A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VII Encontro Anual irá decorrer de 10 a 13 de maio de 2017, na Universidade do Minho (Braga). Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
[Saber mais] [Inscrever-se na AIM]


CFP: Mothers of Invention: Parenting and/as Filmmaking Practice


In 1983, E. Ann Kaplan famously called second-wave feminist film culture a movement created by daughters “unwittingly…repeat[ing] the patriarchal omission of the Mother.” By way of what Charlotte Brunsdon has called disidentification, several scholars and practitioners associated with more recent varieties of film feminism, from its third wave to its “post” incarnation, have, unwittingly or not, followed suit. Swimming against this tide, Mothers of Invention invites contributors to help construct a feminist genealogy of a different sort, one that foregrounds the relationship between acts of production on the one hand and those associated with reproductive and caring labour on the other. More specifically, it seeks to build on the ground-breaking industry research already underway at the Raising Films campaign in the UK and Moms in Film in the US in order to create an interdisciplinary edited collection that considers the role that parenting, as both a theme and a diversified practice, plays in film and media cultures.

Mothers of Invention welcomes essays about fatherhood and film and media, but the balance of the volume will be weighted toward mothers and female carers, particularly those from communities that have been historically under-represented, marginalised, and/or excluded from film and moving image practice. As much as the film and media industries, especially at the commercial end, present a challenge for all people with caring responsibilities, those who identify as female remain disproportionately responsible for caring and domestic labour. It is precisely the nature of this challenge – as well as the acts of creative invention and innovative resistance it has inspired – that are of interest to this volume. Indeed, works as diverse as Mary Kelly’s Post Partum Document (1973-79), Agnès Varda’s Daguerréotypes (1976), Arnait Video’s Before Tomorrow (2008), and Sophie Hyde’s 52 Tuesdays (2013) incorporate parenting and caring labour into both their narrative content and their artistic practice and thereby contribute to a transnational and transgenerational body of work has yet to be considered through the lens of feminist parenting studies.

We invite contributions on historical and contemporary global moving image practices, across the spectrum from industrial to artisanal and concerning all key production roles. We are open to a wide range of approaches, from close readings of film and media objects to industrial analyses to studies of circulation and spectatorship, and we welcome work from a variety of disciplines, including the following: film, television, and/or media studies; cultural and creative industries; women and gender studies; moving image practice-based research; media anthropology; and cultural studies. Finally, following Lisa Baraitser’s definitional essay ‘Mothers Who Make Things Public’ (2009), we use the term mother to “denote anyone who both identifies as female and performs primary maternal work, with a ‘child’ being understood as the other whom such a ‘mother’ elects, names and claims as her child,” and carer to denote anyone who performs primary physical and emotional work unremunerated for a partner, parent, sibling, other family member, or friend.

Please submit a 500-word proposal and brief biographical note to<> and<> by 1 August 2017. We anticipate that finished essays will be approximately 6000 words in length, including notes, and we plan to send out acceptances of proposals by the end of September 2017.

Feel free to email us prior to the deadline with any questions.
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CFP: Silent Cinema and the Transition to Sound Symposium
13 September 2017
Phoenix Cinema, Leicester
as part of the 19^th British Silent Film Festival, 13-17 September


The transition from silent to synchronised sound cinema in Britain between 1927 and 1933 was a period which changed British cinema as both industry and art form forever, but which has largely been overlooked by cinema historians.

This symposium, which will precede the British Silent Film Festival, will examine the transition from silent to sound across the cinema industry in terms of economics, employment, technology and infrastructure, as well as the shift in film form and style including its impact on production, distribution, exhibition, reception and critique.

We invite papers and presentations from a range of disciplines that help to advance our understanding of the film industry during this tumultuous period. We particularly welcome contributions which consider the transitional period in European cinemas along with Britain’s own international relationships to both Anglophone and non-Anglophone countries. We also invite papers that consider the role of music and sound in silent cinema, before the period of the transition to sound.

The symposium is part of the AHRC-funded project on British Silent Cinema and the Transition to sound (a collaboration between De Montfort University and the University of Stirling) and will precede the 19^th British Silent Film Festival which will include four-days of screenings and presentations on the transitional period 1927 – 1933.

Possible topics include:
- technology and industry
- economics
- personnel
- film form, style and the impact of new production processes
- exhibition, reception, cinema-going and audiences
- cinema markets
- the transitional period's impact and legacy
- music and sound in early cinema

Please send abstracts of 200-500 words to Laraine Porter at <>

Deadline for contributions: 31 July 2017.
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II Encontro Internacional O Cinema e as Outras Artes

Ao longo da história do cinema temos assistido a um complexo debate sobre a relação recíproca entre o cinema e as outras artes que se caracteriza, sobretudo, por um conjunto de esforços criativos e gestos experimentais de ambos os domínios, permeado por dialogismos que transitam entre a expressão das outras artes no cinema e a transmutação do cinema nas outras artes. Desde a defesa do valor estético da imagem em movimento até às formas mais híbridas construídas sob novos referenciais, o cinema está em constante relação de reciprocidade com as outras artes, quer seja por uma relação de tensão, de presença de uma na outra, ou em última instância, de diluição das fronteiras. Este campo investigativo encontra nas possibilidades operativas da intertextualidade e no regime dialógico da construção artística, processos metodológicos capazes de estruturar o discurso científico.

O encontro internacional O Cinema e as outras Artes terá a sua primeira edição nos dias 28 e 29 de setembro de 2017, na Universidade da Beira Interior. O seu principal objetivo passa por promover a discussão/reflexão sobre problemáticas atuais relativamente ao diálogo entre as diferentes formas de arte, tendo como ponto de contacto o cinema. Procurando reunir esforços para ensaiar hipóteses de leitura interdisciplinares e interculturais, são convidados a participar neste encontro, investigadores das diversas áreas científicas, com especial preponderância para os Estudos Fílmicos, os Estudos Artísticos e os Estudos Culturais, que, em diferentes domínios disciplinares e fases de investigação, se ocupam destas questões.

Mais informações disponíveis em
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Kinephanos CFP STAR WARS, Expanded Universe, legend, canon?

Call for article proposals

STAR WARS, Expanded Universe, legend, canon? « I thought he was a myth! »

Edited by Marc Joly-Corcoran (University of Montreal) and
Laurent Jullier (New Sorbonne University)


Since Disney bought Lucasfilm in 2012, the /Star Wars /universe has never been so disrupted. George Lucas is no longer involved as a producer, for better or worse. In 2014, in what seems to be a marketing move that mainly serves to distinguish what would be now officially "canon", the status of the Expanded Universe (the EU: novels, video games, comic books) was classified "legend". Consequently, apart from the fan productions, and all the fanon, /SW/ post-2014 stories are officially "canons".

That being said, one can only speculate about the impact of this diegetic change for the fans and the future Lucasfilm productions. Indeed, the EU is becoming a fabulous paradigm from which new creators are free to draw any ideas they feel necessary, without any constraint nor pressure to use ‘this or that’ to respect a pre-established continuity set in the EU, which is no more canon. Nevertheless, many fans have invested a significant amount of time reading all the novels and comics, covering 20,000 years of history in "a galaxy far far away". Now, we could push this ‘legend logic’ further: why could the infamous prequels, directed by George Lucas, not be classified "legend" too, intradiegetically acknowledged by the characters in /SW/? The same could apply for the original trilogy. Isn’t it Rey who says about Luke Skywalker: "I thought he was a myth!"

Exclusively devoted to /Star Wars/, this issue aims to analyze the impacts of the upheavals following this diegetic change:

- On the official productions (two feature films, /The Force Awakens/ and /Rogue One/, the animated /Star Wars Rebels/ series, books, video games, etc.)

- On the fan creations: what impact these films had on their audiovisual works (fanfilm), fanart or fanfic, which they continue to produce since their release?

- On the reception side: how were the last two feature films received and appreciated according to the audience? - connoisseurs, fans of the original trilogy, newcomers, beginners, etc. How are the six original opus of the saga now "revised"? What consequences changing the status of the EU to "legend" really had on their "image" or "value"?

This issue seeks well-researched papers that address topics such as (but not exclusively):

* Amnesia in /SW/ screenplays and retroactive continuity
* /Revival, remake, reboot, soft reboot:/ why the fad/?/
* Transmedia as a way for saving screenplays, and /retcon/
* The relevance of the notions of legitimacy, "canon" or "non-canon",
"officiality" and authenticity in a fictional universe
* Revisionism through the history of reception, specifically
concerning /Episode IV /released in 1977
* Case studies: /The Force Unleashed, KOTOR/
* Case studies: /Rogue One/, marketing, trailers and /reshoot/
* Should /The Force Awakens /be called/New Hope 2.0?/
* Fans’ contributions to the Expanded Universe (Fan theories, fanfilm,
fanfic, fanart, etc.)

_How to submit?_

Please send an abstract, between 300 and 500 words (excluding references), in English or French, by June 1^st , 2017, to<>AND <>

The abstract must specify the topic and the object(s) of study, along with the preferred methodology.Don’t forget to indicate key bibliographical references, your name, email address, and your institutional affiliation.

Selected contributors will be advised by email by the end of June 2017. Full papers will be submitted by the end of september 2017 (anonymized). The issue will be released during the beginning of 2018.

_Editorial rules_

/Kinephanos/is a peer-reviewed journal. Each article is evaluated by double-blind peer review. /Kinephanos/ does not retain exclusive rights of published texts. However, material submitted must not have been previously published elsewhere. Future versions of the texts published in other periodicals must reference /Kinephanos/ as its original source.

For the editorial guidelines, refer to the section Editorial Guidelines <>.
Kinephanos/accepts papers in English and in French.
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Hoje, às 22h, no VII Encontro Anual da AIM

Sessão de Cinema integrada no VII Encontro Anual da AIM
Entrada livre!
Espaço TOCA, Avenida Central, 33
BragaShopping, 2.º piso

TARRAFAL, de Pedro Neves
com a presença do realizador

Um dia, quase tudo se transformou num monte de escombros e mato. Restaram fantasmas que vagueiam entre os campos, as ruínas e o nevoeiro. Alguns desses fantasmas estão vivos. São gente que ficou, gente que volta, gente que deambula pelas memórias difíceis daquele que foi o mais maldito bairro da cidade. Só que este Tarrafal, o nome do campo de morte lenta da ditadura salazarista, não fica em Cabo Verde, mas sim em Portugal.

Argumento e realização PEDRO NEVES | Fotografia PEDRO NEVES | Montagem Pedro Neves, Ricardo Leite | Som RICARDO LEITE | Misturas de som e sound design Pedro Adamastor | Música Jojo Navarro | Grafismo JOÃO BORGES | produtor PEDRO NEVES | fotografia de cartaz ANTÓNIO PEDROSA | pós-produção, produção e distribuição: RED DESERT

Ver trailer em Tarrafal, de Pedro Neves

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Onde acontece o VII Encontro Anual da AIM?
Dia 10, 16h | Mesa-redonda "Os Sons da Imagem"
Biblioteca Lúcio Craveiro da Silva, Rua de São Paulo, 1

Dia 10, 22h | Sessão de cinema "Tarrafal", com a presença do realizador
Espaço TOCA, Avenida Central, 33, BragaShopping, 2.º piso

Dia 11-12-13
Edifício ICS - Instituto de Ciências Sociais, Campus de Gualtar, Universidade do Minho
Transportes Urbanos de Braga: linha 43 (Estação CP - UM, 15 minutos); linha 24 (Senhora-a-Branca - UM, 13 minutos); linha 2 (Central de Camionagem - UM).
Mais percursos em

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Lecturer in film production - University of Winchester

Please note this new position for a Lecturer on our growing Film Production Programme at Winchester and circulate to any colleagues from academic or practice backgrounds who may be interested in applying:

Job title
ART-J29 - Lecturer in Film Production Job reference
1463 Date posted
02/05/2017 Application closing date
15/05/2017 Package
£33,943 to £38,183 per annum. Full time, 1.0fte. Job category/type
Academic Job description

As a Lecturer in the School of Media & Film you will have a major
role to play in the delivery of the BA Film Production degree. You
will have opportunities to deliver modules and courses in some or
all of the areas, but primarily the practice-based undergraduate
programmes. You will also provide tutorial support for students, and
participate in the future development of the curriculum. The post
will allow the successful candidate to continue with their
professional practice and this is strongly encouraged providing it
complements the duties associated with the post. It is hoped the
successful candidate will play an active role in programme
development and so a desire to participate, mould and shape the
degrees is essential.

The programme has forged strong links with film and media industries
and the School has an Industry Advisory Panel and the post holder
will be encouraged to contribute to the continued strengthening of
these relationships. The successful applicant may offer expertise in
any relevant area of practical filmmaking, although areas such as
cinematography, post production are desirable.

One of our core values is 'individuals matter'.As an employee at the
University of Winchester, we are committed to your wellbeing and
development.You will have access to a wide range of benefits and
support including complimentary access to the GetActive initiative,
comprehensive staff development programme, generous holiday
entitlement and pension scheme.Further details can be found on our
website. *Post No: ART-J29*

*Full job description and person specification can be accessed


*Closing Date:15 May 2017*

*Interview Date:**30 May 2017*


Applications should be made online at
<>. Please note that posts close at
midnight on the date stated. Late applications will not be accepted.
Due to certificate of sponsorship restrictions this post is not open
to applicants who require sponsorship to work at the University of

We delight in diversity in our workforce and seek others that share
this value
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CFP: Women in Iberian Cinema

International Symposium
University of Lisbon School of Arts and Humanities
Lisbon, Portugal, 11-12 September, 2017

Keynote speakers:
Begoña Soto (Universidad Rey Juan Carlos, Madrid, Spain)
Hilary Owen (University of Oxford/University of Manchester, UK)

The call for papers is now open for the International Symposium ‘Women in Iberian Cinema’, an interdisciplinary event organised by the research group ‘Cinema and the World – Studies on Space and Cinema’, to be held at the Centre for Comparative Studies in the University of Lisbon School of Arts and Humanities, Lisbon, Portugal, on 11 and 12 September 2017.

Women have always occupied a peripheral position within the world of film. While female characters, particularly protagonists, are scarce, and women’s subjects tend to be framed through a male gaze, significant contributions made by women to film production and criticism are often dismissed and/or underrepresented in film canons, historical archives and official narratives. For instance, according to the “Celluloid Ceiling” report conducted by the Centre for the Study of Women in Television and Film at San Diego State University, USA, only 4% of the
100 highest earning movies in 2016 were directed by women, and 29% were led by female characters.

Despite the international visibility of filmmakers including Isabel Coixet, Iciar Bollaín and Teresa Villaverde, to name but a few, in Spain, barely 8% of the films produced every year are directed by women. In Portugal, only 40 feature-films were directed by women between 1946 and 2009: that is less than one film per year. Focused on the cinemas of Portugal and Spain, this symposium aims to bring together researchers from different disciplines working on women and their status in relation to any aspect of Iberian cinemas. Our aim is to launch a debate about the position of women in cinema that draws insight and at the same time contributes to study fields as varied as Film Studies, Comparative Studies, Cultural Studies, Feminist Studies, Queer Studies and Postcolonial Studies.

This symposium will contribute to expanding debates about the position of women in the cinemas of Portugal and Spain through a revision of feminist and postfeminist theory, as well as new accounts of film history. It also aims to promote comparisons between Iberian cinemas from all regions, a topic that is almost unexplored in academia, despite the similar histories of the two countries, particularly throughout the twentieth century.

We welcome proposals for 20-minute presentations and/or pre-constituted panels of max. 3 speakers. The event’s working languages will be English, Portuguese and Spanish. Early-career researchers are especially encouraged to apply. Topics may include (but are not limited to):
• Female characters, subjects and representations in specific regional,
national and/or transnational contexts;
• Gender and genre in the cinemas of Portugal and Spain;
• The role of women in the film industry, from early to contemporary cinema;
• Case studies of women directors, producers, screenwriters and
below-the-line staff;
• Female stars in Portugal and Spain;
• Feminist and postfeminist approaches to film studies in different eras;
• Women and censorship, propaganda, or politics more generally.

Please send 300-word abstracts and a brief biographical note addressed to the organisers, Elena Cordero and Mariana Liz, to <> by 9 June 2017. The symposium will also include a roundtable on women in Portuguese cinema, with guest directors, producers and programmers. More details will soon be
available online, at
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Gender & Horror: CFP for edited book chapters

We are inviting chapter submissions for a new edited collection focusing on gender and horror.

This edited collection aims to re-examine horror in an era of remakes, reboots and re-imaginings. There have been many developments in the horror genre and whilst much of it has been reliant on previous material, there are also many shifts and changes such as

* cross-over of genres (for example, teen romance paired with vampires and werewolves, or horror in space);

* new formats such as Netflix, and cinema no longer being the only place we see horror;

* a resurgence of stories of hauntings and ghosts;

* and the popularity of ‘found footage’.

We wish to focus specifically on horror from 1995 to the present, as after a brief hiatus in the mainstream, the 1990s saw the return of horror to our screens - including our TV screens with, for example, /Buffy The Vampire Slayer /- and with horror and its characters more knowing than before.

We are happy for you to compare older material with newer versions, such as the recent Netflix version of /The Exorcist /(2016) with the original film/The Exorcist /(1973). The main requirement is that you interrogate whether the portrayal of gender has changed in horror – it may look like something different (more positive?) is happening, but is it?

We hope to encourage diverse perspectives and we welcome early career researchers and new voices to offer a different light on classic material, in sole- or multi-authored chapters.

We’d also like to gently remind potential authors that ‘gender’ doesn’t only apply to women, it applies to men and masculinities, and it encompasses non-binary identities and experiences, as well as issues about 'race', ethnicities and class. ​

The schedule is as follows:

* You send your chapter title, 200 word abstract and brief bio by the end of May 2017.

* The finalised proposal will be sent to the publisher Emerald in early summer.

* Your final first draft chapter (approx 7000 words) should be sent to us by January 31^st 2018 (reminder/s will be sent).

* We will return any comments/revisions by the end of March 2018,

* and ask that you send us the final revised chapter by the end of June 2018.

* The completed manuscript will be submitted in July 2018 for publication in early 2019.

Please send your chapter titles, 200 word abstracts and a brief bio to the book editors by the end of May.

If you have any queries, or would like to contribute but need to tweak the schedule, please email us.


Dr Samantha Holland <>

Dr Steven Gerrard

Prof Robert Shail

If you are not familiar with the publisher, Emerald are an independent publisher, established by academics in 1967 and committed to retaining their independence.
And for your future reference: All hardback monograph publishing will be available in paperback after 24 months, and all books are available as ebooks. Emerald commission and cover the cost of indexing if authors don't want to do it themselves; use professional designers for each individual book jacket; and aim to exceed the royalties of other publishers. They have international offices, but pride themselves on not being a 'corporate machine'.
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CFP: Queer Screens 2017



September 2nd and 3rd 2017

The Institute of the Humanities and the Gendered Subjects Research Group
at Northumbria University, Newcastle Upon Tyne, UK

Keynote speaker: Prof. Jack Halberstam (University of Southern California)

We invite submissions which tackle diverse aspects of queer representation, and that question the extent to which the new influx of queer on-screen visibility works at once both to liberate and obfuscate certain queer identities and cultures. How, for example, should we perceive representations of the legalization of gay marriage in numerous countries, while taking into account that these changes in law also mark the entrance of queer individuals into reproductive and familial time? In England and Wales, 2017 marks the 50th anniversary of the Sexual Offences Act, which decriminalized private homosexual acts between male individuals aged 21 or over. As such, this anniversary comes at what is arguably a troubling time; one where right-wing nationalism spreads across the US and Europe and ‘homonationalism’ (Puar, 2007) allows for the appropriation of queer and feminist discourses so as to legitimize xenophobia and contemporary colonialism.
We encourage submissions dealing with queer representation in any on-screen form (ranging from the established forms of film and TV to gaming, music videos, advertisement, web-series, and social media, amongst others) in what can be broadly defined as a contemporary context, promoting both explorations of the historical development of queer visibility and of its recent media examples. Additionally, we welcome further explorations of what it means to be ‘queer’ on screen, to gaze queerly, and the value of queerness as not only a political but aesthetic term. Topics may include yet are not limited to:
● Queer intersectionality on contemporary screens
● Queer temporalities and geographies
● Specific regional, national or transnational contexts of queer representation
● The relationship between various media platforms and queer visibility
● Representations of queer activism and the (re)framing of activist debates
● The queer body and its relationship to the neoliberal context
● Adaptations and appropriations that queer canonical authors and texts
● Queering notions of success and failure in neoliberalism
● Homonationalism and its role in representation
● Queer anarchism. Queerness as a vehicle for change. Queer utopias and potentialities.

Organizers: Anamarija Horvat ( <>)&
Inmaculada N. Sánchez-García ( <>)

Please send 200-300 word abstracts for 20-minute presentations or for panel proposals and a biographical note to<>*by May 1st 2017. A selection of papers will be eligible for publication.

For further information check our website:

Follow us on:<><>

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Inscrição de Ouvintes para o VII Encontro Anual da AIM

A assistência aos trabalhos científicos do VII Encontro Anual da AIM é livre e gratuita.
Para formalizar a inscrição, os interessados devem preencher o respectivo formulário e, nos dias do evento, deslocar-se ao Secretariado e solicitar a acreditação.
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CFP: Movement as Immobility - A Conference on Film and Christianity

Movement as Immobility - A Conference on Film and Christianity

deadline for submissions:
June 30, 2017

full name / name of organization:
Centre for Comparative Studies - University of Lisbon

contact email:

In Simone Weil’s “First and Last Notebooks” we find a note that describes the sea as “a movement within immobility,” the “Image of primal matter”, which leads this Christian philosopher to see music also as a movement that “takes possession of all our soul—and this movement is nothing but immobility”. Perhaps this is an even more fitting description of film, with its images in motion. Its movements can reconnect us with the movements of the world, those motions in which a mysterious sense of order, what Weil calls immobility, arises.

This conference aims at examining the connections between film and Christianity focusing on such aesthetic aspects that, while not rejecting film representations of religious subjects, gives primacy to film style and film experience.

The event is organized by the Centre for Comparative Studies of the University of Lisbon (as part of the research project “Cinema and the World: Studies on Space and Cinema”), to be held at the University of Lisbon, School of Arts and Humanities, on November 24 and 25, 2017.

Relevant topics include, but are not limited to:

- stillness and movement;

- prayer and filmmaking;

- post-secular cinema;

- film and a phenomenology of Christian life;

- film as a personal expression of Christian faith;

- film and Christian spiritual experiences;

- boundaries and commonalities between Christian traditions;

- film and Christian theology;

- Christian cinematic landscapes.

The Conference’s working languages are Portuguese and English.


Proposals for twenty-minute papers should include the title of the presentation, a 250 word abstract, and a brief autobiographical statement (circa 200 words). Proposals should be submitted to by June 30, 2017. Participants will receive a response by the end of July.


Filipa Rosário (University of Lisbon)
Rita Benis (University of Lisbon)
Sérgio Dias Branco (University of Coimbra)


Catherine Wheatley (King’s College London)
José Tolentino Mendonça (Catholic University of Portugal - Lisbon)

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Assistant professor in media and communications, University of Nottingham

Assistant Professor in Media and Communications, Social and/or Digital

Cultures, Film & Media

Location: University Park
Salary:  £34,956 to £46,924 per annum, depending on skills and experience. Salary progression beyond this scale is subject to performance.
Closing Date:  Friday 19 May 2017

Reference:  ART100717

The Department of Culture, Film and Media at the University of Nottingham wishes to appoint an Assistant Professor in Media Communications and Digital Media in the field of digital and/or social media. Preference may be given to those with research interests in one or more of the following: video games, interactive media, platforms and big data, technological interfaces and digital storytelling. Contacts or potential contacts with industry leading to grant capture and impact may be an advantage.

Candidates must have completed a PhD in media studies or a related field. The person appointed will be required to deliver both individual and team-taught BA and PGT modules, undertake the supervision of BA and MA dissertations and the supervision of PhD students and must also have a track record of research dissemination appropriate to their stage of career.

This is a full-time, permanent position.

Informal enquiries may be addressed to Professor Roberta Pearson by email ( Please note that applications sent directly to this email address will not be accepted.

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IV Congresso Internacional em Estudos de Género
Nos próximos dias 23, 24 e 25 de Novembro decorrerá na Università degli Studi della Tuscia (Viterbo- Itália) o IV Congresso Internacional em Estudos de Género O Feminino no contexto Italiano e Lusófono cuja chamada de trabalhos enviamos em anexo.
As/os interessados/as em participarem nesta iniciativa deverão preencher o formulário de inscrição que segue em anexo e envia-lo até ao dia 20 de Julho de 2017 para o endereço de correio eletrónico
Para mais informações consulte:
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Job: Lecturer in Film Studies, University of Leicester

The School of Arts at the University of Leicester is recruiting a full-time Lecturer in Film Studies.

Ref: SAH01440 Closing date: 10 May 2017

Please follow the link for further details:

Informal enquiries are welcome and should be made to Professor Martin Halliwell on <> or 0116 252 2645.

Lecturer in Film Studies

Ref SAH01440
Department School of Arts
Job Type Academic and Teaching
Specific Location
Contract Type Full Time
Salary Range

Job Purpose

Lecturer in Film Studies

College of Social Sciences, Arts & Humanities

School of Arts

Salary Grade 8 - £38,183 to £46,924 per annum

Permanent contract

Together our staff and students are discovering innovative ways to change the world for the better and there has never been a more exciting time for you to join us. We are ranked in the top 1% of universities worldwide and have an international reputation for excellence in teaching and research. We are led by discovery and innovation, with the synergy between research and learning at the core of our activity.

We are seeking an outstanding researcher and teacher in Film Studies to join our successful School of Arts. In this role you will develop the School’s research profile in International Film, and engage in research and publication in this area. You will be teaching and supporting students on the BA Film and Visual Arts and related degree streams, and offer at least one undergraduate option in American Cinema, as well as supervising undergraduate and postgraduate dissertations.

With a PhD in Film Studies, you will have a proven track record of published research, which gives proof that it attains international excellence. You will have experience in designing and delivering relevant modules, and an ability to generate external funding to support your research.

Click here for further information and details regarding this position

Informal enquiries are welcome and should be made to Professor Martin Halliwell on or 0116 252 2645.

The closing date for this post is midnight on 10 May 2017

We anticipate that interviews will take place on 31 May 2017

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TRANS TV: Call For Papers

Transformations of Television Industries

Transformations of Television Consumption Practices
Transformations of Televisual Aesthetics, Narratives and Identities
21^st Century Transnational and Transmedia Television Practices

Wednesday the 13^th of September to Friday the 15^th of September, 2017, University of Westminster, 309 Regent St, London.

Organised in Collaboration with the CREAM and CAMRI research centres and the Faculty of Media, Arts and Design at the University of Westminster.

Organising Committee: Dr Michael Goddard, Dr Christopher Hogg, Jane Thorburn, Paul Dwyer, Ged Maguire, Robert Benfield, Simon Passmore.

Confirmed Academic Keynotes:

Professor Amanda Lotz (University of Michigan)

Professor Matt Hills (University of Huddersfield)

Professor Jaap Kooijman (University of Amsterdam)

The conference will also feature key television industry guests TBC.

This conference proposes an examination of contemporary television under the impact of new platforms for production, dissemination and consumption such as Netflix and Amazon, coming after earlier technological and cultural dislocations of television such as cable, satellite, and home recording practices. These shifts have already displaced television from a stable technological apparatus, conventional television institutions and networks and schedule-based viewing. The latest turn of this ongoing series of transformations, poses questions of whether this is leading to a wider transformation of the very definition of the medium itself, as well as facilitating new forms of transmediality and transnationality in television production and consumption practices.

Are series produced by, disseminated on and/or consumed via these new platforms still television and if so in what senses? Is television now only understood in terms of audiovisual digital content with a serial form, and if so what distinguishes it from other digital content such as web series that may also be serial and audiovisual? Finally, is it useful to refer in this context to ‘post-television’ in line with the recently proposed term of ‘post-cinema’ in order to understand the radical technological and cultural transformations of what is nonetheless still widely recognised and understood in terms of televisual form?

Drawing attention especially to the appearance of more Trans as well as LGBTQ figures within such recent US series as /Orange is the New Black, Transparent, Sense8/ and others, this conference will propose the idea that television itself is going through its own ‘trans’ period, an unpredictable metamorphosis of its identity, arguably allowing for richer post-network complexity in televisual narratives, characterization, style and aesthetics. At the same time, it is important to look closely at how these aesthetic shifts are related to industrial practices like commissioning, international co-productions and modes of consumption in an era in which television content may be primarily designed to be consumed via these new platforms, even if produced by a more conventional television organisation. In order to address these shifts in both industrial practices and television aesthetics, the conference will consist of both theoretical/analytic and industry/production studies streams, as well as roundtables bringing these streams together.

Potential topics include but are not limited to:

* Transformations of television production practices in the
* Transformations of television consumption practices encompassing but
not limited to binge viewing
* New forms of transnational collaboration and television co-production
* New modes of narrative complexity in comedy and drama series
* Trans, LGBTQI, queer and other liminal figures in contemporary
televisual narratives
* Contemporary transformations of television aesthetics
* New forms of commissioning and marketing television series
* Transmedia approaches to contemporary television and digital narratives
* Queer critical approaches to contemporary television series (/Orange
is the New Black, Sense8, Transparent, Orphan Black /and others)
* Transformations of television drama and comedy genres and subgenres
* Transformations of television authorship
* Transformations of gender and ethnicity in television production and
consumption practices
* Transformations of gender and ethnic representations in contemporary
television series
* Transformations of online and offline television criticism
* Transformations of television studies in theory and pedagogy
* Television and ‘post-television’ in digital forms such as music
video and ‘user generated television’, as well as on platforms from
YouTube to Netflix
* Future directions and understandings of television in a digital
transmedia context

We envisage several publication outputs from the conference as well as other forms of impact.

Please submit a 250-word abstract for a 20 minute presentation and a maximum 100 word bionote to: ** <>*and *** <>*by the 8^th of May, 2017.

Registration will be 100£ for academics with permanent positions and 50£ for students and underemployed participants

Acceptance of proposed papers will be confirmed by the 29^th of May, 2017

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Encontro Cinema e Educação na Cinemateca Portuguesa entre 20 e 22 de Abril
Num contexto em que volta a ser tema de discussão alargada a relação entre a educação e as artes – não apenas o ensino artístico mas o universo mais vasto da educação pela arte e do papel das artes em todo o âmbito educativo –, num contexto em que vários novos projetos sobre a iniciação ao cinema percorrem a Europa e têm eco no nosso país (CinED, Moving Cinema, Cinéma cent ans de jeunesse), e num contexto em que está, aliás, em desenvolvimento mais uma iniciativa governamental em que se procura a inserção do cinema nos percursos escolares (o Plano Nacional de Cinema), a Cinemateca junta-se à Associação Os Filhos de Lumière para organizar um encontro dedicado às múltiplas vertentes da relação entre o Cinema e a Educação. Coincidindo com as comemorações dos 10 anos da Cinemateca Júnior, o objetivo é integrar a nossa própria reflexão sobre o papel que nos cabe neste âmbito numa reflexão mais ampla sobre o cinema enquanto experiência educativa e sobre o trabalho educativo feito com o cinema. Neste encontro, autores e investigadores de várias áreas – tanto do lado da educação como do lado do cinema – serão convidados a levantar questões e a debater o tema, cruzando experiências e ideias numa agenda de discussão aberta, que permita acima de tudo ampliar o âmbito conceptual normalmente tido em conta neste campo. Não esquecendo experiências passadas inovadoras – muitas delas descontinuadas ou até esquecidas, na área do cinema como na área da pedagogia – o objetivo será o de trabalhar o cinema como um dos contributos possíveis para rasgar as fronteiras mais convencionais da experiência educativa, ao mesmo tempo que se trabalha a experiência educativa como área exploratória de novos caminhos cinematográficos. De um e do outro lado, o desafio é portanto o da própria intensificação da experiência, assim como o da máxima exigência e abertura no decurso dela.

O encontro, aberto a todos os interessados, decorre na Sala M. Félix Ribeiro nos dias 21 e 22 de abril (21 de abril entre as 10h e as 17h; 22 de abril entre as 10h e as 13h) e é também o contexto da apresentação de RÉVOLUTION ÉCOLE 1918-1939 e “A PROFESSORA DA ALDEIA” nas sessões das 21h30 de 20 e das 19h de 21 de abril.

Quinta-feira, 20 de abril, 21h30

RÉVOLUTION ÉCOLE 1918-1939, de Joanna Grudzinska
França, 2016 - 85 min / legendado eletronicamente em português | M/12

Com a presença de Joanna Grudzinska
Projeção seguida de debate

Sexta-feira, 21 de abril, 10h00-13h00


Miguel Honrado, Secretário de Estado da Cultura
Maria Emília Brederode Santos
José Manuel Costa
Pierre Marie Goulet
Teresa Garcia
João Mário Grilo
Alain Bergala

Sexta-feira, 21 de abril, 14h00-17h00


João Costa, Secretário de Estado da Educação
Elsa Mendes (Plano Nacional de Cinema)
Ana Eliseu / Rossana Torres (Associação “Os Filhos de Lumière”)
Neva Cerentola (Cinemateca Júnior)
Nathalie Bourgeois (Le Cinéma, cent ans de jeunesse)
Lena Rouxell (CinEd)
Jacques Lemière (Université Lille 1)
Guilherme de Oliveira Martins

Sexta-feira, 21 de abril, 19h00

de Mark Donskoy
com Vera Maretskaia, Pavel Olenev, Daniil Sagre
União Soviética, 1947 - 100 min / legendado eletronicamente em português | M/6

Sábado, 22 de abril, 10h00-13h00


Entre outros, professores das escolas Marquesa de Alorna, Pintor Almada Negreiros, Luis António Vernay (Lisboa), Escola Secundária de Pinhal Novo, Agrupamento de Escolas de Mértola e Escola Secundária Damião de Goes (Alenquer)
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CFP: Teenage Kicks - Global teenage cultures, representations and practices

Kingston University, London

Conference: Teenage Kicks: Global teenage cultures, representations and practices (Extended Deadline)

Event date: Saturday 9 September - Sunday 10 September 2017
Deadline for Proposals: 30th April 2017

Keynote Speaker: Dr Kate E. Taylor-Jones, School of East Asian Studies, Sheffield University

The popular contemporary representation of a teenager is someone who stays in their bedroom with their tablet and phone, only venturing out for sustenance. Media panics around violence and videogames, online pornography and extreme television and film also construct the teenager as a passive victim of the mass media. The purpose of this two day conference is to interrogate popular representations, cultures and sub-cultures, and practices of teenagers on a global level.
This interdisciplinary conference seeks 20 minute papers and panel proposals which interrogate popular conceptions and misconceptions of the teenager. Papers and panels will approach the teenager from a global perspective are particularly welcome.

Themes include:

• Bedroom Cultures

• Fan practices and cultures

• Blogs/Vlogs and other internet practices

• Selfie culture

• Fashion and beauty

• Music and sub-cultural identities

• Constructions of the 'girl' or constructions of the 'boy' in popular culture

• Teenage cinema
• Online dating and sexting

• K-Pop/J-Pop and hybridity

• Teenagers and the ideology of anti-social behaviour

• Religion and the teenager

• Histories of the teenager

• Young Adult literature

• Young Adult television and film

• The law and the teenager

Please email abstracts (250-300) words to Colette Balmain ( or Lucy Williams ( by no later than April 30th 2017 and don't forget to include your name, email address and institutional affiliation if applicable. We look forward to hearing from you.

For further information about this event contact: Dr Colette Balmain at:
Updated details will appear on the conference website:
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Call for papers: TMG - Journal for Media History

Special issue _New Cinema History in the Low Countries

Deadline proposal (approximately 300 words): 1 June 2017

In 2006 /TMG – Journal for Media History/ published the special issue “Cinema in Context”. It contains some of the earliest theoretical reflections on and results of the broad approach of cinema historiography that is currently often labelled as “New Cinema History”. In 2003 an international group of film historians created the platform HoMER (/History of Moviegoing, Exhibition and Reception/). Instead of taking films as the starting point and focus of research, these scholars shifted the agenda to the contexts of film production, distribution and consumption, broadening the perspective to social and economic aspects. Digital data collections and methods (databases, GIS) are often part of New Cinema History research.

Over a decade after the special issue, New Cinema History has developed into a substantial sub field of media history, as is evidenced in series of conferences, research projects and many publications. At the end of 2017 the/ Routledge/ /Companion for New Cinema History/ is expected to appear. The editors of /TMG – Journal for Media/ /History/ view this as a suitable moment to reflect on the question what this broad contextualizing approach has taught us about the cinema history of the Low Countries. Where are the blind spots and lacunae of New Cinema History? Which new research questions have arisen or should be introduced in the current debates? In brief, an evaluation of results and methods, and a prospect to the future research programme of New Cinema History. Contributions can consist of concrete (comparative) case studies or can be more theoretical or historiographical reflections.

Editors: Clara Pafort-Overduin ( <>) & Thunnis van Oort (<>)

Deadline proposal (approximately 300 words): 1 June 2017

Deadline article (6.000-8.000 words): 1 November 2017

Publication date: 1 May 2018

Language: Dutch and English

About the journal: /TMG – Journal for Media History/ wants to promote research in media history and publish the results of that research. It offers a platform for original research and for contributions that reflect theory formation and methods within media history.//The journal is published online in open access, twice a year. /TMG – Journal for Media History/ uses a double blind peer review procedure: the authors do not know the identity of the reviewers, and vice versa. See: <>.
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Spatial storytelling: discussing the future of cinema - Vol. 2, No. 1. International Journal of Film and Media Arts - CFP

International Journal of Film and Media Arts - CFP open: Vol. 2, No. 1. Spatial storytelling: discussing the future of cinema

The call for full papers and book reviews for vol. 2, no. 1 (to be published August 2017) on spatial storytelling is open. Visit: <>

Today, interactive user-oriented narrative is overtaking story structures traditionally linked to linear time-based narrative. Unlike time-based media, which are often single-authored, and presented to its audience, digital space based narrative evolves through user motivated use of the media affordances in different contexts. The user, unlike the audience, co-creates the story while playing it, but also helps in reshaping the media.

For its third issue, the International Journal of Film and Media Arts welcomes contributions in the form of full articles that deal with the theoretical and empirical implications of spatial storytelling for both film and other media. We would particularly like to receive contributions that would focus on:

- The role of spatial based narrative in the transformation of film form;

- Case studies on the application of spatial narrative in different media namely those that cross film and videogames;

- Spatial narrative structures and models;

- Mix media used of spatial narrative.

Issue editors: Manuel José Damásio; Sylke Rene Meyer

Publication schedule

Call for papers: 21 November to 5 May 2017. Early submission is highly encouraged.

Communication of decision to authors: June

Publication: August 2017

Submit paper here: <>

The International Journal of Film and Media Arts is an online semiannual publication, written in English and Portuguese, promoted by the Center for Research in Applied Communication, Culture and New Technologies (CICANT / CIC.Digital) and the Department of Film and Media Arts (DCAM) from ECATI, Universidade Lusófona de Humanidades e Tecnologias (Lisbon, Portugal). The IJFMA focuses on all areas of film and media arts research and critique, namely animation, television, media arts, videogames, fine arts, sound and their varied social and cultural forms of expression and materialisation.

The International Journal of Film and Media Arts Volume: 1, Number: 2 (2016)<> is now available.
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CFP: Interaction and Digital Media. /

en español después / en català al final]

Call for papers: Interaction and Digital Media., number 15, 2017
Guest editor: Joan Soler-Adillon, Royal Holloway, University of London
Deadline: June 20th, 2017
Peer review journal. Authors notified: September 20th, 2017

Author guidelines:

Contact: Juan Linares, executive editor <>

Papers will be accepted in English, Spanish or Catalan

Over last two decades interactive communication has taken an increasingly central role in most journalism and communication processes. There is a demand for professionals who can design and lead on the implementation of scenarios in which users engage with information à la carte, becoming active communicators that generate content which feeds back to the system. Digital communication cannot be understood with a sound knowledge of concepts such as interactivity and participation, and of how these play a central role in it.
Interactive communication professionals are those who provide tools that allow users to, in a nutshell, communicate with each other and disseminate information through the net. But they are also responsible for the innovation in these communicative processes: Designing and implementing them successfully not only in the well established channels and contexts, but also in these which appear –and sometimes disappear- at a rate much higher rate than that to which the pre-digital professional was used to. These new channels and contexts will complement or expand existing ones, while others will end up replacing them entirely.

Digital media have allowed for a scenario where all these forms of communication are possible. The interactive communication professional becomes here a key specialist who can understand the potential of digital media and, in turn, become a creator or, at least, a facilitator of stories.

At the same time, media itself has radically changed, adapting at different rates –and with varying success—to the context in which concepts such as ubiquity, active user (as opposed to passive viewer) or user generated content have reshaped the landscape. It is a context where social media has gone from being a space for dialogue on ‘main’ media (second screen) to become the main context in which stories are accessed and disseminated, often replacing the media platforms themselves.

Given all this, and at a time when we the fundamental concepts around communication, media and journalism are being reshaped, we deemed appropriate to call for a debate on what we understand to be a central concept in the new digital paradigm that dominates the present: Interaction, understood from a broad stroke that includes many different perspective, as a key idea of the new relations among the communication agents.

Therefore, for the next issue of we call for researchers, academics and practitioners to send their original research related to one of the following research topics, which are not exclusive:

. Interactive design and digital media: theoretical approaches, definitions and history
. Digital media and the digital ecosystem
. Learning interactive communication. A multidisciplinary effort
. Trending digital formats and media.
. Play strategies in digital media
. New interactive digital narratives
. Journalism, communication and social media
. Television as digital media
. Emergent formats in digital communication
. Art and experimentation in digital media
. Information customization and communication bubbles


Llamada a artículos:
Medios digitales e interación. /, número, 15, 2017
Editor invitado: Joan Soler-Adillon, Royal Holloway, University of London
Data límite de envío: 20 de junio 2017
Revisión por pares. Notificación de aceptación: 20 septiembre 2017

Pautas para autores:

Contacto: Juan Linares, editor ejecutivo: <>

Se aceptan originales escritos en español, inglés o catalán

En las dos últimas décadas la comunicación interactiva ha tomado un papel cada vez más central en la mayoría de procesos comunicativos y periodísticos. Las empresas reclaman profesionales capacitados para liderar, idear y diseñar escenarios en los que los usuarios se informan a la carta, se comunican con el medio o aportan contenidos y experiencias que retroalimentan todo el engranaje. La comunicación digital no puede desligarse de un conocimiento sólido de lo que representan conceptos como interactividad o participación, y de cómo estos se presentan en este tipo de contextos.

Los especialistas en interacción son profesionales que facilitan herramientas que permiten que los usuarios, simplemente, se comuniquen entre ellos y hagan transitar información por las redes sociales. Pero también son los responsables de innovar en estos procesos comunicativos: De diseñar y aplicarlos de manera acertada no sólo en aquellos canales ampliamente conocidos, sino también aquellos que aparecen –y a veces desaparecen- a un ritmo mucho más alto de lo que el profesional pre-digital estaba acostumbrado. Unos nuevos canales que tanto pueden expandir, como complementar, como a veces terminar sustituyendo los ya existentes.

Los medios digitales han posibilitado el asentamiento de un escenario donde todas estas formas de comunicación son posibles. El profesional de la comunicación interactiva se convierte aquí una pieza clave, un especialista capaz de comprender las potencialidades del medio digital y, al mismo tiempo, convertirse en un relator o, al menos, un facilitador de historias.

A su vez, los mismos medios han cambiado radicalmente, adaptándose con diferentes ritmos, y con más o menos acierto, al contexto digital donde conceptos como ubicuidad, el usuario como agente activo (en vez de mero receptor), o generación de contenidos han reconvertido el paisaje. Un contexto donde las redes sociales han pasado de ser un espacio de diálogo (segunda pantalla) a ser el escenario principal donde se difunden y se accede a las noticias, sustituyendo en muchas ocasiones la plataforma propia de los medios.

Ante todo esto, y en un momento de fuerte replanteamiento de los fundamentos de la comunicación y, particularmente, del periodismo, es adecuado plantear un debate en torno a un concepto que entendemos central en el nuevo paradigma digital que domina el presente: la interacción, entendida desde un punto de vista amplio que incluye miradas muy diversas, como eje vertebrador de las nuevas relaciones entre todos los actores de la comunicación.

Así pues, para el próximo número de se propone a investigadores, académicos y profesionales el envío de trabajos de investigación originales relacionados con alguna de estas líneas de investigación, que no son exclusivas:

. El diseño de interacción y los medios digitales: aproximaciones teóricas, historia y definiciones
. Los medios digitales, el ecosistema digital
. Aprendizaje de comunicación interactiva. Una especialidad entre fronteras
. Formatos digitales y medios. tendencias
. Estrategias de juego en medios digitales
. Nuevas narrativas digitales interactivas
. Periodismo, comunicación y redes sociales
. La televisión como medio digital
. Formatos emergentes en comunicación digital
. Arte y experimentación en medios digitales
. Personalización de la información y burbujas comunicativas


Crida d’articles: Mitjans digitals i interacció. /, número, 15, 2017
Editor invitat: Joan Soler-Adillon, Royal Holloway, University of London
Data límit d’enviament: 20 de juny 2017
Revisió per parells. Notificació d’acceptació: 20 setembre 2017

Pautes pels autors:

Contacte: Juan Linares, editor ejecutiu: <>

Es poden presentar originals escrits en castellà, anglès o català

En les dues últimes dècades la comunicació interactiva ha pres un paper cada vegada més central en la majoria de processos comunicatius i periodístics. Les empreses reclamen professionals capacitats per liderar, idear i dissenyar escenaris en els que els usuaris s’informen a la carta, es comuniquen amb el mitjà o aporten continguts i experiències que retroalimenten tot l’engranatge. La comunicació digital no pot deslligar-se d’un coneixement sòlid del que representen conceptes com interactivitat o participació, i de com aquests es presenten en aquesta mena de contextos.
Els especialistes en interacció són professionals que faciliten eines que permeten que els usuaris, simplement, es comuniquin entre ells i facin transitar informació per les xarxes socials. Però també són els responsables d’innovar en aquests processos comunicatius: De dissenyar i aplicar-los de manera encertada no només en aquells canals bastament coneguts, sinó també aquells que apareixen –i a vegades desapareixen— a un ritme molt més alt del que el professional pre-digital estava acostumat. Uns nous canals que tant poden expandir, com complementar, com a vegades acabar substituint els ja existents.

Els mitjans digitals han possibilitat l’assentament d’un escenari on totes aquestes formes de comunicació són possibles. El professional en comunicació interactiva esdevé aquí una peça clau, un especialista capaç de comprendre les potencialitats del mitjà digital i, alhora, esdevenir un relator o, almenys, facilitador d’històries.

Alhora, els mateixos mitjans han canviat radicalment, adaptant-se amb diferents ritmes, i amb més o menys encert, al context digital on conceptes com ubiqüitat, l’usuari entès com a agent actiu enlloc de mer receptor, o generació de continguts han reconvertit el paisatge. Un context on les xarxes socials han passat de ser un espai de diàleg (segona pantalla) a ser l’escenari principal on es difonen i s’accedeix a les notícies, substituint en moltes ocasions la plataforma pròpia dels mitjans.
Davant de tot això, i en un moment de fort replantejament dels fonaments de la comunicació i, particularment, del periodisme, és adient plantejar un debat al voltant d’allò que entenem central en el nou paradigma digital que domina el present: la interacció, entesa des d’un punt de vista ampli que inclou mirades molt diverses, com a eix vertebrador de les noves relacions entre tots els actors de la comunicació.

Així doncs, per al proper número de es proposa a investigadors, acadèmics i professionals l’enviament de treballs d’investigació originals relacionats amb alguna d’aquestes línies de recerca, que no són exclusives:

. El disseny d’interacció i els mitjans digitals: aproximacions teòriques, història i definicions
. Els mitjans digitals, l’ecosistema digital
. Aprenentatge de comunicació interactiva. Una especialitat entre fronteres
. Formats digitals i mitjans. Tendències
. Estratègies de joc en mitjans digitals
. Noves narratives digitals interactives
. Periodisme, comunicació i xarxes socials
. La televisió com a mitjà digital
. Formats emergents en comunicació digital
. Art i experimentació en mitjans digitals
. Personalització de la informació i bombolles comunicativas

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II Encontro Internacional O Cinema e as Outras Artes
Ao longo da história do cinema temos assistido a um complexo debate sobre a relação recíproca entre o cinema e as outras artes que se caracteriza, sobretudo, por um conjunto de esforços criativos e gestos experimentais de ambos os domínios, permeado por dialogismos que transitam entre a expressão das outras artes no cinema e a transmutação do cinema nas outras artes. Desde a defesa do valor estético da imagem em movimento até às formas mais híbridas construídas sob novos referenciais, o cinema está em constante relação de reciprocidade com as outras artes, quer seja por uma relação de tensão, de presença de uma na outra, ou em última instância, de diluição das fronteiras. Este campo investigativo encontra nas possibilidades operativas da intertextualidade e no regime dialógico da construção artística, processos metodológicos capazes de estruturar o discurso científico.

O encontro internacional O Cinema e as outras Artes terá a sua primeira edição nos dias 28 e 29 de setembro de 2017, na Universidade da Beira Interior. O seu principal objetivo passa por promover a discussão/reflexão sobre problemáticas atuais relativamente ao diálogo entre as diferentes formas de arte, tendo como ponto de contacto o cinema. Procurando reunir esforços para ensaiar hipóteses de leitura interdisciplinares e interculturais, são convidados a participar neste encontro, investigadores das diversas áreas científicas, com especial preponderância para os Estudos Fílmicos, os Estudos Artísticos e os Estudos Culturais, que, em diferentes domínios disciplinares e fases de investigação, se ocupam destas questões.

Mais informações disponíveis em

A Comissão Organizadora
Anabela Branco de Oliveira - UTAD | LabCom.IFP
Ana Catarina Pereira - LabCom.IFP
Manuela Penafria - LabCom.IFP
Nélson Araújo - CEAA/ ESAP
Rita Bastos - LabCom.IF
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CFP: PRIDE Revisited: Cinema, Activism and Re-Activation

Abstract Deadline: 31 May, 2017

Following the success of the symposium PRIDE and its Precursors: Political Mimesis, Nostalgic Dissidence and Popular Film <>, held at the Birkbeck Institute for the Moving Image in December 2015, we invite submissions for an /Open Library of Humanities/ journal <> special collection on /Pride/, the LGBTQ and coalfield cinema that preceded, influenced and coincided with it, and the diverse forms of activism inspired by the film. This call is posted online here: <>

/Pride/ (dir. Matthew Warchus) was the most prominent of a number of films released in 2014 to coincide with, or commemorate, the 30th anniversary of the 1984-5 UK Miners' Strike. Based on a real-life support group for South Wales miners forged by London-based lesbian and gay activists (Lesbians and Gays Support the Miners, or LGSM <>), /Pride/ helped to inspire new solidarity activism (including the reformation of LGSM) and stimulated widespread discussion. This special collection will explore the impact, success and popular film aesthetics of /Pride/ as a political drama-comedy, as well as its connections to earlier LGBTQ and miners’ activist and community films and videos (including /Framed Youth: Revenge of the Teenage Perverts/, 1983/1987, /All Out: Dancing in Dulais/, 1984/1986, and /The Miners’ Campaign Tapes/, 1984/1985), and other more recent audio-visual commemorations of the Miners’ Strike and 1980s queer activism (including /Still the Enemy Within/, 2014, and /Re/framed Youth: From Perverts to Pioneers/, 2013). We would like to address questions of historical re-enactment, or re-activation, exploring how this mainstream British feature film was able to draw on the forms and energies of earlier representations and figurations of real people and events.

In the first instance, we are soliciting short written abstracts/proposals for full length written articles (7,000-8,000 words); these will be subject to double-blind peer-review. But we would also welcome proposals for audiovisual essays, or for shorter written works (of up to 1,000 words). The shorter pieces of writing might offer space for reflection on “the year of /Pride/,” and the kinds of activist and media forms and discourses engendered by the film’s making or release, or more broadly by the anniversary of the Miners’ strike.

Submissions are welcome from a range of disciplinary backgrounds and topics may include, but are not limited to:

* /Pride/ and questions of cinematic nostalgia
* /Pride/ as historiography
* /Pride/ as Melodrama
* /Pride/ as Comedy
* /Pride/ as a “feel-good movie”
* Individual and collective protagonists in the cinema and beyond
* Solidarity Cinema
* /Pride/ and Cinematic Intertextuality
* /Pride/ and Intersectionality
* Music and dance in “political film”
* /Pride/ and its representations of place and translocal connections
* /Pride/ and the miners’ strike film
* Popular Film as/in activism
* LGSM and the year of /Pride/
* /Pride/ online
* The activist influence of LGSM (e.g. on Lesbians and Gays Support

Please send abstracts/proposals (up to 500 words max.) for all formats of submission to Catherine Grant <> (University of Sussex) and Diarmaid Kelliher <> (University of Glasgow) ( by 31 May 2017. We expect to reply with our selection decisions by 15 June 2017. Final articles of 7,000-8,000 words for double-blind peer review (please contact the editors if you wish to propose or discuss an alternative format), including references and bibliography, will be due by 30 November 2017.

The OLH is an Andrew W. Mellon Foundation <>-funded open-access journal with a strong emphasis on quality peer review and a prestigious academic steering board. Unlike some open-access publications, the OLH has no author-facing charges and is instead financially supported by an international consortium of libraries <>.

To learn more about the Open Library of Humanities please visit:

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Cinema&Storia CfP extended


From Public to Private. The History and Histories of Audiences in the Global Era

«Cinema e Storia. Rivista di studi interdisciplinari» n. 1/2018

Special issue, edited by Mariagrazia Fanchi & Damiano Garofalo

The study of cinema audiences has always been considered as an ancillary area of interest: marginalized and considered to be a trivial subject, and in any case easily studied through text-centric analysis (the spectator as a semiotic construction), a marketing system approach (the spectator as the final result of film industry strategies), or as an outcome of political propaganda operations (the spectator as a tool of consensus). Moving away from this marginal position, in the last few years the study of cinema audiences has obtained a new relevance, assuming a particular significance thanks to the several multidisciplinary investigations of social and cultural history, such as the history of consumption, the history of tastes and, above all, the history of cinema and TV audiences.

Several causes have contributed to this recent renewal: the birth of European associations that are devoted specifically to cinema audiences (e.g. ECREA, HOMER, the “Audience” workgroup in NECS) has energized researches in this sense; the shift in focus towards non-Western audiences, has led to the emergence of of a new World History approach and the post-colonial perspective; experiments in new instruments from experimental psychology and statistical sciences (big datas) have contributed, as has the upgrading of traditional media historiography to include archaeological or oral-historical approaches. This positive circumstance has driven a reprise of the historiographical reflection on audiences, and the expansion of studies and projects (among others, the Italian Cinema Audiences project, launched by a pool of British Universities).

Beginning with this new perspective, it is necessary to enlarge our frame of work and to adopt a wide and inclusive approach to media consumption, to include cinema, TV and visual and audiovisual experiences broadly. The study of audiences necessitates an intermedial and multidisciplinary approach in order to encompass the complexity of media experiences: the plethora of forms that this assumes (and assumed), their changes through space and time, the multiplicity of connections to cultural, social, economic and identity processes. The challenge is to legitimate audience as essential field of investigation within film, media, communication studies, and, at the same time, to adopt audiences as a historical source in a wider sense.

Reflecting on these topics and following this line, the «Cinema e Storia» Journal aims to focus its following issue (1/2018) to history of cinema audiences.

We welcome essays that address (though are not limited to) the following topics: **

·Cinema audiences and historiographical questions;

·New approaches of cinema audience history: methods, frames, designs;

·Cinema audiences and microhistory (biographical, genealogical, communitarian histories);

·Cinema audiences and cultural consumption;

·Cinema audiences and production studies;

·Cinema audience, sociability and social processes;

·The history of reception (movies, stars, genres...);

·Fandom and stardom;

·History and identity construction (gender, generational, sexual social, cultural, political, national identities);

·Histories of movie theatres; histories of movie-going and urban spaces;

·Histories of cinema audiences and World History;

·Neuroscientific histories of audiences;

·Media debates and media representations of movie-goers, movie-going and cinema experiences.

Deadlines & Guidelines


To propose an article please send an abstract and short biographical note to the address <> by 20^th April 2017.

Abstracts must be between 200 and 300 words, and may be presented in English or Italian.

The proposal should include: five key-words, names of author(s), institution(s) and contact details (email, telephone), together with a short bio for each author.

If the proposal is accepted, the author/s will be asked to send the complete article to the same e-mail address by July 31, 2017. Contributions will be sent to two independent reviewers in a double-blind peer review process prior to the final publication decision. Authors may be requested to change or improve their articles if suggested by reviewers.

Articles should be between no more than 35,000 characters in length, spaces and notes included, but shorter articles will be also considered.

For info, please send an email to: <>and/or <>
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22nd International Bremen film Conference 2017

The 22nd International Bremen film Conference 2017 will take place from May 3rd to May 7th, 2017 at Bremen’s communal cinema CITY 46.

Using film for research and deriving a method from this can take very different forms and directions. In natural sciences and the humanities, for example, film produces visual evidence by way of recording, visualizing and archiving motion sequences. Similarly to the philosophy essay, a film essay can be used as a method of thinking and writing. Furthermore, film can become a source for contributing to historiography or displaying a history of human ideas and desires. Finally, in the context of artistic research, film offers methodological approaches to linking science and art, ranging from experimental film to documentary and fiction film as well as to contemporary forms such as interactive documentaries and video essays. The 22nd International Bremen Film Conference aims to address the interdisciplinary implications of film as a research method. It is open to scholars in film, cultural studies and history, as well as to scholars working in related fields. During the conference, films will be screened at our local cinema, discussed with filmmakers and examined in relation to their research value.


Paolo Favero (Antwerp)
Sylvie Lindeperg (Paris)
 Catherine Russell (Montreal)

The 22nd International Bremen Film Conference offers a platform for interdisciplinary exchange on historic and contemporary approaches to film with the intention of determining how the medium can be used as a research method. The conference will combine talks, panel discussions, film screenings, and Q&As with artists.

Full programme available online at:



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