PT/EN

The Association of Moving Image Researchers, AIM, came out of the desire to bring together in Portugal, in the same organism, a group of researchers sharing the same investigation interests. The 8th AIM Annual Meeting will take place at University of Aveiro, from 16 to 19 May 2018. Please also visit Aniki : Portuguese Journal of the Moving Image, AIM's cientific journal, and BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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CFP: Pinter on Film, Television and Radio

A two-day international conference at the
University of Reading and the British Library, 19-20 September 2018

Call for papers

Harold Pinter (1930-2008) was an actor, director and writer whose output over five decades spanned theatre, film, television, radio, poetry, prose and politics. His writing for radio and television pushed aesthetic boundaries and his films contributed to the landscape and practices of post-war British cinema, while his stage plays have been part of the canon of world theatre since the 1960s. His work has enjoyed a place in the public imagination from the early 1960s, due to the combined impact of the successful stage plays The Caretaker and The Homecoming, augmented by the popular appeal of radio plays and television dramas such as The Lover, The Collection and A Night Out and by the esteem and box-office success of early screenplays such as The Servant and The Pumpkin Eater.
Pinter’s work on film, television and radio has received less concentrated attention than his theatre work, which has been widely discussed, debated and celebrated internationally. The ‘Pinter on Film, Television and Radio’ conference—the second of three to be held by the AHRC-funded ‘Harold Pinter: Histories and Legacies’ research project—therefore invites established scholars and early career researchers from a range of academic disciplines, together with practitioners and archivists, to come together to explore all aspects of Pinter’s works for, and on, film, television and radio. At least one edited collection or journal special issue will be published from the papers of this two-day conference.
Possible topics

The two central questions pursued by the research project concern the aesthetics that have been connected with Pinter’s work and the impact that his work has had on the broader palette of British performance histories since the 1950s. With regard to this conference’s focus on film, television and radio, possible topics relating to this wider remit may include (but are not limited to):

• Production – Pinter’s understanding, as both writer and performer, of aesthetic choices in production such as the spatial possibilities of studio and location
• Collaborative practice – Pinter’s work with, for example, particular directors or producers, and the significance of his networks in different media contexts
• Intermediality – his development of dramatic narratives across media, and transfers of dramatic conventions from one medium to another
• Adaptation – the processes involved in realising work through the performance aesthetics and signifying systems of different media, such as Pinter's screenplays adapted from novels
• Theatricality – the interconnections between Pinter’s work on film, television, and radio, on the one hand, and theatre on the other
• British film cultures – Pinter’s role in the changing forms of British national cinema and its international position
• Screenwriting – Pinter’s engagement with the specific forms and conventions of writing for the visual media • Acting and performance – particular performance techniques used by actors of Pinter drama, and what the recording and mediation of performances on screen and on radio may tell us
• Audiences – audience engagement and response to Pinter’s work across different media
• Gender – Pinter’s film, TV and radio in relation to social constructions of gender
• Politics – how radio and television amplified Pinter’s contribution to political discourse via his plays and other writings
• Archives – the preservation, archiving and accessibility of Pinter’s work in media forms; the value of paper archives for historiography of Pinter’s work (e.g. BL’s Harold Pinter Archive; BBC Written Archives Centre)
• Audio – audio traces such as Pinter’s appearances in oral histories held by the BL’s Theatre Archive Project, and the BL’s audio record of Pinter’s theatre plays
Deadline for abstracts

Please send abstracts of no more than 200 words and a brief biography by midnight on Friday 16 February 2018 to the three conference organisers Professor Jonathan Bignell, Dr Billy Smart and Dr Amanda Wrigley via w.r.smart@reading.ac.uk. Papers must be delivered in a maximum of 20 minutes including any extracts or illustrative material. Proposals for three-speaker panels are also welcome: please collate the information above into one document and outline briefly the rationale of the panel.

Venues: University of Reading and the British Library

This two-day conference will take place on two sites: day one in Reading, ‘Pinter on Screen’, will focus primarily on Pinter on film and television, and will be held in Minghella Studios, University of Reading on Wednesday 19 September 2018; the second day, ‘Pinter on Air’, will focus primarily on Pinter on radio and in audio archives, and will be held in the British Library in London on Thursday 20 September 2018. Day two will also be open to the public and it will showcase the Library’s prolific audio and manuscript holdings on Pinter as part of the BL’s Cultural Events programme. The two days will be separately bookable. Given the intermedial nature of Pinter’s work, however, we anticipate a great amount of correspondence between the topics and discussions of both days, and we are keen for academic participants to join for the whole conference if possible. Accommodation will be offered on the University of Reading’s Whiteknights campus, the location of the conference venue on day one. Delegates will travel to the British Library for day two independently by public transport.
Context

This conference is part of series of academic and public events organised by the inter-institutional research project ‘Harold Pinter: Histories and Legacies’, a collaboration between the universities of Birmingham, Leeds and Reading. The project is funded by the Arts and Humanities Research Council and runs from 2017 to 2019. The project will host three conferences: the inaugural conference, ‘Staging Pinter: Networks, Collaborators, Legacies’ will take place at the University of Birmingham in April 2018: for further information see https://pinterlegacies.com/events/birmingham-conference-staging-pinter. The ‘Pinter on Film, Television and Radio’ conference at the University of Reading and the British Library, September 2018, is the second event; and the third conference will be held at the University of Leeds in 2019 to mark the conclusion of the project.
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CFP: Music and the Moving Image, New York Univ., May 2018

The Music and the Moving Image Conference (24-27 May 2018) is accepting submissions that explore the relationship between music, sound, and the entire universe of moving images (film, television, video games, iPhone, computer, and interactive performances) through paper presentations. You can submit abstracts/synopses of papers (250 words) via Google Forms by
clicking this link: https://goo.gl/forms/NiczqCeHoaqSThI32
<https://nyu.us14.list-manage.com/track/click?u=399853197174962babc4e17cf&id=cccbbd7bc6&e=226016e57d>*
by December 15th, 2017


Please direct questions to mamicon2018@gmail.com.


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CfP: The Love That Speaks Its Name: Advertising Film

The Love That Speaks Its Name: Advertising Film (New York, NY; April 11, 2018)

Films made for advertising purposes are among the most visible, and most elusive, modes of motion picture production. From early promotional experiments by Georges Méliès to Walter Ruttmann’s avant-garde advertisements in Weimar Germany to sponsored productions by global corporations, advertising films appear in an array of contexts and movements, adjacent to and in dialogue with narrative fiction cinema, documentary, and experimental cinema. While some theater owners, sponsors, and even filmmakers at times disavowed their work in the advertising field, many others saw persuasion as a noble profession, one that pushed the medium of cinema to its technological, social, and cultural limits.

For this one-day workshop, held on Wednesday, April 11, immediately prior to the /Orphan Film Symposium/, we are seeking papers on the advertising film in its myriad forms. Possible topics include:

- production histories of specific films and campaigns (including films for and by racial and ethnic minority groups)

- company- or industry-centered accounts of the use of cinema as an advertising medium

- exhibition and reception studies of advertising film in theatrical and nontheatrical contexts

- close readings of extant advertising films

- comparative approaches to other advertising media

- inquiries on the relationship between advertising film and documentary, or the avant-garde

- assessments of the “use” of advertising film

- feminist approaches to the production and reception of advertising media

While we welcome traditional fifteen-minute research presentations, we are also interested in receiving proposals that include (short) screenings, focus on methodological issues inherent in studying advertising film, or discuss important, but little known, collections of advertising film.

Please submit 300-word proposals, plus a list of five key texts (films, collections, or scholarship) you will consult in your presentations and a brief (150-word) bio to advertisingfilmworkshop2018@gmail.com <mailto:advertisingfilmworkshop2018@gmail.com>. Proposals are due by December 1, 2017, and notifications will be sent by December 15, 2017.

Workshop organization: Martin Johnson / Matthew Ogonoski / Joachim Schätz / Patrick Vonderau / Yvonne Zimmermann
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Cfp: Media History from the margins



MEDIA HISTORY FROM THE MARGINS
CSF Summer Seminar at Monte Verità, Switzerland
August 19-24, 2018
Co-organized by the Universities of Lausanne and Luxembourg, and USI Università della Svizzera Italiana

Keynote Speakers
- Weihong Bao, University of Berkeley
- Jérôme Bourdon, University of Tel Aviv
- Lisa Parks, MIT
- Trevor Pinch, Cornell University
The summer seminar aims to rethink media history from the margins and to place at the center of our attention neglected, alternative, or censured media texts, uses, and technologies. By shifting the discussion from hegemonic actors, dominant institutions, and successful mass media to the fringes of media history, it pursues the double objective of rewriting media history into media histories, and of opening a space to rethink historiographical practices and methods. The writing of marginal histories is inseparable from a reflection on the modes of operation and politics of historical writing: bringing together established and emerging scholars, the seminar investigates what has been left over by hegemonic mass media and hegemonic historical narratives.
Traditionally, media history has been conceived as a ‘grand narrative’ of singular media and national institutions: the ‘birth’ of cinema at the end of the 19th century and its subsequent ‘coming of age’ with the conversion to talkies; the history of public broadcasters in European countries; the dominance of post-war TV; and more recently the hegemony of digital media. Given the importance of media for the construction and consolidation of national mediascapes, media history has furthermore received mostly attention from a national angle, notwithstanding the importance of transnational communication in a globalized world.
More recent historiography has challenged these narratives by highlighting the importance of transnational circulations and intermedial relations. Instead of studying singular media within national boarders, it focuses on the “entanglement” of actors, practices, and technologies approached from the perspective of dynamic relationships and interdependences. Building upon this scholarship, the seminar favors a multilayered perspective emphasizing transient media experiences, material and conceptual hybridity, and marginal events. More particularly, it proposes to critically reflect upon centers and peripheries in media history: the expression ‘from the margins’ is borrowed from postcolonial history exploring the peripheries of world history in order to “de-center” Western histories, as well as to stimulate a debate on history as a discipline. Here, rather than retelling the past, history functions as an act of resistance countering dominant narratives.

The seminar is structured in three sections expanding on three days, to which is added a one-day graduate symposium. Titled Marginal Spaces, Marginal Objects, Marginal Times, the thematic axes pay particular attention to geographical and spatial, material and technological, and historiographical aspects of marginal media histories.
• Marginal Spaces looks at media and communication realms located outside the axes of traditional media history, and below or beyond national actors or geographically situated objects. We look for papers that rewrite the geography of producers, users, and discourses, and that revisit the logic of center-periphery and of inside-outside mainstream media by focusing, for instance, on migrating media objects, or alternative and activist media. We wish to discuss organizations and media makers working outside dominant media structures and to study, for instance, media making in the scientific and military sphere.

• Marginal Objects analyzes the diversity of technologies for recording, reproducing, projecting, and storing sound and images, text and data at various historical conjunctures. Embracing concrete and imaginary devices, successful machines and forgotten gadgets, the papers consider a variety of sources that exceed the technical discourse and relocate media materialities within their social, political, and economic contexts. We look in particular for papers that present original media objects and technologies from the perspective of an intermedial and hybrid media history, and that take the singular dispositif as a starting point for a broader theoretical discussion. In other words, we are interested in marginal objects that help reframe our methodological and theoretical perspectives.

• Marginal Times emphasizes media histories from a longue durée perspective that pays attention to the long life of once “new media”, and that looks at media practices in times of reconfiguration of the mass media ensemble. This section reconsiders “classic” periodizations in media history, and historically rethinks notions such as convergence or transmedia that structure current debates on contemporary media. It is interested in historical media and objects that “travel” across decades, and even centuries, acquiring new meanings and forms through such “time travel”. The notion of “times” finally refers to trends and “non-trends” in media history: which episodes or phases in media history have been neglected so far, and which disciplines or theoretical approaches might offer new perspectives in understanding media changes and continuities?

Situated on the top of a hill overlooking the lake of Lugano, the location at Monte Verità is unique and offers a setting favorable for exchange and discussion (http://www.monteverita.org/en/24/conference-centre-monte-verita.aspx). We aim to take full advantage of this place to create a space for collaboration and dialogue. Rather than being conceived as a conference of one-way presentations, we consider the event as a collective exploration of the fringes of our field.

In consequence, we are interested in contributions that associate historical case studies with broader historiographical analysis, and that think about their own margins and blind spots. We welcome papers that address the overall theme by asking questions rather than giving answers, and that include the audience from the start on. We further look forward to proposals from scholars working outside the field of media studies and whose research challenges our own work. Finally, we encourage collaborative submissions that investigate innovative forms of academic work, and that communicate in formats other than the traditional talk.

Graduate Students Symposium
We invite Ph.D. students working on related topics to apply for the one-day graduate symposium. Held on the first day of the event, the graduate student workshop brings together Ph.D. students and seminar participants, and aims at facilitating exchange between emerging and established scholars on research-related issues. The graduate students will pre-circulate a short paper related to their thesis, which will be discussed in small groups. The discussion-based format of the workshop allows for Ph.D. students to interact with participants and receive concrete feedback on their research.

Organization
In order to create the best possible conditions for the summer seminar, we require the presence of all participants during its entire duration.
The provisory program is as follows: Sunday, August 19: Arrival of participants
Monday, August 20: Welcome event and Graduate Students Seminar
Tuesday, August 21: Marginal Spaces
Wednesday, August 22: Group discussions (morning); excursion (afternoon – evening) Thursday, August 23: Marginal Objects
Friday, August 24: Marginal Times, Conclusion, Departure of participants

Finances
The seminar is organized at the Conference Centre Monte Verità, Ascona, Switzerland, the venue of choice for Congressi Stefano Franscini, the international conference platform of ETH Zurich. It is generously supported by the Congressi Stefano Franscini and the universities of Lausanne and Luxembourg. For participants who may not be able to cover their expenses via their universities, we may provide a stipend. The costs are as follows: Full Board and Accommodation Single Room : ca. 172.- / night / person
Full Board and Accommodation Double Occupation : ca. 85.- / night / person

Organizers
François Vallotton and Anne-Katrin Weber, University of Lausanne
Gabriele Balbi, USI Università della Svizzera Italiana
Andreas Fickers, University of Luxembourg

Deadline for the summer seminar and the graduate student symposium: We look forward to abstracts of maximum 500 words and a short bibliography until January 31, 2018. Participants will be notified by March 1st, 2018. Please include in your message whether you apply for financial assistance.

To apply for the graduate students symposium, we ask for a summary of the doctoral thesis and a short abstract of the questions / topic / primary sources you would like to discuss with the other participants. The short input papers will be circulated beginning of August 2018. Please include in your message whether you apply for financial assistance.

Please submit your abstract including a short biographical note to François.Vallotton@unil.ch and Anne-Katrin.Weber@unil.ch

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VIII Encontro Anual da AIM: última chamada!
CHAMADA DE TRABALHOS

Prazo de submissão: 30 de novembro de 2017.

Consulte também a FAQ. Ou submeta a sua proposta. Descarregue em formato pdf.


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CFP: Walt Disney's Snow White and the Seven Dwarfs

We are on the lookout for a few additional chapters to complete a book being edited by Chris Pallant (Canterbury Christ Church University) and Christopher Holliday (King’s College London) about the first feature-length cel-animated film produced by the Walt Disney Studio: /Snow White and the Seven Dwarfs/ (David Hand, 1937). We already have a strong expression of interest from a noted publisher, and to bring up the total number of chapters in the collection we are particularly interested in proposals that deal with the following topic areas:

* Area studies and /Snow White/
* Distribution and exhibition (/Snow White/ in South America, Asia,
Australia)
* /Snow White /and animated technology (particularly developments in
colour)
* Merchandising and marketing the Snow White phenomenon (theme park
attractions, video game, Broadway musical)
* /Snow White/and Disney Home Media (relationship to the Walt Disney
Masterpiece Collection, Disney’s Platinum Editions, Diamond
Editions, Walt Disney Signature Collection Line)
* Adaptations of Disney’s /Snow White/ (newspaper comic strip, /Coal
Black and de Sebben Dwarfs/, /Snow White with the Red Hair/)
* /Snow White/and animation studies

We are open to other proposals that relate to the above areas, and so please do email the editors for an informal discussion of potential chapter ideas.

Contributors are invited to submit a *300-word abstract* that briefly outlines the structure of your chapter and the manner in which Disney’s film is being framed as a significant moment within cinema history, along with a *short biography* to Dr Chris Pallant (chris.pallant@canterbury.ac.uk) and Dr Christopher Holliday (christopher.holliday@kcl.ac.uk). The deadline for proposals is *December 15^th 2017*. It is anticipated that final chapters of between 7000-8000 words in length will be due sometime around *August* *2018*.
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CFP: The Films of John Hughes



The Films of John Hughes (Refocus Series)
Series Editors: Gary D Rhodes, Robert Singer
Editors: Timothy Shary, Frances Smith

The films of writer, director, and producer, John Hughes, have enjoyed popular and critical success. With Sixteen Candles (1984), The Breakfast Club (1985), Weird Science (1985), Ferris Bueller’s Day Off (1986), and Pretty in Pink (1986), Hughes portrayed mercurial suburban adolescence in America. In doing so, he was responsible for bringing to the fore a whole new troupe of actors, dubbed The Brat Pack, which included Molly Ringwald, Matthew Broderick, Emilio Estevez, and Andrew McCarthy. Despite the lasting success of Hughes’ teen output, it was his move into mainstream comedy that secured his greatest commercial successes with hits like Planes, Trains and Automobiles (1987), Uncle Buck (1989), Home Alone (Chris Columbus, 1990), and 101 Dalmatians (Stephen Herek, 1996).

Since Hughes’ death in 2009, there has been a growing appreciation of his work, and particularly of his teen output. Contemporary nostalgia for the 1980s has played a role, in works such as Easy A (Will Gluck, 2010), Pitch Perfect (Jason Moore, 2012), The Edge of Seventeen (Kelly Fremon Craig, 2016), and Permanent (Collette Burson, 2017). Yet Hughes also deserves to be considered as an independent filmmaker, who eschewed the calls of Hollywood to film in his native Midwest (particularly Chicago). To be sure, Hughes’ films remain relevant and are well remembered. However, despite his popular appreciation and the sporadic commentary about his movies, there has to date been no scholarly volume dedicated to the discussion of his work as a whole.

This anthology seeks to address this gap in scholarship, and will be published by Edinburgh University Press in 2019 as part of the Refocus series, which has included books on Amy Heckerling, Delmer Daves, and Preston Sturges. Edited by Dr. Gary D Rhodes and Dr. Robert Singer, this series is dedicated to examining the work of overlooked filmmakers. We are seeking proposals of 500 words, plus a biography of 100 words, for essays to be included in the book. Completed essays should be between 6500 and 8000 words and follow the Chicago endnote referencing style. We are open to proposals on all aspects of John Hughes’ work. Essays may focus on individual works, or on recurrent themes throughout his oeuvre.

Contributions are particularly welcome, but by no means limited to, the following areas:

• Hughes and teen cinema
• The American family in Hughes’ films
• His early work for National Lampoon movies and TV shows (1979-1985)
• Analysis of individual films (1980-2008)
• Gender and teen comedy
• Topics of class, race, sexuality, or gender across Hughes’ films
• Analyses of individual star performances in his films, e.g.: John Candy, Macaulay Culkin, Molly Ringwald, Anthony Michael Hall
• Hughes’ eight films as director (1984-1991)
• The aesthetic style of Hughes’ work, as writer and/or director
• Hughes as Hollywood producer of family comedies, e.g.: She’s Having a Baby (1988), Dutch (1991), Dennis the Menace (1993), Flubber (1997)
• Midwest geography and culture in his stories
• Use of music in his films, particularly pop hits
• His writing as alter ego Edmond Dantés, including Beethoven (1992), Maid in Manhattan (2002), and Drillbit Taylor (2008)
• Anything connecting his essentially secluded personal life to his work

Proposals should be sent to refocusjohnhughes@gmail.com by December 31, 2017. Both editors will review all proposals and respond by January 31, 2018. If successful, essays will need to be completed by September 30, 2018. Please send any enquiries to refocusjohnhughes@gmail.com.
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Cinema e Território
Chamada para o N. 3 – 2018
Cinema e Território / Cinemas, identidades
http://www.ct-review.org/

O cinema pode relacionar-se com identidades de muitas formas. A primeira é a identidade autoral, mais relevante no cinema de autor. Um dos últimos redutos da teoria do autor, que remonta à escola romântica do século XIX, foi a arte cinematográfica. Há, no entanto, outra identidade que emerge no cinema – o espetador ou espectator. A obra não se basta por si própria nem o sentido está completamente no espetador. A ideia que a apropriação do filme pelo espetador é o resgate das intenções do autor caiu por terra com o desenvolvimento da análise do discurso e da teoria da receção. O espetador é então outra identidade a que se atribui, em grande parte, a autoria do filme. A autoria dependeria assim de um sujeito coletivo (destinatário), da subjetividade (conhecimento e cultura) do espetador, sem de modo nenhum esquecer as escolhas do realizador e as decisões económicas e atitude ético-política do produtor. Várias identidades profissionais, jurídicas, estéticas, éticas e políticas definem-se e continuamente se reconfiguram na produção cinematográfica. No documentário e no filme etnográfico há outras identidades, outras participações decorrentes das produções cinematográficas se realizarem com pessoas (não com atores), inseridas nos seus contextos sociais e culturais. Emergem assim os atores sociais que, das formas mais diferenciadas, participam na realização dos filmes – não se trata de filmes “sobre as pessoas”, mas “com as pessoas” acerca de questões concretas da vida social e cultural. Emergem também as instituições, as culturas locais e o território. Para além disso, os documentários e os filmes etnográficos são realizados com recursos mínimos – financiamento e equipas mínimas, frequentemente longas estadias nos locais, instituições com as pessoas filmadas, pesquisa etnográfica e adaptação a situações imprevistas. Neste processo de passagem à imagem, o autor joga a sua identidade pessoal e relacional. Pessoal, na medida em que lhe é exigida uma obra original, cujas escolhas estão frequentemente enraizadas na história pessoal e em oportunidades criadas, ou existentes nos quadros institucionais em que se situa – instituições de financiamento, instituições de enquadramento da produção, modas, modelos, axiologias e normas epistemológicas, éticas e estéticas. Relacional, com as pessoas, grupos sociais, instituições filmadas, e que tornará visíveis e audíveis, com uma equipa, por vezes mínima, de produção, com as entidades financiadoras e com o público a quem dirige a produção. A identidade e o cinema podem igualmente referir-se às denominadas cinematografias nacionais. Há também um cinema híbrido, um cinema de duplas, ou múltiplas pertenças étnico-culturais, multissituado, decorrente quer dos processos migratórios, ou de outras formas de hibridação cultural na transversalidade temas tratados, nas opções estéticas, nas situações e personagens representados, ou o cinema transnacional, enquanto prática transcultural e transfronteiriça, decreta de um lado a obsolescência da ideologia das identidades nacionais fixas, e promove um debate sobre os “modos de identificação emocional” e sua mise en scène, nos filmes. Há ainda a abordagem da dignidade humana no cinema (a dignidade não será outra forma de reconhecimento da identidade), dos “princípios de dignidade universal do projeto cosmopolítico dos direitos humanos” e das “cosmopoéticas cinematográficas”, formas de criação, de fabricação, de invenção (poiesis) do mundo (cosmos) como mundo comum, como partilha, como espaço da comunidade política (polis) da humanidade. Nossa proposta neste número da revista Cinema e Território é procurar estas múltiplas abordagens, não apenas a partir de aportes teóricos, mas sobretudo de obras concretas e de projetos e processos de realização cinematográfica.

José da Silva Ribeiro
Alice Fátima Martins

CALENDÁRIO: Submissão dos artigos
– Envio dos textos – até 01 de maio de 2018
– Notificação de aceitação de propostas – até 30 de junho de 2018
– Publicação – Outubro de 2018

Os artigos deverão ser enviados para os seguintes endereços eletrónico com o assunto – C&T-3-2018 (Vide Normas da revista)

Os organizadores:
Jose S. Ribeiro jsribeiro.49@gmail.com
Alice Fátima Martins profalice2fm@gmail.com

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CFP: Conference "Symbiotic Cinema: Confluences Between Film and Other Media"


SYMBIOTIC CINEMA: CONFLUENCES BETWEEN FILM AND OTHER MEDIA

24th SERCIA Conference, 6-8 September 2018, Sweden
Hosted by Linnaeus University Centre for Intermedial and Multimodal Studies, campus Växjö



Suggested topics:

The present Film and Television conference, calls for rationale and analysis that bears on cinema/television as technical media and its characteristics. Proponents are invited to establish connections with other media, within English-speaking countries. Both theoretical and practical analysis of film and other media are accepted. Possible topics include but are not limited to the following: 

 
Definition of media, intermediality, intramediality.
Mediation, remediation, transmediation processes.
Narrative adaptation, cinematic ekphrasis.
Media characteristics and/or essence.
Pure and impure media/cinema.
Cinema as a limited or superior medium.
“Old”, new, and residual media.
Digital cinema.
Post-cinema.
Hybridity and media borders.
New perspectives on the history/archaeology of cinema and other media.

The aesthetics of cinema and other media technologies.
Cinema/television and art forms: new artistic languages.
Cinema/television and society: social uses of media.

Cinema/television and ideology: the politics of media.
Cinema/television as communication.
Immersive qualities and spectatorial adhesion.

The invisible and the virtual.

Different products, different spectators.

Keynote speakers:
François Jost – Professor Emeritus at Sorbonne Nouvelle-Paris 3, France.
Lúcia Nagib – University of Reading, Department of Film, Media and Television, UK.
Miriam De Rosa – Coventry University, School of Media and Performing Arts, UK.

Submission:

The language of the conference is English and individual presentations are set at 20 minutes. Please send your proposal containing an abstract (500 words max.), 5 key-words, and a short bio (120 max.) until 15th February 2018 to the two following email addresses: chinita.estc@gmail.com and ims@lnu.se Notification of acceptance will be sent until 15th March 2018.

Upon acceptance, speakers will be required to become SERCIA members for 2017. For information on how to become a member, click here. Visit the conference website.

Conference fees:

600 SEK (65 €) for lecturers / professors / independent scholars; 300 SEK (35 €) for students / retired colleagues, which cover meals and other arrangements.

Contact:

Fátima Chinita (chinita.estc@gmail.com) and Eva Larsson (ims@lnu.se).

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CFP: Deconstructing the Zombie: Cultural and Ideological Approaches

We would like to remind you that next December 15, 2017 will finish the reception of chapter proposals for the academic bookwe are currently editing, entitled /Deconstructing the Zombie: Cultural and Ideological Approaches/.

We would like to show our gratitude to the international academic community for the positive reception of the project, having received proposals from different countries such as the United States, Canada, the Republic of Bulgaria, Japan or Spain.

The project will be published by Editorial Doble J, a specialized editorial in Politics, Philosophy, Arts and Music academic studies, which is indexed in Scholarly Publishers Indicators in Humanities and Social Sciences (SPI), SPI Expanded and Finnish List.

CALL FOR CHAPTERS

The main purpose of our book is to compose a complete study about the figure of the zombie and its significance from a cultural and ideological academic approach. We are interested in its presence in all existing media: cinema, television, literature, comics, and video games, as well as music and painting.

Topics may include (but are not limited to):

• The Origins and History of Zombies

• Historical Roots around the Archetype of Zombie

• A Review of the Concept of ‘Zombie’

• Zombie Reconstructions in Contemporary Society

• The Representation of the Zombie in Cinema and Television

• The Zombie and the Capitalist Society

• The Zombie as a Criticism tool of the System

• The Zombie as a Supporter of the System

• The Zombie as a Capitalist Victim

• Media and Digital Zombification

• Zombies from Gender Studies

• The Figure of the Zombie from Psychoanalysis

• The Zombie and its Social Reintegration

• Zombies and Religion

• Zombies and Power

• Zombies and Politics

• Zombies and Violence

• Zombies and Sex

• Zombie Armies and Soldiers

• Zombies and Ecology

Please, submit your proposal (a 500-word abstract) and a biographical summary (200 words) to the following e-mail addresses: Alfonso M. Rodríguez de Austria Giménez de Aragón (University of Seville) alfonso.m / at / rodriguezdeaustria.es / Cristina Algaba (Universidad Loyola Andalucía) cpereza / at / uloyola.es

We will appreciate if you share this Call For Chapters information with those colleagues who may be interested in the project. Original manuscripts are accepted in Spanish or English.

Deadline to submit chapter proposals: December 15, 2017

Once accepted, the coordinators of the project would request a first draft of the chapter by June 15, 2018. The final text should be sent to the emails mentioned above before September 15, 2018.

Proposal Submission Information (English): <http://www.filmstudies.eu/index.php/en/2017/09/call-for-chapters-deconstructing-the-zombie-cultural-and-ideological-approaches/>

Información sobre la convocatoria de capítulos de libro (Spanish): <http://www.filmstudies.eu/index.php/2017/09/convocatoria-de-capitulos-deconstructing-the-zombie-aproximaciones-culturales-e-ideologicas-en-torno-a-la-figura-del-no-muerto/>

Alfonso M. Rodríguez de Austria Giménez de Aragón

Film Studies <www.filmstudies.eu <http://www.filmstudies.eu>>

Contact e-mail: alfonso.m / at / rodriguezdeaustria.es

Profesor en la Especialización en Comunicación Audiovisual (Universidad Centroamericana de Nicaragua)

Licenciado en Filosofía y Doctor en Comunicación (Universidad de Sevilla)

Especialista Universitario en Derechos Humanos y Prácticas Ciudadanas (Universidad Pablo de Olavide)

Grupo de Investigación en Comunicación Política, Ideología y Propaganda, IDECO

<https://grupoinvestigacionideco.wordpress.com/>
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CFP: European Cinema in the 21st Century


We invite you to contribute to a monograph on /European Cinema in the 21^st Century/ as outlined in the CFP below, which is intended for a – currently under-served – undergraduate and early postgraduate market. Abstracts and author biographies are due by the 31^st of December, while the full book chapters (6000 words) are expected by the end of August 2018. We are aiming to publish this volume with Palgrave Macmillan, one of the leading academic publishers, which has already expressed a provisional interest in this monograph. We are looking forward to reading your fascinating proposals.

Best wishes,
Ingrid Lewis, Assistant Lecturer in Film and Theatre Studies, Dundalk Institute of Technology, Ireland, author of /Women in European Holocaust Films/ (Palgrave Macmillan, 2017)
Laura Canning, Lecturer in Film and Television, School of Film & Television, Falmouth University, United Kingdom.


Book title: European Cinema in the 21st Century: Discourses, Directions and Genres


Book’s scope and content

Modules of European cinema have become increasingly popular in university curricula, both in European countries and overseas. However, knowledge on the topic is often fragmented across a variety of studies, or centred around specific national cinemas, which can act as a hindrance in discerning key trends and assimilating the complexities of European cinema. This book articulates a way of rethinking the study of contemporary European cinema by placing at the centre of its efforts the students and their needs.

This monograph aims to provide important insights on the key features of European cinema in the 21^st Century highlighting its major aesthetic schools, traditions, national identities and transnational concerns. These features are complemented by an accessible and student-friendly structure in which each chapter discusses significant topics, explains their context and provides definitions of key terms. Each chapter also encourages critical thinking by providing a set of reflective questions, and a case-study that summarises and applies the theoretical content.

Furthermore, many scholars have drawn attention to the peripheral position assigned to Central-Eastern filmic traditions in overall scholarship on European cinema. This monograph is the first of its kind to apply a transversalapproach to European cinema, bringing together the East and the West, while providing a comprehensive picture of key trends, movements, genres and national cinemas. Simple and effective, this book fills a significant gap in the scholarly literature on the topic and provides an invaluable tool for both lecturers and students.

Indicative topics (we welcome additional suggestions)

-What is European Cinema? Defining European cinema and establishing its borders;
-Questions of European identity;
-Auteur cinema in Europe (proposals which focus on film workers outside of the writer/director axis are also welcomed);
-Commercial versus art cinema;
-Popular genres in recent European Cinema (comedy, horror etc);
-European Film Noir;
-Ecology in Nordic (and other) Cinemas;
-Migrations and Diaspora in European Cinema;
-Post-Communist film;
-Post-Yugoslav cinema;
-National versus transnational (pan-European) cinemas;
-Emerging national cinemas and movements (such as the Romanian New Wave)
-History, memory and trauma in European Film;
-New trends and directions of recent European Cinema;
-European versus Hollywood dynamics;
-European film in the context of ‘World’ cinema;
-Questions of language, culture and identity;
-Transmedia, new media and cinema spectatorship;
-Gender and sexuality in recent European cinema;
-Centres and margins, the urban and the rural.

Requirements
We invite contributions for chapters of 6,000 words focusing exclusively on European films released in the 21^st Century. Given that we aim for an educational series publication, each chapter should include the following elements: definitions of key terms; topic development; recapitulative questions; a case study (an in-depth analysis of a chosen film that explains and applies the theoretical content of the chapter); and a bibliography. Please send your proposals to both these emails: ingrid.lewis@dkit.ie and laura.canning@falmouth.ac.uk


*Provisional timeline*
*December 31, 2017*: 300-word abstracts, 5 bibliographic sources and a 150-word author biography due.
*August 20, 2018: *Chapters (6,000 words) following the aforementioned structured due. Please follow the Chicago Manual style with standard British spelling. No footnotes or endnotes.
*September 30, 2018: *Contributions returned to authors for revisions (if necessary)**
**
*November 30, 2018:*Final manuscript submitted to press
**
*April 30, 2019:*Publication
*Co-editors*
**
*Dr Ingrid Lewis*
Assistant Lecturer in Film and Theatre Studies at**Dundalk Institute of Technology, Ireland
Latest monograph: /Women in European Holocaust Films: Perpetrators, Victims and Resisters/ (Palgrave Macmillan, 2017)
*Dr Laura Canning*
Lecturer in Film and Television, School of Film & Television, Falmouth University, United Kingdom.**
**

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PhD Studentships: University of Stirling



Scottish Graduate School for Arts & Humanities: AHRC-funded PhD Studentship Competition/Scottish Graduate School of Social Science: ESRC-funded PhD Studentship Competition & PhD Study in Communications, Media & Culture at the University of Stirling, 2018*

Communications, Media & Culture at the University of Stirling is pleased to invite applications for PhD studentships through its involvement with the ESRC and AHRC Doctoral Training Partnerships, Scotland.

We welcome applications across our areas of expertise in media, communications, journalism, film and television studies and particularly encourage applications which speak to the following areas of research strength:

Digital media and society

Critical theories of the media

Creative economies (geography, labour, policy)

Political economy of media, information and communication

Political communications

Public relations

Sport and/in media

Journalism and the representation of politics

Journalism and discourse

Big data journalism

Photojournalism

International journalism

Feminist and queer film, television and media studies

Film & TV history

Film & TV genres

Phenomenological approaches to film

Archival research

Film practice

University of Stirling is home to the Archives of filmmakers Norman McLaren, Lindsay Anderson and John Grierson (including material relating to Ruby and Marion Grierson), as well as to the archives of the Musicians’ Union and Commonwealth Games Scotland. We additionally welcome applications making use of these unique collections.

For further information on how to apply for the ESRC studentships please contact Professor Richard Haynes (ESRC Pathway Representative)https://www.stir.ac.uk/people/11057. For further information on the AHRC studentships please contact Professor Karen Boylehttps://www.stir.ac.uk/people/20532

Potential applicants are also strongly encouraged to contact Dr Sarah Neely Divisional PhD Co-ordinator https://www.stir.ac.uk/people/11959to discuss their ideas before application. The deadline for applications to be received by the University is 5pm on Thursday 21^st December and details about the application process can be found at: http://www.stir.ac.uk/arts-humanities/graduatestudy/ahrcandesrc/ahrcdoctoralstudentships/ <http://www.stir.ac.uk/arts-humanities/graduate-study/ahrcandesrc/ahrcdoctoralstudentships/>
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Funded PhDs in Film Studies: University of Surrey



Please see the below links for information about PhD studentships in Film Studies in the School of Literature and Languages at the University of Surrey. There are two avenues of potential funding: the AHRC TECHNE Doctoral Training Partnership and Faculty studentships. Please note that the deadline for TECHNE applications is *11th December *and that prior to that applicants should make contact with their prospective supervisor. We particularly welcome applications in the following areas:

* Animation
* Documentary
* French Cinema
* Contemporary British Cinema
* German Cinema
* Austrian Cinema
* Industry Studies
* Music and Cinema
* Film and environmentalism (inc. nuclear issues)
* Cognitive Film Theory
* Multi-modal approaches to film analysis


Potential supervisors include Bella Honess Roe <https://www.surrey.ac.uk/englishandlanguages/staff_list/complete_staff_list/bella_honess_roe/>, Helen Hughes <https://www.surrey.ac.uk/englishandlanguages/staff_list/complete_staff_list/helen_hughes/>, Phil Powrie <https://www.surrey.ac.uk/englishandlanguages/staff_list/complete_staff_list/phil_powrie/>, Maria Poulaki <https://www.surrey.ac.uk/DMM/People/maria_poulaki/#additional>

TECHNE information: https://www.surrey.ac.uk/projects/techne-doctoral-training-partnership
Faculty studentships: https://www.surrey.ac.uk/projects/faculty-arts-and-social-sciences-studentship
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CFP: Lights, camera, learning: teaching with the moving image


Lights, camera, learning: teaching with the moving image

A conference organised by Learning on Screen and School of Arts, Birkbeck, University of London

Thursday 19 – Friday 20 April 2018

Birkbeck, University of London, 43 Gordon Square, London WC1H 0PD*

Download CFP as PDF <http://bufvc.ac.uk/wp-content/media/2017/10/Lights-Camera-Learning.pdf>

To mark our seventieth anniversary in 2018, Learning on Screen together with Birkbeck, University of London is pleased to announce a two-day conference exploring the history of teaching and learning with the moving image.

Formal education in many contexts increasingly relies on screen-based media, and there are active debates about the appropriate uses and efficacy of many forms of digital applications for learning. But it can be argued that current practice lacks a historical understanding of practices for learning with screens that stretch back at least to the interwar period. And while in the United States researchers have begun to investigate productively the uses of film and television in schools and similar institutions, its production contexts and reception (as is evidenced by the collections /Useful Cinema/ (2011) and /Learning with the Lights Off/ (2012)), such research in Britain remains comparatively underdeveloped.

Lights, camera, learning aims to bring together film and television historians with those engaged with the history of educational practice and policy and with practitioners past and present, to explore how film and television with explicit educational aims has been argued for, produced, funded, distributed, shown, received, discussed and understood over the past century in Britain.

*The conference will address in particular three strands of this history:*

* Production, content and technologies of screen-based educational media
* Classroom practice and pedagogies for the reception and use of film
and television
* Policy debates and determinations about the place and value of
moving image media in formal education

Proposals for 20-minute panel papers are invited covering all aspects of the histories of teaching and learning in schools, universities and other institutions with and from moving image media, including:

* The history of pedagogical practice with moving image media within
formal education
* Development and dissemination of techniques for using moving images
in education
* Understandings of the educational value of moving images
* Religious and social concerns about the use of films in education
* Government initiatives supporting the promotion and production of
moving images for education
* Founding of the BUFC in 1948, and the subsequent development of
BUFVC and Learning on Screen, together with its activities, services
and publications
* The role of the British Film Institute in developing educational
moving image media
* The production of 16mm films for educational use, including the work
of individual producers and production companies
* Television production for schools, and the development of schools
broadcasts by the BBC and ITV companies
* Case studies of the creation and use of specific films and
television productions
* Media production after 1969 by the Open University, its
dissemination and use
* Distribution services for moving image media to education
* The acquisition, use and maintenance of projectors, television sets
and video recorders in institutions
* Reception studies of educational moving image media
* Integration of moving images with the curriculum
* Production and dissemination of moving images by teachers and students
* Legislation governing moving image media in schools, colleges and
universities
* Changing attitudes to permissions and copyright including the
establishment of the ERA licence
* Guides for the use of film and television in classrooms
* Critical writing and theory about the use of moving image media in
education

Submissions in the form of 300-word abstracts accompanied by a one-paragraph CV are invited by 30 November 2017

Please send submissions and queries to arts-LOS70th@bbk.ac.uk <mailto:arts-LOS70th@bbk.ac.uk>

Invitations to speakers will be issued by 31 December 2017

/Lights, camera, learning is convened by Mike Allen (Birkbeck, University of London), Professor John Ellis (Royal Holloway, University of London), Dr Emma Sandon (Birkbeck, University of London) and John Wyver (University of Westminster)/

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XI Jornadas Cinema em Português | 9-11 de Maio de 2018
Ao longo da última década, o cinema português - a sua história e estética - tem sido uma preocupação central dos cursos de licenciatura e mestrado em Cinema da UBI, contribuindo para uma reflexão sobre o passado, o presente e o futuro da prática cinematográfica entre nós.
As Jornadas de Cinema em Português, cuja primeira edição data de 2008, têm como enfoque a discussão de cinematografias de territórios onde o português é língua oficial ou dominante, procurando integrar estas obras como um exemplo das novas dinâmicas artísticas, culturais e sócio-económicas que têm marcado os anos mais recentes.
Para além da natural importância para os alunos e investigadores de Cinema da UBI, as Jornadas de Cinema em Português têm-se consolidado, nacional e internacionalmente, como um fórum privilegiado e reconhecido de debate sobre problemáticas actuais que reúnem investigadores de diversas áreas científicas.
Reafirmando o seu próprio histórico, a décima primeira edição das Jornadas de Cinema em Português pretende trazer a debate problemáticas actuais e pertinentes para a reflexão sobre os cinemas dos diversos países que falam em português, procurando reunir esforços para ensaiar hipóteses de leitura conjunta e complementar.

Prazo para submissão de propostas até 15 de Dezembro de 2017.
Toda a informação em http://www.cinemaportugues.ubi.pt/
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CFP: Cross Generational Relationships and Cinema



Cross Generational Relationships and Cinema

Edited by Joel Gwynne and Niall Richardson

Between the era of classical Hollywood and contemporary cinema, depictions of cross generational relationships have shifted dramatically. While such relationships have historically operated within the framework of heteronormativity and romantic love, and have usually explored cross generational relationships in the context of older men/younger women, contemporary depictions have expanded to focus also on taboo configurations of love between older women/younger men, and cross generational LGBT coupledom. Contemporary depictions have sought to complicate not only heteronormativity in cross generational relationships, but also navigate the differences between socially acceptable/transgressive love and desire. This collection seeks to address the changing values and attitudes of cross generational relationships, which can be broadly defined toinclude sexual, romantic, and unrequited love. Films which depict such relationships – while relatively uncommon – are notable for having been produced over the past 50 years with highly different consequences and outcomes for the lovers involved, reflecting vastly changing social mores. Such films include /Lolita/ (1952 and 1997), /Sabrina/ (1954 and 1995), /All T//hat Heaven Allows/(1955) /Gigi/ (1958), /Guess Who’s Coming to Dinner/ (1967), /Harold and Maude/ (1971), /Manhattan/ (1979), /Circle of Two/ (1980), /Great Balls of Fire/ (1989), /Poison Ivy/ (1992), /The Crush/ (1993), /Gods and Monsters/ (1998), /Ghost World/ (2001), /Something’s Gotta Give/ (2003) /The Mother/ (2003), /Mysterious Skin/ (2004), /Venus/ (2006), /Notes on a Scandal/ (2006), /Elegy/ (2008), Beginners (2010), /Adore/ (2013) and /Gerontophilia/ (2013). This collection will focus on a diverse range of national contexts given the paucity of scholarship produced on this topic, and therefore seeks chapters which focus on films from Anglo-America (both mainstream and independent cinema), in addition to chapters on European and World cinema.

This collections seeks abstracts of 300 words for November 30th 2017 for chapters of 6,000 words, due 1^st September 2018 sent to both joel.gwynne@nie.edu.sg<mailto:joel.gwynne@nie.edu.sg>and N.D.Richardson@sussex.ac.uk <mailto:%4e.%44.%52%69%63%68%61%72%64%73%6f%6e@%73%75%73%73%65%78.%61%63.%75%6b>. The editors aim to publish the collection before the next REF exercise in November 2020.


Joel Gwynne is Associate Professor of English and Cultural Studies at Nanyang Technological University, Singapore.

Niall Richardson is Senior Lecturer of Media and Film at the University of Sussex, UK.

National Institute of Education (Singapore) http://www.nie.edu.sg
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Call for Papers: The Arts of Documentary


Extended deadline until November 25th, 2017
March 3- 7 2018, Gorizia (Italy)
FilmForum MAGIS Spring School - Cinema and Contemporary Arts section


Starting from the growing concerns about what is “truth” and what comes after it, the Cinema and Contemporary Arts Section takes its cue from the reflection recently launched by Erika Balsom and Hila Peleg in their edited volume /Documentary Across Disciplines/ (2016), in order to investigate the very complex definition of the documentary image in documentary practice.

In 2001 the artist and theorist Hito Steyerl has defined the documentary mode as something always doubtful: according to the German artist, the uncertainty of the documentary is a lack that shall not be hidden since it constitutes its core quality. Is it possible to define what a documentary really is? Don’t we constantly challenge the way we document something just with the mere act of describing it?

Addressing the general topic of the XVI MAGIS International Film Studies Spring School on the existing interrelationships between media, politics, and representations (see the whole call for paper here <http://www.filmforumfestival.it/call-for-paper/spring-school/ <http://www.filmforumfestival.it/call-for-paper/spring-school/>>), the Cinema and Contemporary Arts section invite scholars and students to explore how the interrelationships between media, politics, and images articulate the reality in a time of global tension, within a framework where contemporary documentary practices are already characterized by a substantially flowing nature. Moreover, we encourage reflections on the problematic streaming of contemporary documentary practice across different media and disciplines, in order to put in evidence the shift between spaces and time in contemporary documentary experiences.

With these premises, we encourage papers that deal with (but are not restricted to) the following topics:

– The use of historical “documents” and/or audiovisual “documentary” items in an exhibition context;

– The relationship between documentary and contemporary arts;

– The use of “documentary images” in a contemporary art context;

– The new politics of documentary;

– Spatial montage in relation with documentary practices;

– The relation between true and false in documentary filmmaking


We invite you to send us proposals for papers or panels at /goriziafilmforum@gmail.com/ <http://goriziafilmforum@gmail.com/> .The deadline for their submission is *November, 25th 2017.*

Proposals should not exceed one page in length. Please make sure to attach a short CV (10 lines max). A registration fee (€ 150) will be applied. For more information, please contact us at /goriziafilmforum@gmail.com/ <http://goriziafilmforum@gmail.com/> <mailto:goriziafilmforum@gmail.com <mailto:goriziafilmforum@gmail.com>>/./
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CFP Shadow Cinema: Historical and Production Context of Unmade Films



Shadow Cinema: The Historical and Production Context of Unmade Films

Please email abstracts, as well as a bio of no more than 100 words to both james.fenwick@dmu.ac.uk <mailto:james.fenwick@dmu.ac.uk> and kieran.foster@dmu.ac.uk <mailto:Kieran.foster@dmu.ac.uk> by December 8th 2017.


Unmade films are a burgeoning area of scholarly inquiry. The rise of the film archive, from the Michael Klinger Papers and Hammer Archive, to the John Boorman Papers and Stanley Kubrick Archive, all have unearthed a treasure trove of abandoned or halted projects, left unmade for a range of industrial, cultural and political contexts. This also extends to unreleased cinema, those projects that were abandoned in pre-production, cut short in production, or simply never distributed, or removed from circulation.


Reconstructions and case studies of these hidden histories of the “shadow” cinema allow us to begin to understand the way in which directors, producers, writers, and film studios operate and the economic and industrial frameworks they work within. From Kubrick’s Napoleon – the greatest movie never made – to the array of failures or development nightmares by the likes of Terry Gilliam, Alfred Hitchcock, Martin Scorsese, Hammer Studios, and more beside.


Dan North’s edited collection /Sights Unseen…, /as well as Harry Waldman’s /Scenes Unseen… /both make the case for unmade films consideration within the wider field of academia, but are specific in their subjects, with North focusing exclusively on Britain, and Waldman on a small selection of filmmakers. This collection aims to survey this new area of empirical study across transnational borders, and make a case for the importance of the unmade, unseen, and unknown history of cinema.


Abstracts of no more than 250 words are invited on this topic to form the proposal for Shadow Cinema, an edited collection that noted academic publishers have expressed interest in. Topics may include, but are by no means limited, to the following:


- Unmade silent films
- Unmade classical Hollywood
- Abandoned or halted studio projects
- Director case studies (Examples of directors attached to significant unmade projects include Francis Ford Coppola, Terry Gilliam, Sergio Leone, Lynne Ramsey, Martin Scorsese, Steven Spielberg, Jocelyn Moorhouse)
- Female directors / writers (as Shelley Cobb writes, ‘contemporary women filmmakers may very well disappear or end up under film history’s radar if we don’t write those histories now’. Case studies of unmade films by women filmmakers are often not considered, in favour of dominant male names such as Hitchcock)
- International case studies / international cinema (projects such as the Chinese /Empires of the Deep/, still unreleased after almost a decade in post-production and with a budget close to $150 million)
- Unmade / unreleased franchise films
- Films that their creators / star attempt to keep hidden (Leonardo DiCaprio and the case of /Don Plum/)
- Abandoned Adaptations
- Legendary projects (Clair Noto’s /The Tourist/; Stanley Kubrick’s /Napoleon/; Orson Welles’ adaptation of /Heart of Darkness/)
- Abandoned collaborations between studios / directors / actors / writers etc (Stan Lee and Alain Resnais, for instance)
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CFP: Sound-Tracking Melbourne Symposium, 15-16 June 2018


Following the successful /Screening Melbourne/Symposium 


<https://screeningmelbourne.wordpress.com/> in February 2017, the Melbourne Screen Studies Group <https://melbournescreenstudies.wordpress.com/> now seeks to solicit new abstracts for the Sound-Tracking Melbourne Symposium that will take place on 15-16 June 2018.

While it is recognized that screen media form the connective tissue of Melbourne’s artistic and cultural life, the importance of sound to the way the moving image is brought to life, is relatively less well acknowledged. The /Sound-Tracking Melbourne Symposium / not only intends//to give due critical and creative weight to the interlocking dimensions of sound design found in Melbourne screen culture, but to address the lack of sustained scholarship on the ways in which the city and its environs are imagined and brought to life on screen through particular ‘tracking’ soundscapes, from music videos to audiovisual art installations, and from film and TV to games and documentary. /Sound-Tracking Melbourne /is both a recognition of the importance of sound to moving image culture and an intervention – asking delegates to hear and see sound in newly important ways.The symposium will do this through delegate presentations, panel discussions, industry events, and performance-screenings.

We invite critical and/or creative abstracts, including non-traditional research presentations, for individual 20-minute papers, or pre-constituted panels of 3 x 20-minute papers, on any topic or theme related to the relationship between screen and sound in Melbourne. Industry and medium specific presentations are welcome, as well as those that adopt a broader view of Melbourne’s screen-sound cultures and which make comparisons with national and international case studies.

Possible topics include, but are not limited to the following areas:

* The Melbourne sound-vernacular on screen – accent, tone and pitch
* ‘Sound-tracking’ gender, ethnicity, class, and sexuality – hearing
and (not) seeing identity
* Melbourne’s music-image music scene
* Documenting Melbourne life through the sound-image
* Melbourne’s music video culture
* Melbourne’s installation art and video work: sounding experimental
* Sounding the everyday in documentary filmmaking
* Locations and settings: the ‘sound-track’ of place and space
* Melbourne film soundtracks
* Indigenous soundings in Melbourne screen culture
* Melbourne’s local news: ‘sound-tracking’ news in the cities and regions
* Film and television genre soundings. Melbourne as an audio-visual genre.
* Migration, home and exile: the sights and sounds of Melbourne’s
populations
* YouTube Melbourne
* Historicising ‘sound-tracking’ or the ‘sound-track’ in Melbourne
screen culture
* Technologies and interfaces of ‘sounding’ Melbourne on screen:
analogue, digital, post-human
* Exhibiting sound in Melbourne screen culture – exploring the
acoustics of ‘venue’
* Composing scores for Melbourne-based film and television
* The art of ‘sound-tracking’ Melbourne
* Gaming sound in a Melbourne context
* Games and cities: sounding Melbourne as an apocalypse
* Starring the Melbourne sound
*Deadline for individual and panel abstracts: _5 February 2018_*__

**

Individual Abstracts: 250 words, plus a 50-word biography. /Please indicate if a postgraduate student/.

Pre-constituted Panels: 150-word overview, plus 3x 250 word abstracts, and 3x 50-word biography, plus name of lead contact.

Delegates will be notified of decisions by: 5 March 2018

We will award a small bursary for the best PhD abstract submitted (also notified on 5 March)

Please direct all abstracts and any enquiries to: screeningmelbourne@gmail.com <mailto:screeningmelbourne@gmail.com>

**

On behalf of the organisation committee

David Chesworth

Toija Cinque

Adrian Danks

Glen Donnar

Claire Perkins

Sean Redmond

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3 Lectureships at Lincoln School of Film and Media


The University of Lincoln is advertising three posts in the School of Film and Media. We hope to appoint in time for the successful candidates to start at the beginning of next term.

Please follow the links below for further information and feel free to share with any potential applicants.

*Lecturer in Film and Television / Media*

https://jobs.lincoln.ac.uk/vacancy.aspx?ref=COA247

*Lecturer in Sound for Film and Television*
https://jobs.lincoln.ac.uk/vacancy.aspx?ref=COA248


*Lecturer in Script and Screenwriting (PT)*

https://jobs.lincoln.ac.uk/vacancy.aspx?ref=COA234
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Vacancy: Professor of Cross-media Culture Faculty of Humanities - Department of Media Studies, Amsterdam


http://www.uva.nl/shared-content/uva/en/vacancies/2017/10/17-495-professor-of-cross-media-culture.html?origin=IDU2lUJuTL6pmHQa%2FNN+4g


Publicatiedatum
10 oktober 2017
Opleidingsniveau
Gepromoveerd
Salarisindicatie
€5,334 to €7,766 gross per month

Sluitingsdatum
20 november 2017Functieomvang
38 hours per week
Vacaturenummer
17-495

The Faculty of Humanities provides education and conducts research with a strongly international profile in a large number of disciplines in the field of language, history, and culture. Located in the heart of Amsterdam, the Faculty maintains close ties with many cultural institutions in the capital city. Almost 1,000 employees are affiliated with the Faculty, which has about 8,000 students. The Faculty of Humanities consists of eight departments.

Job description
Context

Media and Culture encompasses film studies, cross-media culture as well as global media studies.

Together these scholarly fields and programs offer a comprehensive and critical analysis with both theoretical and practice-based modes of inquiry concerned with audio-visual culture as well as online and digital culture both in the Netherlands and internationally.

For the study of media and culture there are two main entry points. The first is the study of the culture of media, including practices of production, programming formats and media aesthetics. The culture of production is studied alongside that of consumption, especially engagement and agency of the spectator, viewer, user and navigator. Media production and consumption are continually changing and challenged with the advent of new media, where there are new mobile screens, media formats, users and cultures of commodification and control. The second entry point is the study of media in culture, from the contents of cinema, domestic and urban screens, to the software and apps on mobile devices and tablets. In the shift from informational to social media, online culture is increasingly shaping sociality through public displays of connection and taste.

More specifically, media and culture takes up questions surrounding the cultural origins and effects of media, drawing on traditions ranging from media archaeology and genealogy to cultural studies, political economy and critical theory. Media theory, in all its medium-specific diversity remains central as do media research techniques widely applied across the curricula. Substantively, Film studies engages with the transformative shifts in both the materiality as well as the screening of cinema. Cross-media culture addresses the radical transformation of popular media, including television, in the age of mobility, second screens, participatory culture, and global distribution. Global media studies provides means by which film, television and new media may be compared across cultures and borders, and inquires into how the study of media allows us to access the dynamics of globalisation.

The Media and Culture team consists of four professors: next to the chair of Cross-media culture, there are chairs in Film Studies, Digital Heritage and Globalisation. The other team in the department is Media and Information, containing chairs in Journalism, New Media and digital culture, Archival studies, Cultural information studies and Computational and Digital Humanities.
Profile

Contemporary social and cultural practices – from personal friendships to political election campaigns, from education to commercial forms of entertainment – are shaped by a matrix of different media and by the continuous transformation of media forms and media technologies. While TV – with its reality shows, spectacular live events, and transmissions of global catastrophes as well as its continuing offer of imported and home-made fiction series and characteristic forms of storytelling, – is still of major importance, its impact changes as it is augmented and partly replaced by social media, mobile phones, and ‘second screens’. Therefore it is paramount to understand the specific aesthetic, social, political and economic dynamics of different media and the way in which content and user practices travel across these media, provoking new connections and modifications.

The professorship for Cross Media Culture is expected to stimulate and develop approaches from different disciplines, ranging from cultural studies to critical theory and from political economy to production studies. The professor is furthermore expected to actively participate in academic and public debates on the on-going transformation of media culture. The knowledge of the history and continuing relevance of film, radio and television will be the starting point to map the conceptual, social, and cultural changes that come with digital, mobile and social media.

The Chair in Cross-media culture is expected to cover, both in teaching and research, several of the following topics:

the transformation of critical media theory in the context of institutional and technological changes in media landscapes (e.g. discussions around creativity, materialism, ecology, convergence);
the changing role of media institutions, new forms of mediated politics, and the growing importance of social media, continual technological shifts in content production, circulation and transformation;
the changing relationship between modes of media production, media aesthetics, and user practices.

The professor is expected to contribute to interdisciplinary collaboration with the film and new media sections of the Media Studies department, to expanding teaching and research links with public partners (such as EYE, Beeld en Geluid, Stedelijk Museum, City of Amsterdam), to expanding opportunities for students in practice-based learning and to developing new research and teaching initiatives.
Teaching and research

The professor in cross-media culture is expected to play an important role in both BA and MA teaching as well as PhD supervision, in particular in the television and cross-media culture track. In terms of research, this position has closest affinity with the Amsterdam School for Cultural Analysis (ASCA) and the National Research School for Media Studies (RMeS), and, pending on the profile of the candidate, the Amsterdam Centre for Globalisation Studies (ACGS).
Requirements

Candidates for the position are expected to meet the following requirements:

a PhD in media studies or a related field;

an excellent international reputation in the field of media studies;
an excellent academic publication record;
an experienced and enthusiastic teacher on all levels of academic training;
experience in developing new teaching programs;
experience with collaborative projects;
a proven track record of acquiring external research funding;
experience in the supervision of PhD-tracks;
an extensive national and international network with other academic and cultural institutions;
the ability to contribute to knowledge exchange in public as well as academic settings;
the ability to establish productive connections with other academic disciplines within as well as outside the department;
proven excellent management and leadership qualities.

All foreign employees appointed at the Faculty of Humanities are expected to have a good command of both written and spoken Dutch within two years.

Please also check the document Information about chairs at the Faculty of Humanities.
Further information

For further details, interested parties should contact:

mr. Hotze Mulder, secretary of the selection committee
T: +31 (0)20 525 3066
Prof. Rens Bod, chair of the committee
T: +31 (0)20 525 4946

Appointment

The appointment will be permanent. The gross salary will normally conform to professorial scale 2, between €5,334 and €7,766 gross per month (€74,441 to €108,382 per annum, including 8% holiday pay and an 8,3% end of year payment) on a full-time basis in accordance with the Collective Labour Agreement (CAO) for Dutch Universities. In certain cases, however, different terms of employment may be offered.
Job application

Candidates are invited to submit a letter of application in Dutch or English no later than Monday, 20 November 2017, accompanied with a CV and a list of publications. The application should be addressed to The Dean of the Faculty of Humanities, Prof. Fred Weerman, Kloveniersburgwal 48, 1012 CX Amsterdam and may be sent in pdf-form by email to Hotze Mulder . Please indicate vacancy number 17-495 in the subject field.

Applications will be received by a selection committee headed by the chair of the department of Media Studies, Prof. Rens Bod. Following a procedure which may involve a formal leadership assessment and a public trial lecture, the committee will make its final recommendation to the Dean of the Faculty of Humanities. #LI-DNP

No agencies please
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CFP: Representation in Bollywood Cinema



Representation in Bollywood Cinema

Thursday 31st May 2018, School of Media, Birmingham City University, UK

India’s introduction of New Economic Policy (NEP) in 1991 contributed to a significant economic shift during the 1990s. This policy heralded a new era of globalisation and liberalisation which had repercussions for the film industry. Post-liberalisation, the arrival of satellite television, global media giants, exposure to international entertainment, and an ever increasing access to digital technologies has impacted on the type and content of films demanded, produced and released.

The impact of liberalisation has been profound and India’s entertainment industry has sought to keep pace with global trends, on the one hand, and define and sustain ‘Indian’ cultural values on the other. These processes are very much part of contemporary Indian society and consequently reflected in the creation of film too.

Birmingham City University is pleased to announce its /Representation in Bollywood/ sympoisum, a one-day workshop exploring a range of contemporary representations that have emerged since the context of post-1990s Bollywood cinema to the present moment.

Doctoral researchers and early career researchers are invited to submit proposals for papers addressing theories, methods, and analysis of representation in Bollywood cinema and related media industries around the following themes:

* Gender and Sexuality
* The Role of the Subaltern (e.g. Dalits on Screen)
* Historical Issues of Representation in Popular Cinema
* Whiteness
* Stars – Heroes and Heroines
* Family and Melodrama
* Religion and Culture
* Globalisation and Diaspora

Proposals for papers should include a title, abstract (250 words), author contact details, and a short bio (75 words) to be submitted to the conference organisers Vishal Chauhan and Alexandra Delaney at representationinbollywoodconf@gmail.com <mailto:representationinbollywoodconf@gmail.com>no later than Friday 15th December 2017. Please indicate your preferred theme(s) and up to four related keywords.

All authors will be contacted by the end of January.

It is envisaged that workshop presentations will be developed as a work in progress dossier for publication in the Taylor and Francis journal, /South Asian Popular Culture/.

Please contact Vishal (vishal.chauhan@mail.bcu.ac.uk <mailto:vishal.chauhan@mail.bcu.ac.uk>) or Alexandra (alexandra.delaney@mail.bcu.ac.uk<mailto:alexandra.delaney@mail.bcu.ac.uk>) for further information.
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CFP - Symbiotic Cinema


24th SERCIA international conference

Symbiotic Cinema: Film and Other Media

6-8 September 2018, Sweden, Hosted by Linnaeus University Centre for Intermedial and Multimodal Studies, campus Växjö

The present Film and Television conference, calls for rationale and analysis that bears on cinema/television as**technical media and its characteristics. Proponents are invited to establish connections with other media, within English-speaking countries. Both theoretical and practical analysis of film and other media are accepted. Possible topics include but are not limited to the following:

* Definition of media, intermediality, intramediality.
* Mediation, remediation, transmediation processes.
* Narrative adaptation, cinematic /ekphrasis/.
* Media characteristics and/or essence.
* Pure and impure media/cinema.
* Cinema as a limited or superior medium.
* “Old”, new, and residual media.
* Digital cinema.
* Post-cinema.
* Hybridity and media borders.
* New perspectives on the history/archaeology of cinema and other media.
* The aesthetics of cinema and other media technologies.
* Cinema/television and art forms: new artistic languages.
* Cinema/television and society: social uses of media.
* Cinema/television and ideology: the politics of media.
* Cinema/television as communication.
* Immersive qualities and spectatorial adhesion.
* The invisible and the virtual.
* Different products, different spectators.

Keynote speakers:

François Jost – Sorbonne Nouvelle-Paris 3, France.

Lúcia Nagib – University of Reading, UK.

Miriam De Rosa – Coventry University, UK.


Submission:

The language of the conference is English. Individual presentations must not exceed 20 minutes. Please send your proposal containing an abstract (500 words max.), 5 key-words, and a short bio (120 max.) until 15th February 2018 to the two followingemail addresses: chinita.estc@gmail.com<mailto:chinita.estc@gmail.com> and ims@lnu.se <mailto:ims@lnu.se> Upon acceptance, speakers will be required to become SERCIA members for 2017.


Conference fees: *600 SEK (65 €) for lecturers/professors/independent scholars; 300 SEK (35 €) for students/retired colleagues, which cover meals and other arrangements.

Contact: Fátima Chinita (chinita.estc@gmail.com <mailto:chinita.estc@gmail.com>) and Eva Larsson (ims@lnu.se <mailto:ims@lnu.se>).
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CFP: Documentary/Philosophy International Conference


DOCUSOPHIA: Documentary/Philosophy International Conference

May 22-24, 2018


Conference Venue:
The Steve Tisch School of Film and Television, Tel Aviv University

The Tel Aviv Cinematheque


Organizing Committee: Dr. Shai Biderman, Dr. Shmulik Duvdevani and Dr. Ohad Landesman (Tel Aviv University, The Steve Tisch School of Film and Television)


There is a century-old tradition of defining documentary in philosophical terms. Yet, this tradition seems to miss the most intelligible (yet, conspicuously evasive) aspect of documentary praxis: its conceptual entanglement with philosophy itself. This entanglement is oddly mirrored in Carl Plantinga’s characterization of the documentary as an “asserted veridical representation,” or in John Grierson’s famous depiction of documentary as “a creative treatment of actuality.” Such characterizations install the most adamants relations film has with the highly charged philosophical concepts of truth, reality and the real. These relations are at the heart of the documentary practice, and are essential to any working definition of documentary cinema.


Indeed, how do we think of the notion of documentary and of specific documentary films in philosophical terms? how do documentaries deal with philosophical issues? A recently published anthology edited by David LaRocca titled The Philosophy of Documentary Film: Image, Sound, Fiction, Truth(2016) testifies to the ever-growing connections, both scholarly and in practice, between the two disciplines. Prominent filmmakers such as Errol Morris, Terrence Malick (in his 2016 IMAX documentary Voyage of Time) as well as films like What the Bleep Do We Know?andIs The Man Who Is Tall Happy?are exploring philosophical, theological, scientific and abstract questions in a unique and unprecedented way.


Thus, such an engagement is especially timely and topical because of the pressing need to reconfigure the philosophical outputs of documentary’s new horizons as a developing practice. Characterized by unprecedented theatrical success and accelerated aesthetic evolution, documentaries today have been breaking new grounds, entertaining arguments based on uncertainties and incompleteness by prioritizing elements of subjectivity, fiction, and drama. In this second film-philosophy conference—devoted to the entangled relations between documentary and philosophy—we wish to consider the significant makeover that documentary studies has gone through lately to fit these changes, and further explore the significant place that philosophy may hold within contemporary documentary studies.


Considering how fiction and fact have been recently intertwined in non-fiction subgenres (e.g., the mockumentary, the drama-documentary or the ‘hybrid film’), it becomes essential to redefine what we now mean when we say “documentary films”, and to assess the nature of their truth claims. Following its recent spread into new virtual and social platforms and increased venture into the realm of television, philosophizing about documentary must invite us to rethink what defines it as a practice, a genre, a medium or a filmic strategy, and how this definition is always dynamic. When subjective authorial voices are assertively flaunted in video diaries, essay-films and performative documentaries, a new set of philosophical questions that relate to performance, ethics and authorship is in need of reconsideration.


The conference will also coincide with the 20th installment of DocAviv, the Tel Aviv International Documentary Film Festival, which will take place between 17-26 on May 2018. DocAviv has carefully carved its niche today as one of the leading documentary festivals worldwide, and it is the only festival in Israel dedicated in its entirety to documentary films. We are excited to participate with DocAviv next year and happy that our conference attendees will also be able to enjoy such an important celebration of documentary cinema.


We aim to bring together in our conference leading and emerging scholars and filmmakers to investigate together such issues and enhance ongoing dialogues both within documentary studies and philosophy individually and also between these discourses. We welcome a range of papers that might be conceptual, theoretical or practice-as-research in orientation.


We are interested in papers, for example, in the following broad areas:


1. New takes on the ontology of the cinematic image in the digital age.

2. Video essays and philosophizing about film through film.

3. The meeting between philosophy and poetry in documentary films in
general and essay films in particular.

4. Documentary in the age of film-philosophy: specific films (analysis
and theory) and filmmakers (documentarians).

5. Documentary, theory and/v.s. praxis.

6. The real and reality through philosophy (Cavell, Plato, etc.).

7. Documentary and epistemology.

8. Documentary-as-objective (Noël Carroll) vs. the dismissal of such an
approach (Brian Winston).

9. Ethical issues in the age of crowd-sourced and social networks
documentaries.

10. Documentaries on philosophy and philosophers.

11. Imposters and frauds: the status of documentary truth in the 21st
century.

12. Theological debates dealing with religious subjects and faith in
documentary.

13. Philosophical provocations on the elusive fiction/non-fiction divide.

14. Philosophical inquiries into fraud and deception in mockumentaries.

15. Phenomenology and documentary (e.g., cinema verite, experiential
documentary).

16. The philosophical premises and goals of ethnography in documentary
cinema.


SUBMITTING PROPOSALS:

Please send an abstract (up to 300 words in length, including the research objectives, theoretical framework and methodology) and a brief biography (100 words maximum), by December 15th, 2017 to tau.docuphil@gmail.com <mailto:tau.docuphil@gmail.com>. Each proposal must include title, name(s), affiliation, institutional address and email addresses of the author(s). Notification of acceptance/rejection of abstracts will be sent by February 1st, 2018.

Travel and accommodation costs will be covered by participants.
For further enquiries, please contact the organizers directly: Dr. Ohad Landesman (lander@post.tau.ac.il <mailto:lander@post.tau.ac.il>); Dr. Shai Biderman (bidermans@post.tau.ac.il <mailto:bidermans@post.tau.ac.il>); or Dr. Shmulik Duvdevani (duvdeva@post.tau.ac.il<mailto:duvdeva@post.tau.ac.il>).
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Call for Papers: The representation of death in modern society


Funes. Journal of Narratives and Social Sciences

Directors: Stefano Bory, Gianfranco Pecchinenda (University Federico II, Naples, Italy)
http://www.serena.unina.it/index.php/funes/announcement/view/81

Call for Papers: The representation of death in modern society

The experience of death represents one of those few things every society must face, no matter what historical period. It has been defined as the most marginal situation, as it sits at the borders of every symbolic system, of every structure of significance that a community can possess, since it is not concretely knowable.

Therefore, every group as well as every individual who must face the end of human life, the loss and the elaboration of grief, also must question himself about the sense and the meanings of death to be able to face such big event.

Every epoch has its own generally consolidated ways to deal with the weight of death, through symbols, prevailing ideas and individual and collective more or less spread strategies. Analysing this symbolic and experiential repertory, the ways in which death is represented and perceived, even resistance and innovative ways, means to decipher different aspects of whole societies.
Death and its representations highlight, under the surface, different social issues connected, from religious phenomena to the stratification that dominant meanings can sustain, from social conflicts to the characteristics of everyday life, etc.

Therefore, it is possible to assert that death must be considered as one of those fundamental indicators to study the collective behaviour and as one of the central themes to analyse the imagery of an epoch, since from the transformations of the way to represent death it is possible to identify many cultural changes.

Technologies – most of all media – have had a relevant impact on the sense that everyone attributes to death and to its experience. If, according to many scholars, death in modern society has been characterised by a firm connection with privatization and individualisation, typical connotations of modernity, to the extent that we can talk about the segregation of the dying and the removal of the phenomenon from the public sphere and the rational analysis, it can be said that the development of technologies, especially media, has made death a public event, accessible and visible to all, producing new ways of representation, rituality, commemoration and narration.

We speak about death, but consequently we also speak about its inescapable corollary: the idea of immortality that in our times finds its most common expression in the cult of youth, in the valorisation of the body, in the idea of health and in the dominant aesthetic models. That is to say, phenomena revailing the fear of the old age, the fear of illnesses and of the end disclosed by the inescapable process of biological degeneration of the body and of physical pain. Starting from these issues, the articles, that can have a theoretical profile or present the results of empirical investigations, will have to reflect on the different ways through which the theme of death is represented, narrated and avoided, or on the experience and the meanings that are elaborated.

The proposals could concern the following themes, not exclusively, considering differrent approaches:

* Death and modernity
* Narrative practices and death experience
* Media, technologies and death
* Visibility and segregation, public death and private death
* Meanings, symbols, ideas about death and dying
* The body of the dying person
* Strategies of immortality
* Rituality, elaboration of grief and commemoration


Editors:
Luca Bifulco, Antonio Cavicchia Scalamonti, Gianfranco Pecchinenda, Alessandra Santoro

Submission
The abstract (max 500 words) can be written in Italian or in English and sent at the email addresses:
info@atelierfunes.com <mailto:info@atelierfunes.com>
alessandrasantoro984@gmail.com <mailto:alessandrasantoro984@gmail.com>
luca.bifulco@unina.it <mailto:luca.bifulco@unina.it>
The e-mail has to contain:
Name, Surname, Institue of provenience and academic position of the author;
Provisional title of the article;
Indication in the email Subject line: “Call: The representation of death in modern society”

Times:
Abstract deadline: 30 November 2017Results announced: 15 December 2017
Paper deadline: 20 March 2018
Referees’ decision: 30 April 2018
Final papers: 5 June 2018
Publication: July 2018
Accepted languages
English or Italian

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