary sharing of theory and
practice. The availability of consumer virtual and augmented reality
equipment has created a substantial sector within the marketplace hungry
for new content and unique experiences that make full use of the new
modalities of interacting and experiencing stories that are available.
But how innovative are the stories that we are presenting on screen? How
do different media forms approach challenges such as the role of the
author and the authorial voice versus an audience that is willing, in
some cases expecting, to be co-creators of a narrative experience? Is
there a finite number of ways to present story in the postmodern vacuum
of ideas and adaptations? Does a hyper-local commissioning approach
still mean that a truly global worldview eludes our streaming content?
Do the statistics about female and BAME writers offer up cause for
concern, in seeking to find and present different perspectives of the
world? From Fortnite to Bandersnatch, Killing Eve to Roma, this
Symposium seeks to explore zeitgeist issues in the screen storytelling
landscape.

We encourage academics in all stages of study and industry professionals
to attend and welcome proposals for presentations on, but not limited
to, the following possible topics:

- Interactive narratives
- Writing for games
- Writing for film and television
- Gender and storytelling on screen
- LGBT+ writing for screens
- Writing for Virtual Reality and Augmented Reality
- Writing practices for industry & research
- Cross-platform, transmedia storytelling
- ARG: Alternate Reality Games
- Effect of commercial context on artistic freedom
- Constraints imposed by different platforms
- Netflix and the SVOD landscape

If you have any questions regarding the suitability of possible topics
and material for inclusion at the Symposium, please do not hesitate to
contact Dr Peter Howell (peter.howell@port.ac.uk) or Jane Steventon
(jane.steventon@port.ac.uk).
Abstracts of 350 words along with a short biographical note, should be
emailed to both organisers by 22nd March 2019. Successful proposals will
be notified by 18th April 2019. The deadline for complete papers (4000
words) and/or presentations (20 minutes) will be 31st May 2019. Papers
and presentations will be published and available for viewing via a
Writing for Screens UoP website. Publication will also be sought within
subject-related journals following the symposium. ) ) [5] => Array ( [0] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => text ) [0] => CfP: The Image in the Plural: Discourse Theory and Visual Culture Studies ) [1] => SimpleXMLElement Object ( [@attributes] => Array ( [type] => html ) [0] => “The Image in the Plural: Discourse Theory and Visual Culture Studies” 
Panel at the International Conference on Ideology and Discourse Analysis 2019
“Logics, Critical Explanation and the Future of Critical Political Theory: Applying Discourse Analysis in Multiple Contexts”

University of Essex, May 31 - June 1, 2019

A particular logic of showing and seducing is inherent in images: they
showcase and bring to mind, they possess the force to produce evidence
and they are inclusive and integrate ambivalences and connections. At
the same time, they can establish new relations and thus have a
particular reality-transforming effect. Images thus have a genuinely
affirmative character, but they can also to tip prevailing allocations
and meanings into crisis. Finally, they can act as mirrors in which
subjects can gaze at themselves. This force that images contain can be
measured by reconstructing the acts of perception and appropriation
practices as well as the conflicts they trigger.

Discourse theory has mainly developed by referring to written sources
and by integrations of linguistics and semiotics. Like political theory
in general, it was long cut off from the analysis of visual media.
However, visual production and appropriation has long since become a
constitutive agent in political subjectivation processes. Contemporary
practices of showing and visual seduction testify to the increasing
presence of visual media in political positioning and discourse building.

In this panel we would like to discuss approaches to integrating visual
culture studies into discourse theory. We would like to discuss the
following questions: How do visuals become part of political discourse?
How can visual sources and the practices of appropriation and rejection
that they are part of be analysed? How can inputs from visual culture
studies be integrated into political discourse analysis? And what are
the ways in which visuals comply with or challenge written sources?

The panel asks for empirical examples from various historical and
geographical contexts, as well as innovative methodological insights.
Theoretical approaches concerning the integration of discourse theory
and visual culture studies are also welcome.

Panel organizers:
Anna Schober, AAU Klagenfurt, Austria and
M. Ragıp Zık, Freie Universität Berlin, Germany

Please send your abstracts of maximum 400 words until March 25, 2019 to
ragip.zik@fu-berlin.de <mailto:ragip.zik@fu-berlin.de> with the subject
line starting “Logics Conference”. You will hear from us by April 1, 2019.

Link to conference website: https://cida-essex.co.uk/
Please note that the general call for papers and panel proposals has
expired. This call is for one panel only.
) ) )

News

  • Encontros no ANIM 2019 - Abertura de inscrições e da chamada de trabalhos


    Encontros no ANIM 2019

    A Cinemateca organizará em maio deste ano a segunda edição dos “Encontros no ANIM”. Os Encontros, que terão lugar este ano nos dias 21 e 22 de maio, são um momento de partilha de conhecimentos e de reflexão crítica sobre a história do cinema em Portugal realizados conjuntamente por investigadores universitários, conservadores de cinema e, também, pelos protagonistas daquela história. Procurando promover o diálogo entre o trabalho de arquivo e o trabalho sobre o arquivo, os Encontros no ANIM incluirão debates sobre trabalhos de restauro ou digitalização em curso ou recentemente terminados, projeções comentadas de filmes recentemente restaurados ou pouco mostrados em sessões públicas, visitas às áreas técnicas do ANIM e comunicações acerca de investigações recentes ou em curso, preferencialmente sobre obras da coleção fílmica e museográfica da Cinemateca.

    Em 2019, os Encontros estendem-se por dia e meio. Na tarde do dia 21 de maio terá lugar a visita ao ANIM, seguida de um painel temático intitulado “Sobre a digitalização de cinema português: boas práticas, fluxos de trabalho e casos de estudo”, com a participação de técnicos do ANIM e de empresas especializadas em restauro digital de imagem e som. No dia 22, a manhã será preenchida por uma painel de conferencistas convidados que abordarão filmes cujo processo de restauro e/ou de digitalização está em curso. Da parte da tarde terão lugar dois painéis abertos com comunicações selecionadas por uma comissão científica independente.

    A participação como palestrante ou como ouvinte implica o pagamento de uma taxa de inscrição única de €20.

    Chamada de trabalhos
    Os Encontros no ANIM aceitam propostas de comunicação para os dois painéis abertos que terão lugar na tarde do dia 22 de maio. Estas comunicações podem incidir sobre qualquer tema e período cronológico da história do cinema em Portugal, devendo preferencialmente analisar obras da coleção fílmica e museográfica da Cinemateca. As comunicações serão selecionadas por uma comissão científica independente.

    Envio de propostas, prazo e seleção
    As propostas de comunicação devem usar o formulário online (hiperligação abaixo) e ser submetidas até 15 de abril. Todas as propostas serão sujeitas a um processo de avaliação cega pelos membros da Comissão Científica. As notificações de aceitação serão enviadas até 22 de abril. O programa final será publicado a partir de 29 de abril.

    A participação como ouvinte ou conferencista implica o pagamento de uma taxa de inscrição única de €20 e será limitada pela lotação da sala onde se realizará o Encontro.

    Inscrições e submissão de propostas: formulário

    Mais informações: acesso@cinemateca.pt

  • CFP: The Creative Process in Portuguese Film: Materialities



    The deadline for submissions is Friday 22 March 2019. Organisation: Centre for Portuguese Language and Culture (King´s College, London) and Utopia - UK Portuguese Film Festival.

  • CFP: Special issue of the Journal of Italian Cinema and Media Studies: F. Fellini



    Special Issue of the Journal of Italian Cinema and Media Studies

    With hat and red scarf. The building of Federico Fellini’s public image.


    Guest-edited by Clizia Centorrino, Marco Dalla Gassa, Andrea Minuz

    The centenary of the birth of director Federico Fellini in 2020 invites
    a unique opportunity to reassess his contribution to the history of
    Italian culture from new perspectives.

    Withhis monumental film production, which has been extensively
    studied—at least from/La dolce vita/forward—the Riminese director
    gradually seeped into Italy’s daily life. While his films have sparked
    lively debates since he first became popular in the 1950s, less
    attention has been devoted to the process that has led many scholars to
    consider him the emblematic figure of the film artist, both as a major
    character in the cultural history of Italy and as the symbol of what is
    quintessentially ‘Italian’.

    Unlike other Italian directors, Fellini became a newsworthy and
    publicized figure beginning in the 1960s. He contributed to the creation
    of an ‘elusive’ image of himself (Hodsdon 2017) both through the
    construction of several cinematic alter-egos and through unmistakable
    appearances with his hat and red scarf in documentaries, feature films,
    illustrated news magazines, press and TV reports, and other forms of
    media. Equally, he emerged as a staunch defender of certain political
    and cultural struggles, such as those against television commercials or
    against Berlusconi (who was still an editor at that time). Additionally,
    he became an object of scrutiny and discussion for journalists, critics,
    cinephiles, colleagues, and biographers searching for an openly
    hagiographical definition of the threshold of the Italian artistic
    tradition.

    Earlier theoretical contributions have thoroughly assessed the concept
    of ‘author’. Had Mikhail Bakhtin studied Fellini as an aesthetic and
    narrative object, he might have introduced him as a case study in/Author
    and Hero in Aesthetic Activity/to highlight the reciprocal nature
    between his creative acts and his activism on the public scene
    (Bakhtin 1920-23). Michel Foucault, on the other hand, would have
    praised the discursive feature “characterized by […] plurality of egos”
    (Foucault 1969). Roland Barthes, for his linguistic sensibility, might
    have asked how Fellini influenced even common vocabulary such as the
    transformation of his name into an adjective as well as other words such
    as ‘dolcevita’, ‘amarcord’, and ‘vitelloni’ (Barthes 1967-68).

    However, from our point of view, it becomes essential to consider
    Fellini from a social and historical angle, calling upon cultural and
    social disciplinesto furnish new analytical perspectives— measuring the
    impact of his personality on today’s and yesterday’s Italy, and on the
    Italian identity abroad. For example, Fellini was keen on creating a
    public image of himself both as a ‘magician’ and as a country bumpkin,
    playing with a combination of two Italian stereotypes: the creative
    artist (the ‘maestro’) and, by a sort of ‘reverse patriotism’, a heap of
    irredeemable flaws (Patriarca 2010). In short, the creation of his
    reputation is a crucial case study of how an ‘artist’ is socially
    constructed and of the cultural forces that influence his public image
    (Kapsis 1992).

    This angle unlocks promising and abundant research possibilities: the
    idea of masculinity offered by Fellini’s voice and body
    (his/acousmatic/force, as Chion [1999] would say, is flagrant); the
    fashion in which his cumbersome presence has transformed urban spaces,
    such as Rimini, a film library dedicated to him, the Cinecittà theme
    park, Rome, and the EUR district. Moreover, contributions to this
    special issue can discuss the exoteric vein in Fellini’s life
    experiences as often illustrated in magazines and news outlets; the
    numerous parodies of which he is the unconscious victim; the
    proliferation of commercial activity using the names of his films (here,
    too, are-semanticizedlexicon); and the way in which his wife, and his
    collaborators, friends, and colleagues evoke him in biographies,
    interviews, public statements (Giulietta Masina, Marcello Mastroianni,
    Vincenzo Mollica, Tullio Kezich, Milo Manara).

    Overall, the broad and innovative perspective described in this call for
    papers pursues the goal of rediscovering the aspects that contributed to
    Fellini’s mythification and integration into the sphere of Italian
    public speech.If we can believe Morin when he says Fellini “is more than
    an actor incarnating characters, [since] he incarnates himself in them,
    and they become incarnate in him,” (Morin 1961) is it then possible to
    study Fellini as a character//divo/ in the film of social history and
    Italian culture in the last half century? If the articles composing this
    single-issue journal confirm that proposition, may one consider
    Fellinian heritage as the ability to inhabit social spaces, the ability
    to be inscribed in the (Italian) public sphere but in flesh, bones, and
    other phantasmal forms?

    Possible topics include, but are not limited to:

    1.Fellini as an actor (in his films, in others’ films and in documentaries;

    2.The embodiment of Fellini: voice and body of the ‘maestro’ on the
    radio, in his films and the question of dubbing his voice;

    3.The mediatized Fellini on television, the radio, and in magazines: for
    example, the relation between Fellini and reporter Mollica in RAI
    programs; Fellini in feminist magazines; Fellini in daily newspapers in
    Italy and abroad; the ceremony at Cinecittà following Fellini’s death
    and its representation; and Fellini in contemporary art;

    4.Fellini recounted and invented (by his wife Giulietta Masina, his
    collaborators and actors;

    5.Fellini and public spaces: transformations in Rimini and Cinecittà,
    ‘Fellinian’ commercial activities in the world and cinema tourism;

    6.Fellini’s image abroad: the mythification of the director from a
    particular perspective (be it American, European);

    7.The illustrated Fellini: comics, graphic novels;

    8.The photographed Fellini: themes, motifs, poses; the construction of a
    visual semiotic through famous photographs, in magazines devoted to him;

    9.The Fellinian lexicon and its re-semantization: ‘Fellinian’ as an
    adjective.

    The deadline for the submission of abstracts is 15th April 2019.
    Interested contributors should send:

    -500 word abstracts outlining the topic, approach and theoretical bases

    -relevant bibliography and filmography

    -200 word biographical notes (including academic publications)

    to the three Guest Editors:

    Clizia Centorrino, Université Grenoble Alpes

    Marco Dalla Gassa, Ca’ Foscari University of Venice

    Andrea Minuz, Sapienza University of Rome

    at the following addresses:

    clizia.centorrino@univ-grenoble-alpes.fr
    <mailto:clizia.centorrino@univ-grenoble-alpes.fr>

    dallagas@unive.it <mailto:dallagas@unive.it>

    andrea.minuz@uniroma1.it <mailto:andrea.minuz@uniroma1.it>

    *The accepted proposals will be notified by 30^th April 2019; completed
    articles should be sent by 31^st July 2019 for peer-review; authors
    will be notified of the results of the peer-review by 15^th October 2019.*

    *References*

    Bakhtin, Mikhail Mikhailovich, “Author and hero in aesthetic activity”,
    1920-23, Eng. trans. in Bakhtin, Mikhail Mikhailovich, /Art and
    Answerability/, ed. by M. Holquist and V.V. Liapunov, Austin 1990.

    Barthes, Roland, “The Death of the Author”, /Aspen Magazine/, n° 5/6, 1967.

    Bondanella, Peter, /The Films of Federico Fellini/, Cambridge University
    Press, Cambridge, New York, 2002.

    Burke, Frank, Waller, Marguerite R. (edited by), /Federico Fellini:
    Contemporary Perspectives/, University of Toronto Press, Toronto, 2002.

    Burke, Frank; Waller, Marguerite; Gubareva Marita (edited by), /Wiley
    Blackwell Companion to Federico Fellini/, forthcoming in 2019.

    Chion, Michel, /The Voice in Cinema/, Columbia University Press, New
    York, 1999.

    Dyer, Richard, /Stars/, British Film Institute, London, 1979.

    Fellini, Federico, /Making a film/, Contra Mundum Press, New York, 2015.

    Foucault, Michel, “What is an author?” in Preziosi, Donald (edited by),
    /The art of art history: a critical anthology/, Oxford University Press,
    1998, pp. 299-314.

    Hodsdon, Barrett, /The Elusive Auteur: The Question of Film Authorship
    Throughout the Age of Cinema/, McFarland & Company, Inc., Publishers,
    Jefferson, North Carolina, 2017.//

    Kapsis, Robert E., /Hitchcock: the making of a reputation/, Univ. of
    Chicago Press, Chicago, 1992.

    Marcus, Millicent, /After Fellini: National Cinema in the Postmodern
    Age/, JHU Press, 2002.

    Morin, Edgar, /The stars. An Account of the Star-System in Motion
    Pictures/, Grove Press, New York, 1961.

    Patriarca, Silvana, /Italian Vices: Nation and Character from the
    Risorgimento to the Republic/, Cambridge University Press, Cambridge, 2010.

    Stubbs, John C., /Federico Fellini as Auteur: Seven Aspects of His
    Films/, Southern Illinois University Press, Carbondale, 2015.*Call for
    papers*

  • CFP: Ekphrasis. Images, Cinema, Theory, Media - Crossing Narrative Boundaries: Film and the Other Media



    EXTENDED DEADLINE

    Ekphrasis. Images, Cinema, Theory, Media

    “Crossing Narrative Boundaries: Film and the Other Media”, Vol. 21,
    Issue 2 (2019)

    From times immemorial people have been telling stories to one another;
    humanity at large as well as entire civilizations have been built open
    this storytelling impetus. First orally, later through other media and
    art forms, stories have spread among cultures, eras, and generations
    engendering an ever growing dissemination. Technical and technological
    developments have helped in this enterprise, across a vast array of
    long-lasting and canonical art forms as well as more popular and recent
    ones. Film is precisely at that intersection, which makes it a
    privileged form for media confluences at the service of narrative spreading.

    But how does this dialogue between film and other media and/or art forms
    operate? How are stories conveyed form the former to the latter(s), and
    vice versa? To what purpose and through what means? What, if anything,
    changes in that transposition, and what remains the same? How does
    creativity work at this border-crossing and exactly what does it entail?
    How can film and other media be contained in or influence one another,
    not just in fictional-oriented works, but also, in keeping up with the
    times, in more factual and self-representative artistic outputs?

    The Vol. 21, Issue 2/2019 of Ekphrasis looks for novel and creative
    approaches on film and mediality at large, be it dual-, multi-, -inter
    or transmediality. We aim to contribute to the reflection on media
    collaboration from the perspective of the content, i.e. the subject of
    the films and other art works, i.e., its narrative aspects, whether
    fictional or not. This, of course, is highly influenced by the nature of
    the media/arts involved. Therefore, we will prioritize submissions that
    are solidly grounded on theoretical work already published on this field
    and that combine the argument on content with the requirements made by
    the different media/arts involved.

    Suggested Topics: (not limited to this sample)

    Intertextuality, intermediality, intramediality.
    Mediation, remediation, transmediation.
    Art forms as qualified media.
    Phenomena of hybridization.
    Transfer among media.
    Narrative adaptation, appropriation.
    Cinematic ekphrasis.
    Allusion, quotation, pastiche, parody, motifs.
    Remakes, sequels, prequels, spin-offs, reboots.
    Transmedia storytelling projects.
    Cinematic worlds and other media.
    Impossible worlds, characters, and narrative structures across media.
    Medium specificity and collaboration among media/arts.
    Palimpsest, embedding, layering.
    Narrative genres in-between or across media.
    Alternative realities, the reworking facts and fiction.
    Myths, legends, fairytales and post-celluloid adaptation.

    Issue editors: Fátima Chinita and Liviu Lutas
    Deadline for abstracts of between 700 and 1000 words: MARCH 25th 2019.Acceptance notice: MARCH 31st 2019.
    Final submission is due AUGUST 31st 2019.
    Date of publication: DECEMBER 30th 2019.

    Both proposals and final texts should be in English and should follow
    the style sheet available on our website
    (http://www.ekphrasisjournal.ro/index.php?p=subm
    <https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.ekphrasisjournal.ro%2Findex.php%3Fp%3Dsubm%26fbclid%3DIwAR3iNXvMCT5fsc0KsApUeHvk6GhITGX1VsBMZp9MMo7XAkWdG-iYT_Q3YJs&h=AT2LpNNbXEM0wFcHvKwZ5Ab5nwarETHmUiehjDizYwI0q23vI3GV8O3XZ_3xCkx9zr_NtgbTl9xtbiruDHYuYZwhT4k2cxRGzA6NyYutzByXr96SvNTeWPMBQMYDaIiC3wqMkLQVrPGYlNtPPsMeF04v>). 

    The final submission should be 5,000-8,000-word, including the full
    article, a 150-word abstract, 5-7 keywords, a list of references (only
    the cited works) and a 150-word author's bio. Proposals and final
    submissions should be formatted as Word documents and sent to:
    chinita.estc@gmail.com <mailto:chinita.estc@gmail.com> and
    liviu.lutas@lnu.se <mailto:liviu.lutas@lnu.se>

    The articles should be original material not published in any other
    media before.

    Ekphrasis is a peer-reviewed academic journal, edited by the Faculty of
    Theatre and Television, “Babes-Bolyai” University, Cluj-Napoca, Romania.
    Ekphrasis is indexed in Emerging Sources Citation Index (Clarivate
    Analytics), ERIH PLUS, EBSCO, NSD, and CEEOL.

  • CFP: Writing for Screens Symposium



    Writing for Screens Symposium June 14th, 2019
    University of Portsmouth, Portsmouth, UK
    School of Creative Technologies & School of Film, Media & Communication

    Email contact: peter.howell@port.ac.uk/jane.steventon@port.ac.uk
    Deadline for Submission of Abstracts: 22nd March 2019

    Writing for Screens is a one-day symposium for academics and industry
    professionals to explore the intersection of screenwriting practices and
    academic research. There is a particular focus on industry partnerships
    and academic collaborations and also on practice-based research.
    In today’s burgeoning media landscape, writing for screens reflects on
    the broad range of opportunities for the storyteller, from TV & film to
    computer & video games and interactive drama. The Writing for Screens
    symposium will offer discourse on how the practice of writing for
    screens has evolved and how, in a post-Bandersnatch landscape, there are
    more opportunities and collaborative methods to present narratives on
    screen than ever.

    The increasing visibility of interactive, non-linear storytelling
    outside of its typical home territory of games, alongside an
    ever-growing demand for high quality writing within contemporary games,
    presents opportunities for interdisciplinary sharing of theory and
    practice. The availability of consumer virtual and augmented reality
    equipment has created a substantial sector within the marketplace hungry
    for new content and unique experiences that make full use of the new
    modalities of interacting and experiencing stories that are available.
    But how innovative are the stories that we are presenting on screen? How
    do different media forms approach challenges such as the role of the
    author and the authorial voice versus an audience that is willing, in
    some cases expecting, to be co-creators of a narrative experience? Is
    there a finite number of ways to present story in the postmodern vacuum
    of ideas and adaptations? Does a hyper-local commissioning approach
    still mean that a truly global worldview eludes our streaming content?
    Do the statistics about female and BAME writers offer up cause for
    concern, in seeking to find and present different perspectives of the
    world? From Fortnite to Bandersnatch, Killing Eve to Roma, this
    Symposium seeks to explore zeitgeist issues in the screen storytelling
    landscape.

    We encourage academics in all stages of study and industry professionals
    to attend and welcome proposals for presentations on, but not limited
    to, the following possible topics:

    - Interactive narratives
    - Writing for games
    - Writing for film and television
    - Gender and storytelling on screen
    - LGBT+ writing for screens
    - Writing for Virtual Reality and Augmented Reality
    - Writing practices for industry & research
    - Cross-platform, transmedia storytelling
    - ARG: Alternate Reality Games
    - Effect of commercial context on artistic freedom
    - Constraints imposed by different platforms
    - Netflix and the SVOD landscape

    If you have any questions regarding the suitability of possible topics
    and material for inclusion at the Symposium, please do not hesitate to
    contact Dr Peter Howell (peter.howell@port.ac.uk) or Jane Steventon
    (jane.steventon@port.ac.uk).
    Abstracts of 350 words along with a short biographical note, should be
    emailed to both organisers by 22nd March 2019. Successful proposals will
    be notified by 18th April 2019. The deadline for complete papers (4000
    words) and/or presentations (20 minutes) will be 31st May 2019. Papers
    and presentations will be published and available for viewing via a
    Writing for Screens UoP website. Publication will also be sought within
    subject-related journals following the symposium.