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 III Encontro Anual decorrerá de 9 a 11 de maio de 2013, na Universidade de Coimbra. Já está disponível o programa da conferência (online e pdf).
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NOTÍCIAS
Call for Papers: Aniki: Revista Portuguesa da Imagem em Movimento/Portuguese Journal of the Moving Image
A Aniki: Revista Portuguesa da Imagem em Movimento aceita artigos inéditos sobre, entre outras, as seguintes áreas: cinema, televisão, arqueologia do cinema, vídeo, culturas digitais, som e imagem em movimento, história e teoria da imagem em movimento. De acesso gratuito, online e revista por pares, publica textos originais no campo da imagem em movimento segundo diferentes abordagens metodológicas. Com periodicidade semestral (junho/dezembro), publica ensaios (com dupla arbitragem científica cega), entrevistas, recensões e relatórios de festivais e exposições de arte cinemática.
A chamada de artigos para as diversas secções da Aniki está aberta em permanência e o registo no sistema e posterior acesso ou autenticação são obrigatórios para a submissão de trabalhos, bem como para acompanhar o processo editorial em curso (www.aim.org.pt/aniki).
No primeiro número, que sairá em dezembro de 2013, a Aniki pretende publicar uma secção especial temática, editada por Tiago Baptista, que abordará a relação entre novas tecnologias, a análise fílmica e as novas cinefilias, com a data limite de envio de ensaios até 31 de julho.
Consulte as Instruções para os Autores e Políticas de Secção antes de submeter o seu artigo completo.
Para qualquer esclarecimento, visite-nos em www.aim.org.pt/aniki.
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Call for Papers: Aniki: Portuguese Journal of the Moving Image
Aniki: Portuguese Journal of the Moving Image accepts original essays on, among others, the following areas: cinema, television, media archaeology, video, digital cultures, sound and the moving image, history and theory of the moving image. It is an open access, peer-reviewed online journal that publishes original research essays in the fields of the moving image from diverse methodological perspectives. A bi-annual publication (June/December), this journal publishes essays (with double blind peer review), interviews, book reviews and conference reports, as well as critical reviews of art exhibitions and international film festivals.
The call for papers to Aniki’s different sections is constantly open and registration and login are required to submit items online and also to check the status of current submissions (www.aim.org.pt/aniki).
In its first issue, which will be launched in December, 2013, Aniki aims to publish a special thematic section, to be edited by Tiago Baptista, on the relationship between new technologies, filmic analysis, and new cinephilias. The deadline is July 31.
Please consult the Author Guidelines and Sections Policies before submitting your complete paper.
Please visit www.aim.org.pt/aniki for further details.
(info actualizada em 23/05/2013)
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Reality Television: Media Convergences and Narrative Futures Conference
July 5-6, 2013
CALL for papers – extended deadline – Tuesday 28th May
The Media School – Bournemouth University – UK
Organisers: Dr Christopher Pullen& Dr Peri Bradley
Conference page: http://media.bournemouth.ac.uk/about/events/2013/apr/ev002-reality-television-conference.html
Proposals are invited for papers (of 20 minutes length) considering the contemporary potential of reality television for an academic media conference held by The Media School in Bournemouth University, at Kimmeridge House on Talbot Campus. There will be no registration fees for accepted papers. Confirmed plenary speakers include:
· Professor Stella Bruzzi of the University of Warwick - author of New Documentary (Routledge 2006)
· Dr Deborah Jermyn, Reader at the University of Roehampton - co-editor of Understanding Reality Television (Routledge 2003)
· Professor Helen Wood of DeMontfort University – co-author of Reacting to Reality Television: Performance, Audience and Value (Routledge 2012) and co-editor of Reality Television and Class (Palgrave 2011)
The conference places a particular focus on issues of media convergence and narrative innovation. Proposals for the conference may involve a purely academic focus involving textual investigation, such as considering media narratives, representations, cultures and/or audiences. Also proposals are invited which might consider issues within creative practice or industry. A published edited collection is planned, to include a range of papers that will be presented at the event.
With the rise of reality television formats, which involve media convergent opportunities, such as connecting to mobile technologies, and involving increased distribution through web based downloading, alongside an increased interest and popularity in the use of scripted reality formats, this conference offers an innovative chance to share research interests, intersecting contemporary television, new media and narrative potentials.
General topics could include:
Convergent media technologies
Multiplatform textual innovations
Contemporary narrative forms
Realism and the hyper-real
Issues of identity
The politics of representation
Potentials for minority groups
Theories of intimacy and affect
As a small example, texts that could form possible case studies include:
Community celebrity: The Hills (MTV) - The Only Way is Essex (ITV)
Talent searches: The XFactor (ITV) - The Glee Project (Oxygen)
Relationships& dating: Playing in Straight (Channel 4) – Temptation Island (Fox)
Historical recreation: The 1900 House (Channel 4) – Pioneer Quest (CBC)
Personal makeover: The Swan (Fox) – Queer Eye for the Straight Guy (Bravo)
Food& domesticity: Come Dine with Me (Channel 4) – The Chew (ABC)
Education& otherness / addiction: The Undateables (Channel 4) Intervention (A& E)
Domestic audiences: Gogglebox (Channel 4)
Please send abstracts (of 200 words length) and a biography, indicating any technical requirements for the delivery of your paper, by Tuesday 28th of May 2013 to Chris (cpullen@bournemouth.ac.uk
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Representations of “The Family” in Television
We invite contributions for an edited collection that examines the shifts in representations of “the family” in television. It is the aim of this book to trace and critically explore the many permutations of the family in relation to cultural anxieties and socio-political change.
We seek submissions adopting a Cultural Studies approach that critique “the family” in relation to issues including, but not limited to:
· Familial compositions. E.g. “blended”, “single parent”, “adoptive/foster”, “same-sex”, “patriarchal nuclear”, “dysfunctional”.
· Specific subject positions and cultural constructs. E.g. patriarch/father figures, matriarch/mother figures, “the teenager”.
· Gender
· Sexuality (including monogamy and polygamy)
· National identity
· ‘Race’/ethnicity
· Class
· Postmodernism
· Late capitalism
· Generational relationships
· Public/private domains
· Urban/suburban anxieties
· Surveillance society
· Loss of community/re-workings of community
Texts that could be discussed include, but are not limited to, Family Ties, The Brady Bunch, Happy Days, Growing Pains, The Cosby Show, Diff’rent Strokes, Good Times, The Nanny, Step-by-Step, Full House, Who’s the Boss?, The Sopranos, The Simpsons, Family Guy, American Dad, Desperate Housewives, Modern Family, Two and a Half Men, The Gilmore Girls, Family Matters, Big Love, Married with Children, Roseanne, Fresh Prince of Bel Air, The Wonder Years, Seventh Heaven, Life Goes On, South Park, Packed to the Rafters, Offspring, House Husbands, Kath and Kim, Redfern Now, Till Death Us Do Part, Bless this House, Love Thy Neighbour, The Royle Family, My Family, Dani’s House, Life with Boys.
Please send a 300-500 word abstract with a working title and brief biographical statement (including your contact information, affiliation, position and also a list of relevant publications) in MS Word format to the editors, Dr Kara-Jane Lombard and Dr Alzena MacDonald, Lecturers in the School of Media, Culture and Creative Arts at Curtin University (Perth, Western Australia), via shared mailbox: TV.families@curtin.edu.au by 7 June 2013.
Please note: the submission of a complete paper is not necessary. We will invite papers (6500 - 7000 words) for the collection after the deadline for abstract submission.
(info actualizada em 23/05/2013)
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Literature, Media, Sound
Aarhus University, Denmark, November 28-30 2013
The conference intends to discuss the relation between literature, media and sound in various perspectives and constellations, thereby hoping to establish stronger links between different theoretical positions, such as Media Studies, Comparative Literature, Intermediality Studies and Sound Studies.
The relation between literature, media and sound is facing severe changes and new challenges due to technological developments. E-books and audiobooks are currently through smartphones, tablets and online streaming making rapid gains in popularity and distribution.
Discussions revolving around the connections between media, literature and sound are not a new phenomenon. Sound has been an important issue to poetry at several levels throughout history. Recorded literature is another evident topic to investigate in the area between literature, media and sound. In a wider perspective the relationship between media and literature has been a central issue in writings on modernism as a formal matter, i.e the literacy of literature. Comparably one could consider the book as a medium in itself, accentuating a material perspective when studying the role and historical developments of e.g. book covers.
However, technological developments such as e-books, digital audiobooks and apps are radically reframing the relationship between media and literature, thereby underscoring the necessity of conceiving the new literary practices as both a technological, an aestehetic and a sociological matter (Mitchell & Hansen, Critical Terms for Media Studies, 2010). The e-book is relatively well described and this conference wishes to bring this research together with the developing field of sound studies, discussing questions like the new roles of literary practices and reading cultures.
We invite all scholars and doctoral candidates to present papers that thematize the relationship between literature, media and sound from perspectives including, but not limited to:
- Historical: for instance reading cultures, recorded literature.
- Institutional: for instance mediatization, change of cultural practice, literary institutions, publishers, libraries.
- Methodological; how to develop new analytical tools which afford us a better understanding of the new media landscape.
- Interdisciplinarity: given severe changes in the field of research (e-books, digital audiobooks and apps) do we need to bring together different theoretical paradigms?
Invited keynote speakers are:
Mark B.N. Hansen, Professor of Literature and Arts of the Moving Image, Duke University.
Steven Connor, Grace 2 Professor of English in the University of Cambridge and Fellow of Peterhouse, Cambridge.
Matt Rubery, Associate Professor at Queen Mary, University of London.
Stig Hjarvard, Professor of Media Studies, Copenhagen University
Maria Engberg, Associate Professor, Blekinge Tekniska Högskola.
The time for paper presentations is strictly limited to 20 minutes, followed by 10 minutes of discussion. The official language of the conference is English.
Please send your abstract (around 300 words) including a short CV as an attachment to litmedia@hum.au.dk.
The deadline for paper proposals is June 1, 2013.
Please let us know also if you wish to be registered as a participant without presenting a paper.
The conference fee will be EUR 120 including conference dinner. A preliminary conference program will be published September 1. Please visit the website of the conference, which will be continuously updated www.conferences.au.dk/literaturemediasound.
The conference is kindly hosted by AU Ideas (The Digital Audiobook ñ A new medium, new literary experiences, new users?) and the Department of Aesthetics and Communication, Aarhus University.
Conference organizers: Iben Have and Birgitte Stougaard Pedersen.
Conference Committee: Tore Rye Andersen, Nina Christensen and Anne Myrup Munk, Department of Aesthetics and Communication, Aarhus University.
(info actualizada em 23/05/2013)
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Fembot Unconference
Multiplying Standpoints and Participatory Feminism
July 18-19, 2013
White Stag, Portland, Oregon
The Fembot Collective, and its peer-reviewed journal Ada, value and feature intersectionality in terms of content, membership, editorial practices, and organizational structure. This unconference addresses issues related to our networks and their geographical and institutional limitations at a critical juncture in Fembot’s history. In order to ensure that our politics are mirrored in our practices, we have invited five consultants (see below) with demonstrated expertise in participatory media theory and production to provide guidance in thinking about these issues.
Day one will initiate a series of discussions organized around questions of accessibility, participation, strategies of inclusion, editorial bias, and the crafting of Ada Issue Four which will address these issues in journal form. Day two will be dedicated to a hack-a-thon -- a full-day session that will convene a group of technologically proficient programmers and designers to collaborate on building a digital tool that emerges from the previous day’s conversations. The hack-a-thon in particular will allow us to build beyond the humanities and social sciences to feminists working in computer science and high-tech industries.
This event is free and open to the general public.
Consultants
Brittney Cooper (Rutgers)
Michelle Habell-Pallán (U of Washington)
Margaret Rhee (UC Berkeley)
Kristen Warner (U of Alabama)
To find out more or register to attend, please email Bryce at bpeake@uoregon.edu.
Sponsored by: The Center for the Study of Women in Society, University of Oregon in Portland, the College of Arts and Sciences, the School of Journalism and Communication, and UO Libraries
(info actualizada em 23/05/2013)
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Media Spaces of Gender and Sexuality
Media Fields Journal
University of California, Santa Barbara
This issue of Media Fields investigates the connections between media, space, gender, and sexuality, seeking conversations that center on these interrelations and negotiations. We invite papers that raise questions of how media spaces construct gender, and how gender, in turn, constructs media spaces; how spaces condition and are conditioned by gender performances and sexual practices; and how gender legibility limits (or allows) access to various media spaces.
Film and media scholarship historically came of age through its study of the relationship between gender, sexuality, and media. Much has been written about the status of women as objects of the cinematic gaze, as well as about the status of female and queer-identified subjects as media producers. Yet in more recent times, issues of gender and sexuality have once again become marginalized in academic discourse, revealing the need for new explorations that coincide with the impact of the “spatial turn.” In this age of conflict, dissent, surveillance, and migration—when the study of media is often also the study of the precariousness and dynamism of the spatial—it is particularly important to trace the interconnections between space, media, and gender.
We are inspired by the work of those film and media scholars who have explored such interconnections. Lynn Spigel’s seminal book on the gendered discourse surrounding domestic television viewing provides us with one useful example, as does Lucas Hilderbrand’s forthcoming work on the culture of gay bars after Stonewall. While some scholars like Spigel and Hilderbrand have studied the connections between gender, space, and media in their own work, fewer media studies journals have made this topic a primary focus. As a result, we seek scholarship that deals with space in a range of ways: essays might discuss online spaces that allow for specific negotiations of gender or sexuality, or with gender embodiment in physical spaces of various scales, from the very local (the living room, for example) to the global.
Essays might also draw upon feminist interventions into Marxist/historical materialist theories of space, as well as engaging the intersections between gender, race, and class. These important intersections exceed the label, “identity politics”—a label that we feel is now often deployed in order to debunk the continued relevance of gender and sexuality to any scholarly conversation. While we do indeed call for political approaches to gender and space—essays informed by the agendas of feminist and queer activism—we stress that gender and sexuality are not merely areas of special interest, but are instead structuring principles of discrimination that permeate our lives on a number of registers.
Thus, our approach is multivalent. We invite submissions that consider this complexity, possibly addressing the following topics:
--Transnational Queer and Feminist Media: How are flows of bodies, labor, capital, and images gendered and sexualized?
--Queering Questions of Scale: How does heterosexism delimit notions of nation, state, and the transnational?
--Gendered Spaces of Conflict and Dissent: How do media contribute to the gendering of the different spaces of war and dissent as well as of the subjects who are involved?
--Gender, Sexuality, and Online Spaces: How are social media practices and spaces gendered and sexualized?
--Queer/Feminist Gaming: representations of gendered and sexualized spaces in mainstream video games, gendered geographies of video game production, gendered spaces of gaming culture
--Spaces of Surveillance: How is surveillance fundamentally gendered, sexualized, and spatialized? How does voyeurism continue to bolster certain experiences of space and place?
--Gendered Infrastructures: How are media infrastructures gendered, and why does this matter?
--Gender, Sexuality and Access: How do gender and its legibility (e.g., normativity) result in certain types of access to particular spaces?
We are looking for essays of 1500-2500 words, digital art projects, and audio or video interviews exploring the relationship between gender, sexuality, and space. We encourage approaches to this topic from scholars in cinema and media studies, anthropology, architecture, art and art history, communication, ecology, geography, literature, musicology, sociology, and other relevant fields.
Feel free to contact issue co-editors, Hannah Goodwin and Lindsay Palmer, with proposals and inquiries.
Email submissions to submissions@mediafieldsjournal.org by May 30th, 2013.
(info actualizada em 21/05/2013)
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1984: Freedom and Censorship in the Media – Where Are We Now?
A conference to be hosted at the Centre for Research in Media and Cultural Studies at the University of Sunderland on the 8th and 9th of April 2014.
Confirmed keynote speakers:
Professor Martin Barker, University of East Anglia
Professor Julian Petley, Brunel University
Worries over effects of media content and technologies are never far from the headlines. When anxieties centre on protecting children and the fortification of the social fabric, regulation often seems like the first resort. The year 2014 will see the thirtieth anniversary of the 1984 Video Recordings Act (VRA): this event offers the opportunity to reflect on how and why concerns about individual media technologies and particular media genres become so important that campaigners and politicians can claim that ‘the very soul of the nation’ is at stake. Using the VRA as a starting point, this conference aims to critically examine the key issues in politics and campaigning which shape calls for censorship. If new technologies always spark old anxieties around ‘effects’ and propensities to cause ‘harm’, what might we learn from extant legislation and their implementation? As we settle into the internet age and media on demand, policing national media borders seems ever more futile, yet the clamour for legislation to protect children and society shows no signs of abating.
We invite submissions that explore issues relating to censorship which may be specific to the history, implementation and legacies of the Video Recordings Act but we also welcome papers which examine media regulation/censorship in their broader cultural contexts, which are national and international in focus and which draw connections between contemporaneous issues and their historical antecedents.
Suggested topics:
· Censorship
· Evolving practices and technologies of media classification and/or censorship
· ‘Problematic’ media cultures
· Regulation of representations of sex, gender and sexualities
· Digital and online censorship
· Oppositional voices
· Protecting and questioning national borders
· Campaigns and campaigners
· Activism/activists and the political arena
· International narratives of censorship
· British regulation in a global context
· National and international regulation/censorship
· Documentary and avant-garde
· Controversies around computer games
· History of contemporary film censorship/classification
· Audiences and the social experiences of censorship
· Censorship and the creation of communities of dissent
· Regulations and government policy
Proposals for individual papers or pre-constituted panels are welcomed. The submission deadline is 1st December 2013 and notifications of acceptance will be made by 6th January 2014. Proposals should include title, abstract (350 words), 3-5 key bibliographical references, along with the name of the presenter, institutional affiliation and biographical information (100 words). Panel organizers are asked to submit panel proposals including a panel title, a short description of the panel and information on all the papers following the guidelines listed above. Panels may consist of three speakers with a maximum of 20 minutes speaking time each.
All submissions, expressions of interest and enquiries should be sent to: admin@where-are-we-now.co.uk
(info actualizada em 21/05/2013)
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Congresso Internacional 'Censura ao Cinema e ao Teatro´
Está aberto até amanhã o período de submissão de propostas para comunicações ao Congresso Internacional 'Censura ao Cinema e ao Teatro´ que terá lugar nos dias 13, 14 e 15 de novembro de 2013 no Edifício ID da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, em Lisboa, Portugal.
Datas importantes
Resumos até 22 maio 2013
Aceitação de resumos: 30 junho
Artigo completo: 30 julho
Programa provisório: 30 julho
Programa final: 30 setembro 2013
Toda a informação em http://www.cimj.org/censura2013/
(info actualizada em 21/05/2013)
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Teenage Kicks: The Representation of Youth Subcultures in Fiction, Film and Other Media
Keele University, 11-13 July 2013
Deadline for abstracts extended to 24th May 2013.
Keynote speakers include:
Alan Fletcher (author of Quadrophenia, and The Mod Crop Trilogy)
Don Letts (director of The Punk Rock Movie, The Clash: Westway to the World, and Subculture)
Professor Scott Wilson (author of Great Satan's Rage: American negativity and rap/metal in the age of supercapitalism)
Alex Wheatle (author of Brixton Rock, East of Acre Lane, and The Dirty South)
(info actualizada em 21/05/2013)
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Intensities SI- Transmedia Relationships Between Film/Television and Board Games
The term ‘transmedia storytelling’ has become a common one in media and cultural studies in recent years. Described by Henry Jenkins as stories told across multiple media, transmedia storytelling is not just an adaptation from one medium to another. Rather,
In the ideal form of TS, each medium does what it does best — so that a story might be introduced in a film, expanded through television, novels, and comics, and its world might be explored and experienced through game play. Each franchise entry needs to be self-contained enough to enable autonomous consumption. That is, you don't need to have seen the film to enjoy the game and vice-versa. (Jenkins, 2003: online)
Video-games are among the media most frequently cited in discussions of transmedia storytelling, and academic analysis of video-games is many and varied. In this special issue, however, we turn our analysis to board games, and ask how they can be examined through the model of transmedia storytelling; what processes of adaptation are at work in turning a board game into a film or vice versa; and how do these adaptations or transmedia stories affect the ways in which the different texts are read and understood.
With this in mind, the journal Intensities will be producing a special issue based on these concerns, with the aim of bringing together contributors from a range of academic disciplines. We hope to include papers which offer a wide range of perspectives on the processes of adapting board games to screen and vice versa, from analyses of the games themselves, to the responses of audiences to the screen adaptations, to the roles the games play in furthering fans’ interactions with the text(s).
We are currently accepting proposals of approximately 300 words in length, focusing on any element of the transmedia relationships and adaptive processes that occur between film/television and board games. The available topics may include, but are not limited to, the following:
· How adaptation theory is either applicable or needs rethinking based on the nature of the media.
· Comparative case studies between film/television texts that have been adapted from board games and games that have their source in film/television texts.
· How the adaptive processes from film/television to board games and vice versa are inherently different or similar.
· Historical research into the production or industrial development of film/television texts or board games based on previously existing properties from the other medium.
· The promotion and marketing of such adaptations and how they were directed to appeal to the general public.
· The industrial logic and socioeconomic conditions which have deemed such texts as potentially profitable.
Please include a short bio of approximately 150 words, and state whether you believe your proposal is suited to a full paper of approximately 7,000 words, or a short paper of approximately 1,500 words. All proposals should be sent to bethanvjones@hotmail.com and wickscripts@hotmail.com, to be received no later than 10 June 2013.
(info actualizada em 21/05/2013)
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Reality Television Conference
CALL for papers – extended deadline – Tuesday 28th May
The Media School – Bournemouth University – UK
Organisers: Dr Christopher Pullen & Dr Peri Bradley
http://media.bournemouth.ac.uk/about/events/2013/apr/ev002-reality-television-conference.html
Proposals are invited for papers (of 20 minutes length) considering the contemporary potential of reality television for an academic media conference held by The Media School in Bournemouth University, at Kimmeridge House on Talbot Campus. There will be no registration fees for accepted papers. Confirmed plenary speakers include:
Professor Stella Bruzzi of the University of Warwick - author of New Documentary (Routledge 2006)
Dr Deborah Jermyn, Reader at the University of Roehampton - co-editor of Understanding Reality Television (Routledge 2003)
Professor Helen Wood of DeMontfort University – co-author of Reacting to Reality Television: Performance, Audience and Value (Routledge 2012) and co-editor of Reality Television and Class (Palgrave 2011)
The conference places a particular focus on issues of media convergence and narrative innovation. Proposals for the conference may involve a purely academic focus involving textual investigation, such as considering media narratives, representations, cultures and/or audiences. Also proposals are invited which might consider issues within creative practice or industry. A published edited collection is planned, to include a range of papers that will be presented at the event.
With the rise of reality television formats, which involve media convergent opportunities, such as connecting to mobile technologies, and involving increased distribution through web based downloading, alongside an increased interest and popularity in the use of scripted reality formats, this conference offers an innovative chance to share research interests, intersecting contemporary television, new media and narrative potentials.
General topics could include:
Convergent media technologies
Multiplatform textual innovations
Contemporary narrative forms
Realism and the hyper-real
Issues of identity
The politics of representation
Potentials for minority groups
Theories of intimacy and affect
As a small example, texts that could form possible case studies include:
Community celebrity: The Hills (MTV) - The Only Way is Essex (ITV)
Talent searches: The XFactor (ITV) - The Glee Project (Oxygen)
Relationships & dating: Playing in Straight (Channel 4) – Temptation Island (Fox)
Historical recreation: The 1900 House (Channel 4) – Pioneer Quest (CBC)
Personal makeover: The Swan (Fox) – Queer Eye for the Straight Guy (Bravo)
Food & domesticity: Come Dine with Me (Channel 4) – The Chew (ABC)
Education & otherness / addiction: The Undateables (Channel 4) Intervention (A & E)
Domestic audiences: Gogglebox (Channel 4)
Please send abstracts (of 200 words length) and a biography, indicating any technical requirements for the delivery of your paper, byTuesday 28th of May 2013 to Chris (cpullen@bournemouth.ac.uk) and Peri (pbradley@bournemouth.ac.uk ) Decisions will be made by Friday 31st of May 2013
Conference page
http://media.bournemouth.ac.uk/about/events/2013/apr/ev002-reality-television-conference.html
(info actualizada em 20/05/2013)
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Digital Archives, Audiovisual Media and Cultural Memory
Conference, The University of Copenhagen, November 14-15, 2013
www.larm-archive.org/conference
Keynote speakers:
David Hendy, University of Sussex
Karin Bijsterveld, Maastricht University
Lev Manovich, City University of New York
Michele Hilmes, University of Wisconsin-Madison
We welcome abstracts for our open paper sessions and for panels taking place at the conference. Sub-calls for the panels can be found by following the links bellow.
Digitization enables us to meet cultural heritage artifacts and narratives in heretofore unimagined media and platforms. Accessibility to written, visual, auditory and audiovisual sources increase dramatically. But how do we wish to access and interact with cultural heritage sources in the 21st Century? This conference focuses on practices of cultural memory in the multiform meetings between users and cultural heritage. What interfaces are established between users, be they researchers or ‘ordinary’ citizens, and the archives of cultural heritage? What possibilities are opened for interaction with cultural heritage artifacts? And what methods and scientific paradigms are relevant to order and describe such immense archives.
One aspect, which seems still to have received too little treatment is the question of the auditory and audiovisually based cultural heritage’s role in the construction of historical narratives. Music, film, radio, and television have become ingrained in a nation’s cultural memory, and in many, not least, European countries, state-governed national broadcasting corporations have played and do still play a vital role in narrating and interpreting the past, not least by establishing institutional production archives which give producers access to historical material otherwise inaccessible. Such reuses of historical materials afford renegotiations of the historical past(s) by valuating the new historical materials as significant historical sources. Digitization means that such historical materials, be they broadcast or other cultural heritage artifacts, are to an increasing degree accessible outside the production environment, e.g. for research. One recurring problem is that the materials are still under the editorial control of the parent institution and accessible only for some uses to some users. This motivates a new look at the question of who has the right to circulate archived material in what forms, and thus who is allowed to narrate the past. The question is relevant at all levels, from the level of national cultural politics all the way down to the concrete definition of rights for individual users in the archive or on broadcaster’s websites.
The conference wishes to contribute new perspectives on the first by focusing on (access to) digital media archives, a phenomenon that has only really come into existence within the last decades; Secondly, by focusing on auditory and audiovisual source material, i.e. data sources with an extension in time, as oppose to texts and pictures. Again, digital archives of auditory and audiovisual material are rather young compared to archives of (scanned) texts and pictures. Finally, the conference’s focus is on the digital archives’ role in the construction of a cultural history as well as studies in cultural history and cultural memory. Traditionally, digital humanities have tended to focus on the internal structure of artifacts, e.g. using digital texts to investigate language systems, translations, stylistics etc.
The conference welcomes contributions from a broad range of researchers, designers and developers who work with digital archives of auditory and audiovisual media in the investigation or production of cultural history phenomena. All of these definitions shall be taken in their widest sense. A digital archive can range from enormous national archives to the archives collected by individual researchers and research groups. Similarly, the conference wishes to invited both concrete experience with collecting and using a digital archives as well as theoretical reflections on the nature of the digital archive. Likewise, the concepts of cultural history and cultural memory shall be taken in their broadest sense and can include both historical investigations and research within the broader humanities with either an historical or an aesthetic scope.
Papers
We welcome papers relating to the general outline of the above call. The conference will embrace three sub themes: Interface (i.e. the construction, design and interface of the archive), Immensity (dealing with the vast amounts of data which all of a sudden are available to research that has heretofore tended to work qualitatively with rather small samples), Memory (choosing from the archives, sampling and building a coherent interpretation). Please indicate if your paper addresses one or two of the themes in particular.
Panels
Along with open and themed paper sessions, we have accepted a number of themed panels to take place at the conference. A themed panel will consist of a minimum of 3 papers with a common research question. If you whish your paper to be taken under consideration for a particular panel, please select the panel as "category" in the Easy Chair submission form. Submissions not accepted for panels will be taken into consideration for the open paper sessions.
· The practices of exhibiting sound, organized by Christian Hviid Mortensen & Morten Søndergaard
· Infrastructural Sustainability and Curatorial Practices of the Digital Archive, organized by Luca Antoniazzi
· How to make radio and sound archives work for audiences? Organized by Zillah Watson?
· Who keeps the memory? Organized by Teo Mäusli, Brecht Declercq & Petra van Dijk
· Challenging the homogeneity of ’media language’, organized by Jacob Thøgersen
· My Childhood Radios, organized by Henrik Reeh?
· Transnational Radio Encounters, organized by Golo Föllmer & Jacob Kreutzfeldt
· Radio and Music/Music Radio, organized by Morten Michelsen
Submissions
Deadline for paper abstracts (max 200 words) 1 June 2013?Notification on acceptance will be given by the beginning of July 2013
Please send submissions via EasyChair: https://www.easychair.org/account/signin.cgi?conf=larm2013. Please forward the automatically generated submission confirmation to: conference@larm-archive.org.
We strongly encourage presentations of practice based and artistic projects.
Conference fee: 60 € (reduced price for students)
Affiliation
Digital Archives, Audiovisual Media and Cultural Memory is arranged by LARM Audio Research Archive. LARM is an interdisciplinary project, the goal of which is the production of a digital infrastructure to facilitate researchers’ access to the Danish radiophonic cultural heritage.
The LARM project is a collaboration between a number of research and cultural institutions: The University of Copenhagen, Aarhus University, Roskilde University, The University of Southern Denmark, Aalborg University, The Royal School of Library and Information Science, The Danish Broadcasting Corporation, The State and University Library, Danish e-Infrastructure Cooperation, Kolding School of Design and The Museum of Media.
The main purpose of LARM is to establish a digital archive with the appropriate tools and a bibliography to enable researchers to search and describe the many recordings of the radiophonic cultural heritage. Radio has played an important role in Danish lives and, today, radio broadcasts form an invaluable, yet untapped, source to Danish culture and history. LARM Audio Research Archive will allow access to thousands of hours of national and local radio broadcasts from 1925 and onwards and thus prepare them for future research.
LARM – Audio Research Archive: http://www.larm-archive.org/
Organisation
Organizers: Jacob Thøgersen, Jacob Kreutzfeldt, Morten Michelsen, Per Jauert, Frederik Tygstrup & Bente Larsen
Scientific committee: Morten Søndergaard, Erik Granly, Ditte Laursen, Marianne Lykke, Birger Larsen, Erik Svendsen
Contact: for questions and enquiries please contact Jacob Kreutzfeldt (jacobk@hum.ku.dk) or Jacob Thøgersen (jthoegersen@hum.ku.dk)
Please consult the conferences website at: www.larm-archive.org/conference
(info actualizada em 20/05/2013)
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Picturing Propaganda: A Study Day
Sat 1 Jun 2013, 10.00-16.30
Conference Centre, British Library
£25 / £15 concessions
Effective propaganda relies as much on images as it does on words. This study day will explore the role of visual communication in influencing ideas and changing behaviour. Academics and curators will discuss the history of visual propaganda, using fascinating (and sometimes funny) examples from the British Library and British Film Institute collections. The event is aimed at students, researchers and anyone with an interest in 20th century history, design, film or communication studies. Entry to the exhibition is included in the price.
Bryony Dixon - Curator of silent film
BFI National Archive
21 Stephen St | LONDON W1T 1LN
Tel: 00 44 20 7957 8951
(info actualizada em 17/05/2013)
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Seminário Geografia, Cinema e Cultura Visual
Seminário Geografia, Cinema e Cultura Visual
Braga, 22 de Maio de 2013
Sala de Reuniões do Instituto de Ciências Sociais – Universidade do Minho
9:30 – Abertura
10:00 – Rosa Cerarols e Toni Luna, Universitat Pompeu Fabra
Paisajes y género en el cine. Una aproximación histórica.
10:45 – Nathalie Kraft, Filmakademie Baden-Württemberg
The couch: How to display a cultural identity of a country in a movie?
11:30 – Pausa para café
11:45 – Juliana Costa, Jacobs University Bremen
Paisagens Fílmicas: Narrativas Visuais da Violência Urbana Criminal em um Contexto Estrutural
12:30 – Pedro Pereira, Universidade do Minho
A cultura escolar e o cinema como moderador do processo de construção de conhecimento geográfico
13:15 – Almoço
14:30 – Pedro Maia, Universidade do Porto
Mediação Tecnológica e Representação da Paisagem
15:15 – Catarina Miranda Basso, Universidade do Minho
A representação da cidade de Braga no Arquivo Fotográfico Aliança (1910-1945)
16:00 – Juliana de Mello Moraes, Universidade de Lisboa
Entre teatros, feiras, e salões: a difusão e o estabelecimento do cinema nas capitais distritais do Norte de Portugal entre 1896 e 1926
16:45 – Pausa para café
17:00 – Ana Francisca de Azevedo, Universidade do Minho
A província metropolitana. Representações do Outro no cinema português.
17:45 – Cristian Pons Coll, Tramuntana Fotografia
Mirar a través de la cámara para vivir intensamente
Organização:
Departamento de Geografia, ICS, Universidade do Minho
Comissão de Organização:
Ana Francisca de Azevedo
Mónica Sofia Santos
Ricardo Nogueira Martins
Inscrições em http://geocinecvisual2013.wordpress.com/
(info actualizada em 16/05/2013)
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POIESIS
1º Colóquio de Lisboa, Portugal
28 e 29 de Setembro de 2013
«O Sonho na Psicanálise de Casal e Família»
«Le Rêve dans la Psychanalyse de Couple et de Famille»
“El sueño en el psicoanálisis de pareja y familia”
"The Dream in Couple and Family Psychoanalysis"
Confirmaram já a sua presença diversos intervenientes, entre os quais- Alberto Eiguer ,Eduardo Grinspon, Rosa Jaitin, Anna Nicolò, Daniela Lucarelli, Françoise Mevel, Gérard Mevel, Carles Testor, Olga Correa.
Mais informações em: www.grupopoiesis.com
(info actualizada em 16/05/2013)
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XI Semana da Imagem
Entre os dias 20 e 23 de maio acontece no Campus da Unisinos, em São Leopoldo, a 11ª edição da Semana da Imagem. Com o tema “Para entender as imagens: como ver o que nos olha?”, o evento tem como objetivo o compartilhamento de experiências e abordagens metodológicas e analíticas das imagens visuais, sonoras, audiovisuais e textuais. Além dos Grupos de Trabalho, o seminário contará com palestras de pesquisadores renomados na área da comunicação, como Massimo Canevacci, Erick Felinto, Vinícius Andrade Pereira e Ivana Bentes. O evento gratuito e aberto conta com o apoio da CAPES e as atividades são voltadas a realizadores, pesquisadores, professores e alunos de graduação e pós-graduação. Informações e transmissão ao vivo do evento no site http://semanadaimagem.unicos.cc/.
Com a palestra “Etnografia ubíqua e composição polifônica das imagens contemporâneas”, o pesquisador italiano Massimo Canevacci abrirá o evento. Antropólogo, professor da Universidade de Roma e professor visitante no Instituto de Estudos Avançados (IEA) da USP, Canevacci acredita que o tema da semana é um convite a tornar-nos olho. “Sempre mais olhos! Diria um corpo cheio de olhos. Acho que os sentidos não são cinco, mas uma expansão contínua de sensorialidades misturadas”, explica.
No segundo dia, os ouvintes poderão conferir a palestra de Erick Felinto, com o tema “Grumpy Cat, Grande Mestre Zen da Geração Digital (Afetos e Materialidades da Imagem Memética)”. Conforme o pesquisador, o tema da semana é uma provocação a um deslocamento muito necessário na cultura contemporânea. “Nosso olhar foi condicionado por uma perspectiva antropocêntrica. Pensamos o olhar humano como um olhar dominante ao qual se submetem todas as coisas. Devemos fazer exercícios imaginativos de como as coisas nos vêem, como elas dissolvem nosso olhar. Descentralizar o pensamento significa ir para esse outro lugar: o lugar das coisas, das tecnologias e tentar entender que olhar é esse”, defende Felinto.
Na quarta-feira (22) será a vez de Vinícius Andrade Pereira palestrar na Semana da Imagem. Com o tema “Visualidade e Linguagens Experimentais em Jornalismo e Narrativas Digitais”, a proposta é pensar o modelo de visualidade que emerge e é cultivado hoje, quando um conjunto de novos dispositivos/veículos de imagens trazem uma série de possibilidades em linguagens para o jornalismo e as narrativas digitais. “O que nossa visão pode apreender do mundo e como ela se transforma, estabelecendo o que eu chamo de visualidades? Não me refiro à visão, aquele sentido com o qual a gente nasce, mas o que conta efetivamente como experiências na cultura são as visualidades que são conformadas a partir de nossos jogos sociais, culturais, etc.”, explica o professor.
Fechando o evento, Ivana Bentes falará sobre “A vida das imagens”. Ivana pensa a imagem não como a representação de algo, mas como um campo de forças, um “complexo” que se relaciona com diferentes campos, que assume diferentes funções na arte, no teatro, na ciência e na vida social.
(info actualizada em 16/05/2013)
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Appel à communications : Médias et identités- Call for papers : Media and identities
16 - 17 December 2013
Université libre de Bruxelles, Belgique
Envoi des propositions : 30 juin 2013 - Submission of proposals : 30 June 2013
Conférence organisée en collaboration avec le Département des Sciences de l’Information et de la Communication de la Faculté de Philosophie et Lettres, le Département de Science politique de la Faculté des Sciences sociales et politiques de l’Université libre de Bruxelles, le ReSIC, le CEVIPOL, la Faculté de Sciences politiques, économiques et de la communication de l’Université catholique de Louvain et la Brussels Platform for Journalism.
Conference organized in collaboration with the Department of Information Science and Communication of the Faculty of Philosophy and Letters, the Department of Political Science of the Faculty of Social and Political Sciences at the Université libre de Bruxelles, ReSIC, CEVIPOL, the Faculty of Economic, Social, Political and Communication Sciences of the Catholic University of Louvain and the Brussels Platform for Journalism.
Information : bellarminus.kakpovi@ulb.ac.be - jdaneroi@ulb.ac.be
(info actualizada em 15/05/2013)
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CONFERÊNCIA SOBRE O ESPAÇO E O CINEMA, REUNE EM LISBOA ACADÉMICOS E INVESTIGADORES PORTUGUESES
Um encontro entre a arquitectura, o design e o cinema.
No Auditório Rainha D. Sonja da Faculdade de Arquitectura da Universidade Técnica de Lisboa, reúnem-se na próxima quarta-feira, dia 15 de Maio, vários investigadores e académicos portugueses para debaterem o tema "O Espaço Retratado na Ficção e Narrativa do Cinema".
Em debate estará a arquitectura e o design, confrontados com a sua vivência pelo cinema, mas também pelo percurso do espaço urbano da sétima arte e pela arquitectura e design na narrativa fílmica.
A conferência dá igualmente a palavra aos autores, tendo convidado 2 cineastas que marcam o espaço do cinema português na ficção de imagem real e da animação.
João Viana, um autor de várias obras premiadas, nomeadamente “Alfama”, “Tabatô” e a longa-metragem “A batalha de Tabatô”, com a qual recebeu uma menção honrosa no Festival de Cinema Berlim 2013.
A realizadora de animação Joana Imaginário, é o outro autor convidado. O seu filme "Mulher Sombra" foi distinguido em festivais da Arménia e Portugal.
Serão ainda apresentados filmes produzidos pelos alunos de Narrativas Cinemáticas do Espaço Arquitetónico e Urbano da UTL.
Surgindo na sequência da "Conferência Internacional AVANCACINEMA" de Julho último, esta conferência, sob a égide do professor Carlos Figueiredo da universidade anfitriã, reúne diversos académicos de universidades portuguesas.
Irão intervir, pela Universidade de Aveiro, os professores António Costa Valente e João Mota. Pela Universidade Técnica de Lisboa os professores Carlos Figueiredo, Carlos Ferreira, Leonor Madeira Rodrigues, Susana Oliveira, João Aranda e a investigadora Daniela Alcântara. Da Universidade Aberta intervirão os professores Maria do Céu Marques e Amílcar Martins, da UTAD a professora Anabela Oliveira, do IADE a professora Ana Margarida Ferreira e o investigador Carlos Costa e finalmente da Universidade Lusófona a professora Ana Paula Rainha.
Esta "2ª Conferência Avanca - FA / CIAUD", é uma organização da Faculdade de Arquitetura da Universidade Técnica de Lisboa, da AVANCA | CINEMA, do CIAUD - Centro de Investigação em Arquitetura, Urbanismo e Design e da Debatevolution.
(info actualizada em 15/05/2013)
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Bolsa de Investigação no âmbito do projeto de investigação “O trabalho no ecrã: um estudo de memórias e identidades sociais através do cinema” - CIES-IUL/ ISCTE - Instituto Universitário de Lisboa
Encontra-se aberto concurso para a atribuição de 1 (uma) Bolsa de Investigação no âmbito do projeto de investigação “O trabalho no ecrã: um estudo de memórias e identidades sociais através do cinema”, (PTDC/IVC-SOC/3941/2012), em curso no CIES-IUL do ISCTE - Instituto Universitário de Lisboa (ISCTE-IUL) e financiado por fundos nacionais através da FCT.
Texto do anúncio
Requisitos de admissão: O candidato deverá possuir, o grau de Mestre num domínio no âmbito das Ciências Sociais e Humanas, ter experiência de investigação e competências na área de análise de informação de cariz qualitativo, no trabalho de terreno, de análise de bibliografia e de redação de textos científicos, assim como um bom domínio do inglês falado e escrito.
São condições preferenciais ter experiência de investigação na área de estudos visuais e pretender realizar a sua tese de doutoramento no âmbito dos trabalhos do projeto.
Plano de trabalhos: As actividades a desempenhar pelo Bolseiro consistem no apoio à concretização das tarefas científicas previstas nas tarefas do projeto que terão lugar no período de vigência da bolsa, nomeadamente revisão da literatura, trabalho de terreno, recolha e análise de documentação, apoio à elaboração de relatórios de progresso e submissão de comunicações para conferências e de artigos científicos.
Legislação e regulamentação aplicável: Lei Nº. 40/2004, de 18 de Agosto (Estatuto do Bolseiro de Investigação Científica); Regulamento da Formação Avançada e Qualificação de Recursos Humanos 2010 e Regulamento de bolsas do CIES -IUL.
Local de trabalho: O trabalho será desenvolvido no CIES-IUL sob a orientação científica da Profª. Doutora Luísa Veloso.
Duração da bolsa: A bolsa terá início a 1 de Julho de 2013 e termina a 30 de Junho de 2014, podendo ser renovada por igual período.
Valor do subsídio de manutenção mensal: O montante da bolsa corresponde a 980€, conforme tabela de valores das bolsas atribuídas directamente pela FCT, I.P. no País (http://alfa.fct.mctes.pt/apoios/bolsas/valores).
Métodos de selecção: O processo de selecção será desenvolvido com base na avaliação curricular e, se necessário, na entrevista de selecção.
Composição do Júri de Selecção: A selecção dos candidatos será efectuada por um júri constituído pelo coordenador do projeto e por dois investigadores doutorados do CRIA e do CECL, com base na avaliação curricular, eventualmente complementada por entrevista.
Forma de publicitação/notificação dos resultados: Os resultados finais da avaliação serão publicitados, através de lista ordenada por nota final obtida, sendo o candidato aprovado notificado através de e-mail.
Prazo de candidatura e forma de apresentação das candidaturas: O concurso encontra-se aberto no período de 8 a 23 de maio de 2013.
As candidaturas devem ser formalizadas, obrigatoriamente, através do envio de carta de candidatura acompanhada dos seguintes documentos: Curriculum Vitae pormenorizado e cópia dos Certificados de Habilitações e outros documentos comprovativos considerados relevantes.
As candidaturas deverão ser entregues, pessoalmente, durante o período de abertura do concurso, das 10h às 13h ou das 14h às 18h na morada a seguir indicada, ou remetidas por correio para:
CIES - Centro de Investigação e Estudos de Sociologia
Projeto PTDC/IVC-SOC/3941/2012
Av. das Forças Armadas – ISCTE-IUL
1649-026 Lisboa
As candidaturas enviadas por correio deverão ter o carimbo de data de expedição até ao último dia do concurso.
(info actualizada em 14/05/2013)
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British Art Cinema
Edited Collection – British Art Cinema
In recent years a number of British films have been released which together might signal the development of a rich, viable, contemporary British art cinema. Innovative, poetic and/or experimental films have been made by seasoned artists and newly discovered talents, such as Sleep Furiously (Gideon Koppel, 2008), Hunger (Steve McQueen, 2008), Of Time and the City (Terence Davies, 2008), Fish Tank (Andrea Arnold, 2009), The Arbor (Clio Barnard, 2010), and Robinson in Ruins (Patrick Keiller, 2010). Other recent British films display experimental aesthetics, or might, for a range of reasons, be situated within broadly defined concepts of art cinema, including Patagonia (Marc Evans, 2010), We Need to Talk About Kevin (Lynne Ramsay, 2011), Tyrannosaur (Paddy Considine, 2011), Berberian Sound Studio (Peter Strickland, 2012), and Anna Karenina (Joe Wright, 2013).
There has been a long and complex history of serious British filmmaking, from the documentaries of Humphrey Jennings and the post-war experiments of Powell and Pressburger, to the artist biopics of Ken Russell and the fragmented narratives of Nicolas Roeg, to the work of idiosyncratic auteurs such as Derek Jarman, Peter Greenaway, and Sally Potter.
The aim of this new edited collection is to come up with new ways of conceptualising and defining British art cinema which might take account of how far British cinema has been (and remains) a site of innovation and experiment.
We welcome 300-word abstracts for articles on any aspect of British art cinema, including (but not limited to) the following:
* Critical studies of specific films
* British art cinema and the avant-garde
* Contemporary British art cinema
* The historical viability of the British art film
* British art cinema and transnational filmmaking
* European and American industrial and aesthetic contexts
* Art cinema and television
* Genre
* Audiences
* English, Scottish or Welsh art cinema
* Directors
* Actors/stars
* Screenwriters
* British art cinema and realism
* British art cinema and documentaries
* Modernism/Neo-modernism
* British cinema and poetry
* British cinema and philosophy
* Critics and criticism
* Finance/funding
* Producers
* Distribution
* Film festivals
* Regional Film Theatres
* Exhibition
* Film societies
* Video, DVD and Blu-ray releases
Please email 300-word abstracts to Paul Newland (pnn@aber.ac.uk) or Brian Hoyle (B.P.Hoyle@dundee.ac.uk) by 31 August 2013.
(info actualizada em 13/05/2013)
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ECREA Interim Film Studies Conference: European Film Cultures
European Film Cultures: An International Conference
8-9 November 2013, Lund University, Sweden
ECREA Film Studies Section Interim Conference
The study of film as culture and of film cultures has been an expanding area of study in recent years. The aim of this two-day conference is to focus on the most recent developments and discuss different ways of analyzing film in cultural contexts, as well as film as a cultural product, with the aim to debate how different methodologies and perspectives can inspire each other in productive ways.
The European film industry is currently undergoing profound transformations on account of important economic, technological and cultural reasons. The internationalization of markets, the impact of the digital revolution, the repositioning of Europe on the global scene are some of the factors that currently impact on ideas and practices of European cinema.
The centrality of film to European cultures is both reaffirmed today and challenged by these radical changes. Thinking of film as culture and as a cultural product is essential to our understanding of the evolution of European cinemas within both industrial and creative contexts, and to an assessment of their role in and contribution to our societies. The conference is in dialogue with, and aims to contribute to, recent scholarship that focuses on cinema's participation in a network of relationships that connect cultural practices and economic realities, technological innovation and industrial production, policy and creativity.
Confirmed keynote speakers:
Professor Daniel Biltereyst, Centre for Cinema and Media Studies, Ghent University, Belgium. Provisional title: Multiple audiences: Revisiting historical film reception.
Professor Paul McDonald, Chair in Creative Industries, Department of Culture, Film and Media, University of Nottingham, UK
Provisional title: Reflections on the 'industry turn' in Film Studies.
We welcome papers on:
o film production as a creative industry
o evolving cultural practices and technologies of film distribution and consumption
o film as culture, cultural functions of film
o film festival studies
o film culture and celebrity culture
o national and transnational film cultures
o European film culture in a global perspective
o national and transnational film genres
o private and amateur film cultures, as well as documentary and avant-garde
o history of film culture
o film as media event, film and the tourist industry
o film audiences and the social experience of cinema-going
o film between art and popular culture
o film and fan culture
o digital and online film cultures
We welcome proposals either as open call or as a part of a pre-constituted panel. Abstract submission deadline is 31 May 2013, and notification will follow shortly thereafter (around 30 June 2013). You do not have to be a member of ECREA to participate in the conference. Please submit your proposal tokannik@ruc.dk, Helle Kannik Haastrup Associate Professor, Roskilde University, Denmark.
Proposals should include title, abstract (max 150 words), 3-5 key bibliographical references, name of the presenter and institutional affiliation. Panel organizers are asked to submit panel proposals including a panel title, a short description of the panel and information on all the papers as listed above. Panels may consist of 3-4 speakers with a maximum of 20 minutes speaking time each. When you write your proposal, please remember that the conference language is English.
The conference will be held at the Centre for Languages and Literature at Lund University, Sweden. Lund is among the oldest cities in Sweden, and can easily be reached via the airports in Copenhagen and Malmö. Further information on travel and accommodation will be given by the time papers are accepted.
A conference fee of 450 SEK/50 EURO will include lunch, administration and a small reception. Participants will have to cover their own expenses for travel, accommodation and dinner.
The conference is organized by the ECREA film studies section. You are welcome to contact us for further information:
Helle Kannik Haastrup, Roskilde University, Denmark:kannik@ruc.dk.
Anders Marklund, Lund University, Sweden:anders.marklund@litt.lu.se.
Laura Rascaroli, University College Cork, Ireland:L.Rascaroli@ucc.ie.
More information on ECREA film studies section on:http://www.ecrea.eu/divisions/section/id/6
(info actualizada em 13/05/2013)
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Rethinking Intermediality in the Digital Age
International Conference: 24-26 October, 2013, Cluj-Napoca, Romania, Sapientia University
deadline for applications: 20 May, 2013.
In the past decades "intermediality" has proved to be one of the most productive terms in the domain of humanities. Although the ideas regarding media connections may be traced back to the poetics of the Romantics or even further back in time, it was the accelerated multiplication of media themselves becoming our daily experience in the second half of the twentieth century that propelled the term to a wide attention in a great number of fields (communication and cultural studies, philosophy, theories of literature and music, art history, cinema studies, etc.) where it generated an impressive number of analyses and theoretical discussions. "Intermediality is in" („Intermedialität ist in"), declared one of its pioneering theorists, Joachim Paech, at the end of the 1990s. However, we may also note, that since then other theoretical approaches introduced even newer perspectives that have not only revitalized the study of media phenomena in general but have specifically targeted the emerging new problematics raised by the new electronic media. Facing the challenge of the daily experiences of the digital age, discussions of media differences or ‘dialogues' highlighting the ‘inter,' the ‘gap,' the ‘in-between,' the ‘incommensurability' between media are currently being replaced by discourses of the ‘enter' or ‘immersion,' and the ‘network logic' of a ‘convergence culture' in which we have a "free flow of content over different media platforms" (Henry Jenkins). At the same time the turn towards the corporeality of perception in all aspects of communication has also shifted the attention from the ‘interaction of media' towards the ‘interaction with media,' from the idea of ‘media borders' towards the analysis of the blurring of perception between media and reality, of humans and machines - media being perceived more and more not as a form of representation but as an environment and as a means to ‘augment' reality.
Nowadays media continuously mutate, relocate and expand, while connections between ‘old' and ‘new' media are being established with incredible fluidity. Accordingly, we may ask: what are the new perspectives for intermedial research in the digital age? While media are continuously changing and expanding, how can we relocate the "in-between"? If we consider ‘intermediality' first and foremost - as suggested by Jürgen E. Müller - as a "research concept" (Suchbegriff), how can this concept be effectively applied to the media we see around us today? And if we believe that the "ecosystem" of contemporary media can be understood not as a unified digital environment that nullifies differences, but as a thriving and highly diversified, "multisensory milieu" (Jacques Rancière) that poses new challenges both for the consumer/producer and the theorist, how can we address these challenges? How do media differences persist and how do these differences still matter despite voices advocating the so called "post-medium condition"?
As the former Nordic Society for Intermedial Studies launches its own expanded, international format (International Society for Intermedial Studies/ISIS), we think it is timely to address once more the major issues for which this society exists, and to invite participants to examine new forms of ‘intermedialities.' In doing so participants may address a broad range of questions relating to ‘old media' and ‘new media,' and their possible interactions, focusing on the wide array of intermedia phenomena and new type of relationships that new media have produced, but also on how pre-digital media relations can be re-evaluated, and how historical paradigms of intermediality may already be distinguishable viewed from the standpoint of the contemporary media landscape.
Proposals may address (but are not limited to) the following questions either from a theoretical point of view or through concrete analyses:
* Media on the move? Media relations produced by expansions and relocations of media (e.g. "the virtual life of film," the expansions of the "photographic" and of the "cinematic" over other media, e-literature, etc.), the emergence of mobile screens, the fact that media use is more and more related to moving in the literal sense of the word: mobility and navigation.
* Relocating the ‘in-between': intermediality, inter-sensuality, multimodality and interactivity, assessing the contribution of cognitive theories (and neuroscience), phenomenology and post-phenomenology to the study of understanding interactions of media and interactions with multiple media.
* Performing in (new) intermedial spaces: intermedial performance in art and society. Being ‘in touch' with reality - being ‘in touch with media:' researching new (trans)media practices.
* Intermediality and new forms of digital storytelling: new perspectives in transmedial narratology, new media and narratology (e.g. narrativity and e-platforms, games versus "old" media etc.), the aesthetics of the intermedia flow, of complex, network narratives generated by the experiences of the new media age.
* Modelling and mapping intermedialities: historical paradigms of intermedial relations (pre-modern, modern, post-modern intermediality); the aesthetics and ‘politics' of intermediality before and after the digital age; historical research on intermediality related to media migration, cultural heritage and changing relationships between production, distribution, and perception.
Confirmed keynote speakers:
* HENRY JENKINS, University of Southern California (USA), author of Convergence Culture: where Old and New Media Collide (2007), currently co-authoring a book on "Spreadable Media."
* JOACHIM PAECH, University of Konstanz (Germany), author of Menschen im Kino. Film und Literatur erzählen (2000), Literatur und Film (1997), PASSION oder Die EinBILDungen des Jean-Luc Godard (1989), as well as several seminal articles on the theory of intermediality in film, literature, and new media.
* MARIE-LAURE RYAN, independent scholar, Colorado (USA), co-editor of Intermediality and Storytelling (2010), author of Avatars of Story (Electronic Mediations) (2006), Narrative across Media: The Languages of Storytelling (2004), Narrative as Virtual Reality. Immersion and Interactivity in Literature and Electronic Media (2001), etc.
Deadline for the submission of proposals: 20 May 2013.
We will notify you about the acceptance of your proposals by: 1 June 2013.
Submission of proposals: please complete the submission form that you can download from the conference website: http://film.sapientia.ro/en/conferences/rethinking-intermediality-in-the-digital-age and send it as an attachment to the following address: 2013.rethinking.intermediality@gmail.com
More information at: http://film.sapientia.ro/en/conferences/rethinking-intermediality-in-the-digital-age
(info actualizada em 13/05/2013)
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Issues of Value in Film Adaptation
We believe that there is a need for a work that problematizes issues of value by showing how they are contingent on numerous factors – historical, political, artistic as well as industrial. With this in mind, we are publishing an anthology of around 10-15 chapters with McFarland & Co., that deals with adaptations or remakes of works, and how audiences and/or readers arrive at a value judgement concerning which text is “superior to” or “better than” another. We will incorporate comparative analyses, looking at adapted texts and their relationship to their sources, as well as ethnographic studies looking at the ways in which readers and audiences have responded to texts, and how their conceptions of value have been constructed. The book will cover theoretical interventions on the issue, as well as case-studies, using films, books, and other texts as examples.
Some of the topics covered will include:
· ‘Original’ vs. ‘adapted’ texts; how the concepts are culturally constructed and carry different values in different cultures
· The history of ‘originality’ – its origins in the development of print cultures, the development of copyright, and how it is a particularly ‘western’ issue – and the implications for conceptions of ‘value’
· Conceptions of a ‘remake’ or a ‘reissue’ and the value attached to them
· Authorship – the role of the author in shaping questions of value; the value placed on ‘creativity’; the creation of canons in literature, film, and other media; how canons shape issues of value
· Global vs. Local issues: the relationship between ‘universality’ and value; issues of cultural and media imperialism; capitalism and the creation of financial ‘value’; resistance to globalism through local constructions of ‘value’
·‘Academic’ vs. ‘popular’ conceptions of value – the role of hegemonies (academic, literary, media) in shaping questions of value; the specialization of knowledge; the significance of ‘theory’ as a guarantee of value
·Alternative constructions of value – how they are shaped by generational, social, cultural and technological questions, for example online communities; fan communities; blogs
· Temporal questions of value: how conceptions of value change over time and space.
Contributions should be around 5,000 to 9,000 words written in MLA style. Proposals for the topic should be addressed to Berkem Gürenci Saglam (bgurenci@baskent.edu.tr), or Laurence Raw (l_rawjalaurence@yahoo.com). They should be received by October 15, 2013, Notifications of acceptance will be sent out by December 15, 2013.
(info actualizada em 13/05/2013)
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International Trends and Issues Communication & Media Conference
Kyrenia / NORTH CYPRUS
December 18-20, 2013
www.iticam.net
The main goal of International Trends and Issues Communication & Media Conference is to provide a multinational platform where the latest trends in communication and media can be presented and discussed in a friendly environment with the aim to learn from each other. Prospective presenters are encouraged to submit proposals for papers and posters/demonstrations that offer new research or theoretical contributions. Presentations should be in Turkish and English and should address both theoretical issues and new research findings.
Furthermore if the presenter is unable to attend the oral presentation, video presentations are available. For further information on how to submit, please refer to the Paper Submission section on our website. For paper guidelines, please refer to the Paper Guidelines section.
ITICAM 2013 conference is supported by Sakarya University, Hitit University, Istanbul University, TRT (Turkish Radio and Television) and TASET and will take place on December 18-20, 2013 at the Cratos Premium Hotel, Kyrenia, North Cyprus.
All full papers (in all languages) will be published in an online proceedings book on ITICAM web site after the conference.
We would like to invite you to share your experience and your papers with academicians and professionals.
Conference Languages
The official languages of the conference are English and Turkish. Proposals can be sent and be presented in either language. But all submission process will be done in English. Please, submit your proposal according to the following presentation category descriptions in paper guidelines.
Deadlines
Proposal & Abstract Submission Deadline : December 6, 2013
Full Paper Submission : December 8, 2013
Registration : December 6, 2013
Conference : December 18-19-20, 2013
(info actualizada em 13/05/2013)
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Journal of Italian Cinema and Media Studies
A complex definition of Italian cinema has emerged since the 1990s, leading to a re-thinking of the current and varied manifestations of Italian cinemas and media. This CFP for the Journal of Italian Cinema and Media Studies aims to reflect on the new semantics of what constitutes Italian cinematic, television and media productions today.
Within the realm of a post-national and trans-cultural debate, the purpose of this CFP is to refer to Italy as the unifying geo-cultural site for a contemporary discussion on translocal cinema. Contributions would explore Italy’s reconfigured geographical collocation along the reassessed connotation of Italian film and media as portrayed by filmmakers and media practitioners working within and outside the country as well as of filmmakers of the Italian diaspora.
This CFP intends to contribute to the debate on new and broader definitions of Italian cinemas and media by: examining the proliferation of filmmaking both within and outside the country; exploring why films produced outside Italy fit into notions of Italian filmmaking; considering whether foreign directors producing films in Italy could be factored into a larger definition of Italian cinemas; investigating new forms of independent films; and studying filmmakers of the Italian diaspora.
Proposals are invited on, but not restricted to, the following:
- Redefining Italian cinemas, television and media
- National and global constructions of Italian cinema
- Regional Film Commissions productions
- International co-productions
- Independent and experimental cinema
- New digital media, web-based visual texts, advertizing, the development of innovative trans-media and cross-media narratives, short films, long/short feature/documentary animation
- Italian dialects in cinema
- Italian cinema outside of Italy
- Italian filmmakers working on non-Italian-language films
- Transnational Italian film stardom
Send proposals to the Editor, Flavia Laviosa, at flaviosa@wellesley.edu
1) 500-word abstract outlining: the topic, critical approach, and theoretical bases of your proposed article;
2) relevant bibliography and filmography;
3) 200 word biographical notes followed by a detailed list of your academic publications.
The Journal of Italian Cinema and Media Studies is an English-language refereed journal.
http://www.intellectbooks.co.uk/journals/view-Journal,id=215/
(info actualizada em 25/04/2013)
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