Call for papersClosed
The 9th AIM Annual Meeting will be hosted at the University of Santiago de Compostela on May 13-16, 2019, in a joint organization of AIM, the Seminar on History of Film and Other Audiovisual Arts of the Department of History of Art of the University of Santiago de Compostela (USC) and the Centre for Film Studies (CEFILMUS) at USC. AIM’s Annual Meeting is an international conference and all proposals will be peer reviewed. Proceedings will be published in electronic format after the meeting.
We invite you to submit proposals for either individual presentations or as part of a pre-constituted panel, in Portuguese, Galician, Spanish or English, not exceeding 1500 characters (including spaces), in the areas of film, television, video, and digital media studies. The list is indicative and may include other areas.
In order to participate in the conference you can submit your proposal as an AIM member (free registration) or as a non-member (60€ registration fee, paid after acceptance). Each individual may submit one paper proposal, either as an individual presenter or as part of a pre-constituted panel. Some panels may have respondents. Please note that, before submission, AIM members must renew their membership for 2019 until October 31, 2018 (30€/normal; 20€/student).
Further information on the terms of participation, forms of contribution and submission of proposals can be found in the online Call for Papers, available here.
The deadline for submission of proposals is November 15, 2018.
Visual Digital Culture
Suggested topics: media archeology history of film and television technologies cultural forms of internet 2.0 internet 2.0 and digital production, exhibition and distribution film experience relocated filmic and audiovisual dispositif theories contemporary audiovisual culture ideologies critiques of participatory culture animation, documentary, live cinema, virtual reality, transmedia, music video, video-essay Should any doubt arise about this internal call, contact firstname.lastname@example.org, email@example.com
History of Portuguese Cinema
Suggested topics: Returning to the archive, reviewing the sources In the last decade, several researchers have promoted, through individual or collective projects, a group of proposals for the re-reading and redefinition of cinema studies in Portugal. Through a valorization of the archives and an archaeological research practice that has rescued several primary and secondary sources, a significant contribution has been made to critically review various aspects of the history of cinema in Portugal, as has been canonizing in previous decades. If, on the one hand, this new approach has made it possible to "re-write" the same story, especially from the academy, on the other, it has also made it possible to develop cultural and artistic projects in various areas and forms of expression, contribution for the democratization of the archive. The purpose of this call will be to put into dialogue reflections of scientific, academic, artistic and cultural projects that depart from or involve the archive. Should any doubt arise about this internal call, please contact: Daniel Ribas: firstname.lastname@example.org
Cinemas in Portuguese
The Working Group Cinemas in Portuguese invites its members, the members of AIM, and researchers interested in the subject, to submit proposals individual communications for the arrangement of pre-formed panels submit to IX AIM Annual Meeting, to be held from 13 to 16 May 2019 at the University of Santiago de Compostela, Espanha. Suggested topics: Among the objects of study of this Working Group, and as potential issues guiding this internal Call for papers are the issues related to co-production systems, distribution and exhibition in the cinematography Portuguese, Brazilian and African Portuguese-speaking diaspora. We are interested in the issues related to the production, distribution, distribution channels, exhibition and circulation of these cinemas. Special attention will be given to the data collection work and cultural and aesthetic research on new production processes and authorship that build connections and to report on the local identity, peripheral and / or supranational. All audiovisual uses / film can be used in all the existence of different schemes, and expressiveness identity. Should any doubt arise about this internal call, please contact: Sílvia Vieira: email@example.com; Leandro Mendonça: firstname.lastname@example.org; Jorge Cruz: email@example.com
Landscape and Cinema
Suggested topics: Everyday Landscapes The Working Group Landscape and Cinema invites members and non-members of AIM to submit paper proposals on the cinematic representation of everyday landscapes, that is, landscapes lived and experienced through the body. These landscapes can be regarded as a visual record of the environmental images that the inhabitants of a given territory whether fictional characters or social actors have formed of their daily spaces, those they inhabit or transit more frequently. They can be images of residential or work spaces, they can include the presence of the body or just some traces of their activity, and they may even be natural landscapes, with almost no human intervention, besides the fact of their own contemplation: from terraces on the banks of the Douro that Manoel de Oliveira filmed in Abrahams Valley (1993) or The Strange Case of Angelica (2010) to the wide shot of the Brazilian nudists on the top of a building in the suburbs of Lisbon that Miguel Gomes included in Arabian Nights (2015), without forgetting, on the other side of the Atlantic, the isolated landscapes in Northeast Brazil crossed by the geologist protagonist of I Travel Because I Have to, I Come Back Because I Love You (2009), by Karim Aïnouz and Marcelo Gomes, among many other possible examples. The purpose of this internal call for papers is thus to discuss the processes of visual and conceptual construction of these landscapes in order to understand the ways of expressing and sharing environmental images, until including them in the collective imaginary. Beyond this specific topic, people interested in participating in the panels organized by this Working Group can also submit proposals related to our main lines of study: the relations between landscape and cinema, their cultural interpretation, their historical evolution and its aesthetic dimension. Should any doubt arise about this internal call, contact: Filipa Rosário: firstname.lastname@example.org Iván Villarmea Álvarez: email@example.com Ana Costa Ribeiro: firstname.lastname@example.org
The workgroup Other Films invites members and non-members of AIM to submit proposals of papers to its thematic panel. The proposals should bring theoretical, methodological and empirical contributions to the groups research interests and objectives (cf. aim.org.pt/grupos_en.php#outros_filmes). This years special interest is the industrial film. Among the first moving images that were screened publicly was La sortie de lusine Lumière à Lyon (1895) by the Lumière brothers, shot on the doorsteps of a factory. Similar films were made all over the world, such as the Saída do Pessoal Operário da Fábrica Confiança (1896), which Aurélio Paz dos Reis, a pioneer in Portuguese filmmaking, shot in the city of Oporto. Eventually, the camera moved into the factory to capture its machines, production processes, products and workers, creating a new film genre that would take on several forms and be put to different uses. Understood, broadly, as a film that aims to promote a factory, a company, an industry, or even a 'modern' lifestyle based on industrial activities and values, the industrial film remains an under-researched genre, despite some recent academic work (e.g. Hediger 2009; Martins 2011; Vidal and Veloso 2016; cf. Sampaio 2012). In the wake of these studies, and in keeping with the issues that have been at the core of our GT, we ask: How were industrial films produced, distributed and exhibited? How can they be researched? In what ways can their study alter our perception of film history and national cinematographies? How can they contribute not only to the history of companies and organisations, but also to our understanding of the ways different nations adhered to a certain paradigm of 'development'? How can we connect these films to the construction of a collective memory of work? In what ways are these images being reused and re-signified in new audiovisual productions? How can they be programmed and to what audiences? References Hediger, V. and Vonderau, P. (2009) Films that Work: Industrial Film and the Productivity of Media. Amesterdam: Amsterdam University Press. Martins, P.M. (2011) O Cinema em Portugal: Os documentários industriais de 1933 a 1985. Lisboa: Imprensa Nacional-Casa da Moeda. Sampaio, S. (2012) Recensão Crítica de O Cinema em Portugal: Os documentários industriais de 1933 a 1985, Ler História, 62: 199-206. Vidal, F. and Veloso, L. (2016) O Trabalho no Ecrã: Memórias e identidades sociais através do cinema. Lisbon: Edições 70. Proposals that present original case studies of national cinematographies are particularly welcome. For questions or doubts, please contact the groups coordinators: Sofia Sampaio: email@example.com Thaís Blank: firstname.lastname@example.org Raquel Schefer: email@example.com
The main goal of the GT "Filmmaker's theory" is to bring together cinema theory and the theoretical reflection coming from the filmmakers in their endeavor to understand either their own artwork or cinema itself. We intend to stimulate a film theory whose fundamental reference and main sources are the films and both oral and written manifestations of the filmmakers. On the one hand, we understand that the most important sources to develop and expand cinema theory are the direct ones, namely the films, interviews, books or texts written by the filmmakers. On the other hand, "filmmaker" is a concept that covers not only the director but also whoever presents a valuable contribution to the cinematographic art like actors, screenwriters, cinematographers, etc. The purpose of studying cinema having the filmmakers as support is in itself an alternative to classical and recent cinema theory that usually has gone to seek other disciplines as support. We intend to rise up and test the novelty and originality of a theoretical study that works closely with the filmmaker's reflection. Likewise we intend to highlight the existent studies on the thought and poetics of the filmmakers. Suggested topics: - Methodologies for a film theory supported by the thought and poetics of the filmmakers - Concepts used by filmmakers that contribute to discuss issues of film theory - Filmmaker's relationship with the spectator - How filmmakers influence each other - Creative process of the filmmakers - filmmaker's manifestos Should any doubt arise about this internal call, contact: firstname.lastname@example.org, email@example.com
SUGGESTED TOPICS: Narrative always had, since the beginning of time, great importance for the existence of human beings and the life of societies. In its most basic meaning, narrative presupposes the evolution from one state (a beginning) to another (an end), a transition which occurs in time and is acted by someone (author, narrator, character) or something (camera, the film itself) (Jost and Gaudreault, 1990). This does not necessarily imply any measure of truthfulness. In the field of narratology (e.g. Gérard Genette), the act of narrating / enunciating is known as storytelling, and the content of the narrative / enunciation is the story [told]. AIMs work group Audiovisual Narratives takes up the study of narrative content and form in all kinds of products and by all audio-visual processes, composed of images as well as sounds (together or separately), disseminated throughout all means, and for all types of audience. The sub-fields of literature, publicity, psychology, journalistic media, and the relationship with other art forms are considered relevant for this purpose, as long as presentations stick to narratologically-based form and content, as well as the narrative process and its outcome. We are looking for innovative proposals, original theories, creative film analysis and, of course, subject matter for long-lasting quality reflexion. Some specific possibilities, among others: The importance of narrative. Artificial worlds and the way they are built. The Heros Journey. Story and plot. Matters pertaining to narration (e.g voice over). The classical narrative paradigm. Theoretical or practical attacks on classical narrative patterns. Formal experimentation. Narratives about narrative/metafiction/metanarrative. Non-linear narrative structures. Complex narratives. Interactivity and gaming. Parallel worlds. Film viewers psychic involvement. Viwers decoding and analysis. Script writing. Recurrences, embeddings, metalepsis, and other narrative patterns. Themes (and who uses them, and when). Narrative (im)plausibilities. Narrative contexts. Narrative forms its uses: society, culture, science, religion, art, etc. Myths, legends, fables. Any particular aspect of storytelling (e.g. characters, plot resolution, twist, foreshadowing, lack of dialogues, etc.) For more information regarding this internal call, contact: firstname.lastname@example.org
Cinema and the Other Arts
This work group seeks to gather research on artistic manifestations which deal with the relationship between cinema and other arts. There is a bidirectional dynamics in the object that is being studied insofar as, in this area, aesthetic processes occur in transmutation, in the cinematic discourse of the various arts and, in the opposite direction, in the presence of cinema in other arts. By identifying other artistic manifestations in the work of movie authors and by looking into the inevitability of cinema in the artists aesthetic memory, this research path wishes to define creative act as film reflection material, signal interpretation possibilities that are part of the dialogic confrontation, theorise about creative attitudes and systematise discourse transformations. Want also to reflect on the boundaries between genres and on the inter-institutional exchange of art production today, especially that involving the visual arts, still images and moving pictures. Through theoretical constructs and analysis of multiple artistic manifestations, it is expected that the identity paths of each art will be identified in the course of their dialogic process with cinema. This research field, which is particularly useful for film studies, finds methodological processes capable of structuring the scientific discourse in the operational possibilities of intertextuality and in the dialogic quality of artistic creation. Research legitimacy of such subjects as art theory and criticism, art history and art sociology, as well as studies in other artistic fields like architecture, theater, photography, plastic arts and, of course, cinema is acknowledged. Covers various questions about the relationship between art and cinema, including especially the avant-garde cinema, engaged or experimental, video art, expanded cinema, activism, the cinema of artist and installation. Production of knowledge in the artistic extraction in and of film within artistic manifestations is possible at any given moment of the history of cinema, which maximises our time span. Suggested topics: Cinema and Literature Cinema and Music Cinema and Danse Cinema and Picture Cinema and Architecture Cinema and Sculpture Cinema and Theater Cinema and Plastic Arts Cinema and Performative Arts Cinema and Photography Cinema and Artistic Vanguards
Cinema and Education
Film is an aesthetic object with its own specificities, whose fruition and reading requires a minimum of information on different aspects of its language, in order to understand more completely its expression and its receptive impact. Every film experience entails the potential of its usage and vital application, either from a formal as from a non-formal point-of-view. Therefore, film represents a relevant formative and educational resource, both potentially as accomplished. Its increasing usage as a didactic content or methodology comes from its inventive language, and from a narrative feature that fosters approaches to an unlimited number of themes and contents, referencing existent or simulated realities. Within educational contexts, film encourages experiences that motivate and involve students more intensely in their learning process, strengthening the edu-comunicational ecosystems in their multiple forms. In order to overcome the alienation of schools and society towards film, going from its instrumentalization towards an understanding of its social, cultural and educational specificity and importance, we intend to explore the theoretical and empirical potential of cinema, as a source for knowledge, critical thinking, sensitivity, and creativity. Suggested topics: This call for papers addresses the possible relations between film and education, with a special emphasis in theoretical, methodological or empirical perspectives that focus on: - Teaching film (pedagogical approaches and projects that explore the artistic features of film); - Teaching with film (didactic proposals for the usage of film within different curricular fields and teaching levels); - Teaching through film (film artistic experiences produced within educational contexts). If you have any questions regarding this AIM Working Groups Call for Papers, please contact us: email@example.com , firstname.lastname@example.org ou email@example.com
Post colonial and outer cinemas
Starting from a literary studies approach explicitly focused on the domains of materialities and communication, and media studies, the term Materialities, when applied to cinema, convokes the different elements (or areas) which interact in the materialisation of a film project: choice of recording support, art direction, costumes, sound and light. Consequently, it considers the different professionals across these areas who, giving preference to certain options to the detriment of others and employing their specific practices, interfere directly with the films conception, transforming and helping materialise fisically the initial concept into the final work, and favouring a certain aesthetic intellection of it. The aim of this Work Group is to complement existing theoretical investigation on cinema with the researching of the material, physical and industrial dimensions at the heart of every film project; promoting debate about the communicative and expressive power inscribed in the many elements that comprise and harmonise an oeuvre; apprehending filmmaking as a complex process partitioned between specific teams, which contributes towards a final work that is inevitably inter-artistic, since a wide range of arts and crafts collaborates in the construction of the cinematic object. Rather than focusing on the analysis of the numerous cinematographic codes, on what they enclose and signify, a materialities methodology seeks to isolate each material dimension in its specificity, with a view to examining its function in the construction of the object film. The celluloids physical qualities, the forms. Textures and lines of costumes and the scenography, the composing in interior and exterior settings, the work on sound and the acoustics: the entire final abstraction we call a Film is based upon a set of concrete and material realities, transforming itself in the study object. Accordingly, this presupposes the disassembling of every component at the heart of all practical structuring of the film to treat individual piece as an object worthy of analysis and study. When António Reis referred to the Aesthetics of materials (1997) he meant the rigor in choosing the physical elements that compose the cinematographic frame and all the consequences that these options produce. Thus, words like crafts, composition, materialisation, artefact become decisive when trying to define this research object which fails to entirely coincide with both narrative and visual matter, and instead concurs with forms, cuts, materials, and the styles proposed by the several professional teams involved in the creative materialities process. The definition of filmmaking as a tailors work in progress propounds the idea of craft-in-itself, as if the film could be conceived as a mass which is mouldable into sculpture; made out of shapeless cloths that can be shaped into garments; of sounds block that can be organised into music, voices and silences; of lights captured by the tape that can lighten and darken.
Cinema and Materiality
The GT presented here is interested in the discussion of emerging cinemas in postcolonial contexts, many of which are the margins of national cinematography, usually in urban peripheries. By deepening the debate about the presence of "peripheries and margins" in postcolonial and outer cinemas around the world, in addition to conceptually organizing and systematizing a postcolonial cinema, we want to move in the direction that has presented itself as the most fundamental for these cinematographies: the image as representation and (more recently) as self-presentation in the cinema realized in the margins and peripheries of the world. We are interested in the critical revision of hegemonic and eurocentric forms and representations, as well as the social, cultural and artistic movements that have promoted the emergence of marginal artists in the film and art market, imposing images and other representations, as well as the production of artists from the diaspora , and the collective production of minority political groups. In Europe and the United States, this movement is accompanied by the emergence of voices, usually immigrants from ex-colonies as well as from social movements whose artistic power has been able to assert sensitivities in a growing wave of questioning of imperial molds and global aspects of contemporary life. In African countries, where the image was used as an instrument of colonial domination, an anti-colonial and denouncing cinema emerges, which continues to expand in terms of genres and themes. In Latin America, especially in Brazil, the representation of places and cultures is assumed by the groups themselves. Indigenous filmmakers are emerging and film collectives emerge in favelas and peripheries. Within this panorama, we want to discuss who are the artists and peripheral groups that are emerging in contemporary cinema and the visual arts, imposing a new agenda for the production of images in general, able to discuss the forms of invisibility and forgetfulness with respect to the ancient and recent modes of exclusion and re- colonisation.
Cinema, Sound, Music and Language