VIII AIM Annual Meeting
May 16-18, 2018
University of Aveiro, Department of Languages and Cultures

The deadlines for submission of proposals is November 30, 2017.

Please check also our FAQ or submit a proposal. Download in pdf format.


AIM's 8th Annual Meeting will be held on 16, 17, 18 and 19 May 2018, in Aveiro, at University of Aveiro. This edition of the AIM Annual Meeting will be co-organized by AIM - Association of Researchers of the Moving Image and the Department of Languages and Cultures. AIM’s Annual Meeting is an international conference and all proposals will be peer reviewed. Proceedings will be published electronically after the meeting.

The confirmed guest speakers of the VIII AIM Annual Meeting are: Manthia Diawara, Dorota Ostrowska and Ian Craven. Manthia Diawara is a writer, filmmaker, cultural theorist, scholar and art historian. He holds the title of University Professor at New York University, where he is Director of the Institute of African American Affairs. Dorota Ostrowska is a Senior Lecturer in Film and Modern Media at Birkbeck, University of London. Ian Craven is a Senior Lecturer in Film and Television Studies at the University of Glasgow.


We invite you to submit proposals for either papers or pre-constituted panels, in Portuguese, 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.

Attendance is free, and it is possible to submit proposals as an AIM member (free registration) or as a non-member (50€ registration fee, paid after acceptation). Your contribution can be either an individual paper or a pre-constituted panel. Some panels may have respondents. AIM members must renew their 2018 membership until November 30, 2017 (30€/normal; 20€/student).

Working Group Proposal

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


History of Portuguese Cinema

This call intends to make a diagnose of the cinephile communities in Portugal in the 21st century, by a way of constructing cinephile canons in the post-digital era and especially in a way that these canons circulate and are appropriate or not by the dominant film culture.
We invite interested researchers in developing case studies on cinephile communities with different experiences, namely: film clubs; Film festivals and the like; neighborhood movie theaters; MUBI / Letterboxd / IMDb; À Pala de Walsh; My two thousand films; Lucky Star; Among others.

Should any doubt arise about this internal call, contact

Cinemas em Português

The Work Group Cinemas em Português 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 VIII AIM Annual Meeting, to be held from 16 to 19 May 2018 at the University of Aveiro, Portugal.

Among the objects of study of this Work 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.

All proposals must be submitted through the AIM website, at This means that the proposals no longer go through a previous evaluation of the coordinators of the WGs but, after the evaluation by the Scientific Committee, the coordinators of the WGs will receive from this Committee a folder with all the proposals accepted in their area and with this information they will prepare the composition of the tables for the Meeting, that include: name, affiliation institutional, title of the proposal, summary (up to 2000 characters).

This Call for Papers is internal of the GT responsibility of the Work Group Cinemas em Português, coordinated by Silvia (, Leandro Mendonça ( and Jorge Cruz, (

Landscape and Cinema

The Working Group ‘Landscape and Cinema’ invites members and non-members of AIM to submit paper proposals on the cinematic representation of spectral spaces, that is, those landscapes that suggest the presence of an absence: they may be abandoned places, haunted houses, crime scenes, cemeteries, monuments or places of memory – places that embody or symbolise the memorial heritage of a given community. All these landscapes have a special link with the past, to the point of giving the impression of being inhabited by spectres, spirits or ghosts, which keep alive the memory of the happy or traumatic events that once took place there. The main aim of this internal call for papers is thus to discuss the cinematic construction of these landscapes and their respective political, social or cultural meanings in order to understand the different ways in which the past and its mythology remain in the present.

Beyond this specific issue, people interested in taking part in the panels organised by this working group can also submit paper proposals related to our main areas of study, such as the relation between landscape and cinema, its cultural interpretation, its historical evolution and its aesthetic dimension.

Should any doubt arise about this internal call, contact:
Filipa Rosário:
Iván Villarmea:

Outros Filmes

This Work Group doesn't have a Call in English

Filmmakers' Theory

Suggested topics:
- Methodology on how to present the theory of the filmmaker
- Filmmaker's relationship with the spectator
- How filmmakers influence each other
- Concepts used by filmmakers that contribute to discuss issues of film theory
- Creative process of the filmmakers
- filmmaker's manifestos and slogans

Should any doubt arise about this internal call, contact: and

Narrativas Audiovisuais


In general:
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].
AIM’s 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 Hero’s 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:

The Cinema and The Other Arts

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

Should any doubt arise about this internal call, contact: Antonio Fatorelli <>, Nelson Araújo, Anabela Branco de Oliveira <>

Cinema e Educação

Since its invention, Cinema, more than an aesthetical object with its own specificities, has become a formative and educational object and resource. However, it has often been read in a superficial and subjective way, demarcating its potential as an object of knowledge. Just like reading a book, appreciating and reading a film requires a minimum of information about different aspects of its language. In fact, Cinema has been, ever more, used in a pedagogical context, because, effectively, it has an inventive language and a narrative composed of almost limitless themes and contents. Educating for film reading, in this context, means to self sensitize, to know how to sensitize others, to train the student through a means of experimentation and involving him in the whole learning process. Such training will be the first step to fight a certain school alienation in relation to the movies. Providing teachers with the means to access the films is a fundamental step to move from the instrumentalization of Cinema to an understanding of its specificity and importance. Only then will it be possible to rehearse students' training, promoting the viewing of films from different backgrounds and styles, leading to the knowledge and image analysis, provoking debate in a critical sense and fostering students' sensitivity and creativity, because, as Fresquet (2013) states, with Cinema as a partner, education tends to be inspired by provoking pedagogical practices forgotten of the magic of what it means to learn.
Therefore, the current call focuses on the possible relations between cinema, education and the research that has been developed in this field, highlighting the different artistic cinema experiences produced in an educational context, for a pedagogical use of cinema in different curricular areas, subjects and teaching levels as well as for the creation of educomunicative ecosystems that may enhance the use of cinematographic language.

Should any doubt arise about this internal call, contact;;




How to make a proposal for communication:
A proposal identifies, clearly and succinctly, several key elements:

  • the definition and delimitation of the object/subject of research to be presented;
  • the academic relevance of the proposal; how this object/subject forwards prior knowledge? Why is it significant?
  • the methodology of research/analysis; how will this communication reaches its goals?

In addition, effective abstracts are well written, they present a synthesized version of the communication to be written and comply with the parameters required (number of characters).


Who can submit proposals for communication?

  • Each applicant may submit only one proposal.
  • Papers may be presented by co-authors, provided that at least one of them is registered in the IV Annual Meeting of AIM
  • All presentations shall last a maximum of 20 minutes, regardless of the number of co-authors or the number of communications in the panel.


How does a Pre-Constituted Panels work?
Pre-constituted panels are thematic panels with a maximum duration of 1h45m, with a minimum of three and preferably a maximum of four communications, whose themes and participants are defined by the respective applicants. In the pre-constituted panels with three participants, applicants may suggest the indication of a respondent/commentator for the panel. This call must be submitted for validation of the Organizing Committee and the expenses will be the responsibility of the applicants. Each pre-constituted panel will have a person responsible for it, who should respond to all requests of the organization when contacted. This person must make sure all communication proposals are submitted individually by the respective author(s), and he/she must include all the information requested on the form for the pre-constituted panels. Priority will be given in the selection process to pre-constituted panels ​​with no more than two papers presented by researchers affiliated to the same institution of higher education / research.

Note: No submissions will be accepted from pre-constituted panels whose information does not match the communication proposals submitted individually. It is advisable, therefore, that the responsible for pre-constituted panel ensures that all communication proposals are submitted.