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.
[Know more] [Join AIM]

News


ECREA 2018 Abstract Submission


Have you not yet submitted your abstract for the 7th European Communication Conference, to be held in Lugano, Switzerland, from 31 October to 3 November 2018?

Do not miss the unique opportunity to be part of the official scientific programme!

Abstract Submission Deadline: 28 February 2018
The Conference Theme is “Centres and Peripheries: Communication, Research, Translation"
The Call for Papers can be found here: http://www.ecrea2018lugano.eu/call-for-papers/

Abstracts may be submitted within the following Thematic sections:

• Audience and Reception Studies
• Communication and Democracy
• Communication History
• Communication Law and Policy
• Crisis Communication
• Diaspora, Migration and the Media
• Digital Culture and Communication
• Digital Games Research
• Film Studies
• Gender and Communication
• International and Intercultural Communication
• Interpersonal Communication and Social Interaction
• Journalism Studies
• Media Industries and Cultural Production
• Mediatization
• Organisational and Strategic Communication
• Philosophy of Communication
• Political Communication
• Radio Research
• Science and Environment Communication
• Television Studies

Some networks and temporary working groups have open calls for ECREA 2018, too. Please note that networks and temporary working groups only have limited slots in the general conference programme. You can find the number of slots in the ECREA 2018 call for papers.

Networks

• Women’s Network of ECREA

Temporary working groups:

• Children, Youth and Media
• Media and Religion
• Media & the City

Please make sure to read the Abstract Submission Guidelines prior to submitting your abstract online. You can find all information regarding the submission process, including guidelines and the submission platform on the conference website http://www.ecrea2018lugano.eu

We are looking forward to welcoming you to Lugano!
If you have questions, please do not hesitate to get in touch with us: http://www.ecrea2018lugano.eu/home/get-in-touch/
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CFP: Storyworld Design. Creative perspectives for an Organic Transmedia



“Storyworld Design. Creative perspectives for an Organic Transmedia”


Journal
ICONO14
ISSN: 1697-8293 | DOI: 10.795/ri14 | URL: https://icono14.net


Deadlines
Opening date for the submission of proposals: 1 July 2018
Deadline for submission of full articles: 15 September 2018


Guest Editors
Beatriz Legeren Lago, University of Vigo (Spain) [blegeren@uvigo.es]
Nelson Zagalo, University of Aveiro (Portugal) [nzagalo@ua.pt]


Publication date
1 January 2019


** Presentation **

Digitalization affects not only consumption, but also creation. Stories should not be designed only for one medium (screen), they should be created with many screens in mind. Making the most of their different characteristics will enrich the story and provide new ways to approach a fictional universe that can become pervasive through the design of organic transmedia products.

As creators we can no longer focus on only one medium, we need to be aware of how they interrelate in the new media ecosystem. We must also reflect on how to apply our creative potential, either by relying on simple multimedia, intermedia or crossmedia scenarios or by taking active steps to develop transmedia. Independently of the future ecosystem in which our creations will take place, narrative production should nowadays be understood more in terms of a fictional universe rather than in terms of a closed story. In other words, the current mix of technical possibilities, media and media channels allow, and almost demand, the continuation, extension, adaptation, or extrapolation of the story.

Note how, in recent years, we have changed our own discourse, talking about narrative design instead of narrative writing. This is explained by changes in the media ecosystem, the increased demand for narrative products but, especially, by the need to create narratives that work as organic systems capable of linking different stories, multiplying perspectives, and creating universes.

None of this is indifferent to production companies’ needs to create new intellectual property. The need for content to keep all the content networks active has led to increased production, but creating new products is always a risk. Audiences tend to prefer sequels or prequels; in other words, stories that in some way are connected to universes they already know. Spectators are quick to identify and empathise with these universes and want to access them more. This means that, increasingly, each new story can no longer be considered as just a story; it must have conditions to be expanded into new and complete narrative universes.

On the other hand, we cannot forget how the world of communication has abandoned the unidirectional creation paradigm. We can no longer think about creators and receivers, we need to understand that we are communicating with other creators. In other words, we need to be aware that fictional universes don’t end when they are released; that is the moment in which they really begin, as fans appropriate them and give them continuity in their communities. Over time, continuous creation cycles mean that these fan-based manifestations will be incorporated in next creations.

This monograph seeks to collect research contributions that will describe, explain and reflect on the story creation process from the perspective of scriptwriters and designers; producers and directors; and from the audience, readers, spectators or players.

But that won’t be all. It also seeks to understand where these new models are taking us and to present potential new approaches that new creators can implement and develop.


** Proposed topics **

Theoretical perspectives on creating for different screens.
Changes in the narrative construction of audiovisual works.
Video game script development with virtual reality interaction.
Co-creation and transmedia.
Proto narratives embedded in virtual systems.
Design of storyworlds and fictional universes.
Character design for fictional universes.
Designing for user/player participation.
Differences in transmedia models.
Narrative, game and storyworld.
Universes co-created by players.
Open and closed worlds.
The psychology of mental reconstruction of new stories.

Guidelines for authors

Papers can be submitted in English or Spanish.

All submissions must be made through the OJS platform of the journal Icono14 https://icono14.net/ojs/index.php/icono14/about

The authors’ guidelines can be found at the following URL: http://www.icono14.net/ojs/index.php/icono14/about/submissions#authorGuidelines


About the Journal

The Journal ICONO 14 offers a space to disseminate quality scientific works concerning basic or applied, experimental, epistemological and descriptive research on communication, its corresponding fields, and particularly Information and Communication Technologies from a communicative perspective.


Indexation
Web of Science - Emerging Citation Index, Clarivate Analytics, Google Scholar Metrics, Journal Scholar Metrics (Communication), MIAR , SJIF, INDEX Copernicus International, Cosmos Impact Factor


https://icono14.net/ojs/index.php/icono14/announcement/view/24

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Critical Arts - Open Call for Papers - The ethnographic turn



Critical Arts: South-North Cultural and Media Studies

Open Call for Papers – The ethnographic turn

rcrc20.v031.i04.cover

**

Editor-in-chief: Keyan G Tomaselli

Editorial consultant: Kris Rutten

Theme
Critical Arts has hosted a number of special issues that revisit the “ethnographic turn” in contemporary art – see previous volumes 27(5), 27(6), 30(3) and 31(2). The aim of these issues has been to explore how artists engage with anthropological and ethnographic perspectives in their work, starting from the many forms in which art can present itself today. Each of these issues engages critically with the ethnographic turn in contemporary art by focusing on practice-led research and by offering a forum for artists and anthropologists themselves to explore the intersections in their work and to counter and grapple with criticism regarding their practices.


Because of the ongoing complexity of practice-led research in general, and artistic research with a focus on ethnography in particular, Critical Arts will issue an open call for papers, inviting papers and vignettes that explore issues with regard to artistic research, (ethnographic) knowledge, and (cultural) difference. The following questions remain the central focus: In what way does art connect cultures and communities across borders? How does one capture people on camera (or recorder) with respect and integrity? What does it mean to make art in an age of “superdiversity”? What are the implications of shifts in our media ecology for the production, mediation, and consumption of “culture”?


By integrating these papers as a thematic strand within the regular issues—rather than as a stand-alone special issue—the contributions will be able to engage in a dialogue with the general aim of Critical Arts, namely to focus on the development of transdisciplinary epistemologies and to approach “culture” as “a marker of deeper continuities than the immediate conflicts under the fire of which so many must somehow live their lives”. We hope that many artists, researchers, and activists will respond to this open call and we highly recommend to explore the previous special issues to get acquainted with and to respond to this on-going discussion.

Submission guidelines

Critical Arts is currently accepting submissions for publication in 2019 and 2020. To be considered for publication in 2019, full papers should be submitted by 1 June 2018.

Information and instructions for authors can be found at www.tandf.co.uk/journals/RCRC <http://www.tandf.co.uk/journals/RCRC>

All completed manuscripts MUST be uploaded onto the online manuscript portal ScholarOne: https://mc.manuscriptcentral.com/rcrc.

Further inquiries about this open call can be addressed to criticalarts@ukzn.ac.za <mailto:criticalarts@ukzn.ac.za>.

*About Critical Arts*

Critical Arts prides itself in publishing original, readable, and theoretically cutting edge articles. For more information on the history and the orientation of the journal, as well as guidelines for authors, and legal and editorial procedures, please visit: http://www.tandf.co.uk/journals/authors/rcrcauth.asp

Critical Arts is now published six times annually and is indexed in the International Bibliography of Social Sciences (IBSS) and the ISI Social Science Index and Arts & Humanities Citation Index and other indexes.
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CFP: SERIES - International Journal of TV Serial Narratives



SERIES IV/02

Full paper submission deadline: 30 June 2018.

“SERIES. International Journal of TV Serial Narratives” (series.unibo.it) is an open access and peer-reviewed journal, with ISSN and indexed in major international databases. It publishes 2 issues per year, and is mainly devoted to television seriality. It is a joint project by Universitat Politècnica de València (Escola Politècnica Superior de Gandia/DCADHA) and Università di Bologna.

We are pleased to invite submissions for the eighth issue of the journal (year IV, no. 02), which will be out in December 2018. The main focus of the journal is to promote a global discussion forum and an interdisciplinary exchange among scholars engaged in research into TV serial narratives. We encourage methodological innovations and contributions concerning the narrative, technological, economic, social and cultural impact of television dramas and comedies, webseries, telenovelas and other serial forms.

SERIES encourages submissions that cover a large variety of topics, including:

* theoretical and methodological explorations on the nature and value
of television seriality;
* taxonomies and analysis of specific formats, styles, linguistic
features, genres;
* cognitive perspectives on narrative structures, characters, viewer
engagement;
* investigations of creative, production, distribution and marketing
issues;
* empirical research on audiences, fandoms, digital communities;
* social network analysis, big data analysis, and other possible
frameworks and models;
* comparative studies on a transnational and/or transmedial basis;
* investigations of stylistic elements, temporality, narrative and
character design;
* historical approaches to seriality across different media;
* peculiar case histories (authors, subgenres, countries, production
companies, etc.).

Articles should range between 5,000-8,000 words (including abstract, notes and references). Full guidelines can be found on our website. In order to be included in the issue, full manuscripts must be sent by June 30, 2018. Expected publication date: December, 2018.

If you have any questions, please contact the journal at seriestv@upv.es <mailto:seriestv@upv.es>.
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Call for Presentations: Horror, Cult and Exploitation Media II

A Research Workshop for PhDs and Early Career Researchers

Friday 4 May 2018, Northumbria University, Newcastle Upon Tyne, UK

A collaborative event between the Department of Social Sciences and the Department of Arts PhD students and Early Career Researchers working in the field(s) of “horror, cult and exploitation” screen media, are invited to submit abstracts about their research to deliver at a workshop at Northumbria University on Friday 4 May 2018.

The workshop – which follows on from a highly successful event last year – will take the format of a mini-symposium, and consist of three sessions, each made up of four speakers. Speakers will each deliver a 5-10 minute talk about their research to their peers and to a panel of academic experts from Northumbria’s Film and Television Research Group, providing a short introduction to their current project and identifying several questions for discussion. After each presentation, there will be an opportunity for the academic panel and other workshop participants to feedback to each speaker, and to ask follow-up questions. The workshop is intended to be a small scale networking opportunity for scholars with shared research interests, and to provide a relatively informal opportunity for those newer to academia to engage in dialogue with more established researchers.

The event will close with a short presentation by James Campbell from Intellect Books, who will give advice about academic publishing (including converting a PhD thesis into a monograph).

The academic panel will comprise:

 Dr Russ Hunter (Senior Lecturer in Film and Television Studies, co-editor of /Italian Horror //Cinema)/

 Dr Steve Jones (Head of Media, author of /Torture Porn: Popular Horror After Saw/, co-editor of /Zombies and Sexuality/)

 Dr James Leggott (Senior Lecturer in Film and Television Studies, author of /Contemporary //British Cinema: From Heritage to Horror/)

 Dr Sarah Ralph (Senior Lecturer in Media and Cultural Studies, co-author of /Alien Audiences: //Remembering and Evaluating a Classic Movie/)

 Dr Jamie Sexton (Senior Lecturer in Film and Television Studies, co-author of /Cult Film: An //Introduction/, founding series co-editor of /Cultographies/)

 Dr Johnny Walker (Senior Lecturer in Media, author of /Contemporary British Horror Cinema: Industry, Genre and Society/ and co-editor of the /Global Exploitation Cinemas/ book series)

Applicants are reminded that there are only twelve spaces available. Lunch and light refreshments will be provided throughout the day.

Please submit a 250-word summary of your project and a 50–100-word bio to the organiser, Dr Johnny Walker (johnny.walker@northumbria.ac.uk <mailto:johnny.walker@northumbria.ac.uk>), by Friday 30 March 2018. Applicants will be notified of the outcome the following week.
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CFP: I International Conference on Cinema and Identities


I International Conference on Cinema and Identities



Cultural Industries, Musical Flows and Transnational Discourses

__________________________________________________________________

May, 31 and June, 1, 2018

Universidad de Oviedo, Spain – University Historical Building

Musical discourses and images of popular dances were essential for the conformation of cinema in the first half of the 20th century, as well as for the configuration of national cultural identities in the incipient mass markets. These representations were part of a fluid and dynamic traffic of signs, sounds and images within the framework of a transmedia model, in constant dialogue with the stereotypes configured by most consolidated cinemas, such as Hollywood.

The division of the world between ‘Americans’ and the ‘others’, the most representative image and music flow exchange, resulted in a policy that eclipsed ethnic and cultural differences in a particular world view that crossed national borders. This homogenizing exoticism opened the debate around what was national authenticity, as well as realism and ‘for export’. Thus, images of the national were conformed as frontier spaces where there was an important traffic of signs and elements that, according to the case, merged, agglutinated or were put in tension.

This conference promotes the study and research of cultural identities articulated in cinema, in which music plays a prominent role. It also establishes an interdisciplinary framework that bridges musicology, film studies, cultural studies, sociology and audiovisual communication. Among the main topics of study are:

-National, border and ‘for export’ cinemas

-Cinema, stars and cultural industries

-Cultural identities

-Performance, corporality and gender studies

-Subgenres and author cinema

-Promotion, advertising and reception of cinemas in the margins

-Animation film

-Music in new cinema consumption devices

All proposals dealing with any of the topics mentioned above or any other contribution on related topics will be welcomed. The results of the conference will be published in a renowned publication.

*Keynote Speaker*: Kathryn Kalinak (Professor of English and Film Studies, Rhode Island College)

*Special Activity*: Audiovisual Essay Workshop

*Abstracts *

Papers (20 minutes)

Panels (3-4 speakers, 90 minutes)

Abstracts will include title, type of participation, name and surname of the author, institutional affiliation, contact details and summary of a maximum of 250 words.

Papers can be sent in the official languages of the Conference: Spanish, English or Portuguese.

Abstracts may be sent until March 1, 2018 to congresocici2018@gmail.com <mailto:congresocici2018@gmail.com>.

The Scientific Committee will evaluate the proposals and on March 30 the final list of accepted papers will be communicated.

For more information please visit,

https://congresocineidentidad.wordpress.com/

*Scientific Committee *

Ana Laura Lusnich (CONICET/Universidad de Buenos Aires)

Ana María Fernández García (Universidad de Oviedo)

Carlos Roberto de Souza (Universidade Federal de Sao Carlos)

Clara Kriger (Universidad de Buenos Aires)

Eduardo Viñuela (Universidad de Oviedo)

Gauri Chakraborty (Amity University)

Jeremy Barham (University of Surrey)

Julio Arce (Universidad Complutense de Madrid)

Ling Zhang (Purchase College New York)

Margaret Farrell (Manhattan College)

Núria Triana-Toribio (Universidad de Kent)

Peter Schulze (Universidad de Colonia)

Suzanna Reck Miranda (Universidade Federal de Sao Carlos)

Teresa Fraile (Universidad de Extremadura)

Vicente Galbis (Universitat de València)

Vicente Sánchez Biosca (Universitat de València)

*Organizing Committee *

Alejandro Kelly (CONICET/Universidad de Buenos Aires)

Carmen Pérez Ríu (Universidad de Oviedo)

Edson Zampronha (Universidad de Oviedo)

Sonia Sasiain (Universidad de Buenos Aires)

Lucía Rodríguez Riva (Universidad de Buenos Aires)

*Leadership *

Cecilia Nuria Gil Mariño (CONICET/Universidad de San Andrés)

Laura Miranda (Universidad de Oviedo)
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Lecturer in Film Studies, Trinity College Dublin



The Department of Film Studies, Trinity College Dublin, seeks to appoint an Assistant Professor in Film Studies with a Specialism in Digital Theory and Practice. The successful candidate will have completed a Ph.D. in a relevant area, and will have already shown evidence of research potential and teaching. He/she will be expected to design, develop, and contribute to, undergraduate and postgraduate modules in film studies with a specialism in digital theory and practice, and to supervise postgraduate and doctoral research. The person appointed will be expected to contribute to administrative duties in the Department of Film Studies also.


Please see below for further information:

http://www.jobs.ac.uk/job/BHJ590/assistant-professor-in-film-studies-with-a-specialism-in-digital-theory-and-practice/

Assistant Professor in Film Studies with a Specialism in Digital Theory and Practice
Trinity College Dublin, The University of Dublin - Department of Film Studies, School of Creative Arts
Location: Dublin
Salary: €33,875 to €48,091
£29,848.58 to £42,374.86 converted salary* per annum
Hours: Full Time
Contract Type: Fixed-Term/Contract
Placed on: 30th January 2018
Closes: 12th March 2018
Job Ref: 032813
★ View Employer Profile

Post Status: 5-year Fixed Term Contract, Full Time (with a view to permancy)
Department/Faculty: Department of Film Studies, School of Creative Arts, Trinity College Dublin, the University of Dublin
Location: Department Film Studies, 191/192 Pearse Street, Trinity College Dublin, the University of Dublin, College Green, Dublin 2, Ireland
Reports to: Head of Department of Film Studies
Salary: Appointment will be made on the Assistant Professorship Salary Scale at a point in line with Government Pay Policy [€33,875 to €82,280 per annum], appointment will be made no higher than point 8 (i.e. €48,091)
Hours of Work: Hours of work for academic staff are those as prescribed under Public Service Agreements. For further information please follow the link below:
http://www.tcd.ie/hr/assets/pdf/academic-hours-public-service-agreement.pdf
Closing Date: 12 Noon (GMT) on 12 Noon (Irish Standard Time), 12th March 2018

Please visit http://jobs.tcd.ie for more information and to apply.

Post Summary

The Department of Film Studies seeks to appoint an Assistant Professor in Film Studies with a Specialism in Digital Theory and Practice. The successful candidate will have completed a Ph.D. in a relevant area, and will have already shown evidence of research potential and teaching. He/she will be expected to design, develop, and contribute to, undergraduate and postgraduate modules in film studies with a specialism in digital theory and practice, and to supervise postgraduate and doctoral research. The person appointed will be expected to contribute to administrative duties in the Department of Film Studies also.

Person Specification

Qualifications

An excellent academic record and a PhD in a related area.

Skills & Competencies

Excellent communication skills in the English language, both written and oral.
Excellent presentation skills with the ability to enthuse listeners.
A commitment to research-led and innovative teaching methods.
Strong organisational skills with the ability to effectively manage a demanding workload.
The ability to work effectively as a member of a team and to engage in the administrative requirements of the Department, School and College.
The ability to work effectively as a member of a team, to collaborate with colleagues at an inter-disciplinary level and to participate at School, Faculty and College level.
Demonstrated potential to manage and develop courses in a University setting.
Demonstrate vision and commitment.
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CFP: "Capitalist Aesthetics" - Special Issue of Open Cultural Studies


Capitalist Aesthetics

A Special Issue of Open Cultural Studies

Deadline for submission is March 1, 2018.

Issue Editors: Dr Pansy Duncan and Dr Nicholas Holm

In 1989, surveying the hyper-commodified, performance-driven and information-saturated conditions of what he called “late capitalism,” Fredric Jameson diagnosed the rise of a world-system that, as he put it, “assign[ed] an increasingly structural function and position to aesthetic innovation” and aesthetic judgment. Today, in what’s variously dubbed “networked,” “neoliberal,” “communicative” or “platform” capitalism, Jameson’s appraisal seems more pertinent than ever. Aesthetic objects, from holiday selfies to “lolcatz” memes, are the bread and butter of our everyday online social exchanges. Aesthetic debate on the merits of Melania Trump’s sartorial choices has become a proxy for popular political deliberation. And aesthetic criteria, from “streamlining” and “flexibility” to “excellence,” serve as the alibis of fiscally-driven restructuring across the public and private sectors. In fact, while the aesthetic practices that preoccupied Jameson in 1989 remain sealed in the realm of “culture” (whether high or low, elite or popular), the rise of the so-called creative economy, the data-fication of cultural production and distribution, the increasingly intimate imbrication between culture and techno-science, and the apparent “democratization” of design, mean that, today, what Jan Mukarovsky calls the “aesthetic function” extends into spaces as diverse as the workplace, the body, the bedroom, the social media-sphere, and the environmental or extra-planetary imaginary.

“Capitalist Aesthetics,” then, will build on Jameson’s attention to the rich seam between aesthetics, ideology and political economy in light of the above developments. Assessing a world marked by what Hal Foster, bleakly, calls “total design” and by what Jacques Ranciere, more optimistically, calls the “aestheticization of common life,” this special issue of Open Cultural Studies welcomes articles that explore the aesthetic configurations—from the cute to the comfortable, from the no-brow to the fringe—through which the economic logics of late capitalism come to crystallize today. It invites work that treats the stylistic and formal dimension of cultural objects, and the verdictive and affective dimensions of cultural discourse/experience, as valuable “cryptograms” of contemporary ideological formations and the economic relations they sustain. In the process, it will foreground the fact that—despite widespread suspicion, post-Bourdieu, of the discourse of the aesthetic—scholars associated with cultural studies, from Raymond Williams to Rosalind Gill, have developed a powerful set of critical tools for analysing aesthetic configurations, both as vehicles of ideological and economic domination, and as sources of subversion, pleasure, critique, and renewal.

We welcome essays on any topic related to the intersection of capitalism and aesthetics, including:

·Aesthetic manifestations of capitalism;

·Capitalist mediations and expressions, genres and forms;

·“Post-Capitalist” aesthetics: designing the future;

·White collar aesthetics: corporate aesthetics, from the bank to the boardroom;

·Aesthetic subversion or critique of/as capitalism;

·Aesthetics and techno-science: datafication of/as aesthetics;

·Aesthetics as domination and/or liberation: between autonomy and heteronomy;

·Digital aesthetics and “platform capitalism”;

·Beyond “zany,” “cute” and “interesting”: late capitalism’s (other) aesthetic categories;

·The aesthetics of the Capitalocene: eco-catastrophe and environmental activism as late capitalist spectacle;

·Capitalist structures of feeling, capitalist affects;

·Neoliberal aesthetics;

·Representations of capitalism;

·Late capitalist temporal aesthetics, from speed to slowness;

·The “creative industries” and the “cultural economy” as late capitalist aesthetic formations;

·The fate of “political aesthetics” in cultural studies;

·New aesthetic currencies, from the corporeal to the celestial;

·Aesthetics and/of class.

Please submit your *proposals* to izabella.penier@degruyteropen.com <mailto:izabella.penier@degruyteropen.com> by *March 1, 2018*. The deadline for submissions of*full papers *is *June 1, 2018*. The issue will be published in 2018. There are no Article Publishing Charges.
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CFP: Cinergie (n. 14)


The pervasiveness of moving images in exhibition spaces is one of the most characteristic features of the contemporary artistic and media scene, and manifests itself in forms that are continually redefined in their use and in artistic research. Much has been written in an aesthetic perspective on the so-called cinema effect in contemporary art (Dubois 2006), on the relocation (Casetti 2012) of cinema in the museum, and on that set of phenomena that have been identified at different times as “cinéma d’exposition” (Royoux 1997, 2000), “other cinema” (Bellour 2000), “artist’s cinema” (Connolly 2009), and “othered cinema” (Balsom 2013). Furthermore, a growing amount of research recently has come to question the forms of penetration of moving images in everyday spaces, from urban scenarios to private contexts (De Rosa 2013, Ravesi 2011).

In this second area, which distances itself from an analysis of artistic phenomena in a strict sense, however, there are still many issues to be investigated. In particular, scholars have not yet taken adequately into consideration the role of moving images in the design of exhibition spaces, here understood not only as museum itineraries dedicated to cinema, from a historical, aesthetic or technological point of view (i.e. the exhibitions proposed by the Cinémathèque française or at the Turin Film Museum), but also permanent or temporary exhibitions of museums such as those of history, science and technology, archeology or ethnography (i.e. the museums curated by Studio Azzurro). There is a further absence regarding the exhibition forms of fairs and great exhibitions, as well as commercial presentations in shop windows and promotional spaces, which exploit moving images in various ways. In addition, there is a need for more widely researched projects that come out of the museum and enter the urban space, intersecting with a city’s architectural layout, as in the case of festivals (such as the Screen City Biennal or the Façade Festivals), in the directions of videomapping or hybridization with art, as in the case of Doug Aitken in New York with/Sleepwalkers/(2007) or in Rome with/Frontier/(2009).

The forms of writing of museographic paths are influenced by increasingly sophisticated exhibition design techniques, which can range from the use of video devices to new forms of augmented and virtual reality, as is usefully demonstrated by some museographic activities in different contexts. The writing of space as we intend to analyze it in this special issue is to be understood as the process of constructing a physical and cognitive path, which structures both the spatiality and the temporality of fruition.

How do moving images help to shape of the spaces in which they are installed? How are the forms of spectatorship structured? In which forms are exhibits integrated with each other and with moving images, to build a museographic itinerary? How were moving images used in the various types of exhibition and presentation spaces during the 20th Century? What kinds of supports are used and how can one trace their history? What is the role of the exhibition designer and how does s/he work with moving images? And what is the role of new technologies, and in particular of digital media, in these contexts and practices?

This special issue seeks to explore the use of moving images as a museographic tool, distancing itself from the institutions of contemporary art in order to address all forms of writing the exhibition space through cinema, video and other devices linked to moving images, focusing on museums, commercial presentations and fairs, on architectural and urban contexts, in the present or with a historical perspective.

Below are some of the lines of investigation, not exclusive, which can be followed:

* Forms of exhibition design
* The role of exhibition designer or visual designer
* The design of space with moving images
* Moving images in exhibitions (permanent or temporary) devoted to cinema
* Moving images in permanent or temporary museum displays (historical,
of science and technology, archaeological, ethnographic)
* Moving images in fairs, trade shows, great exhibitions
* Moving images in urban itineraries
* Forms of spectatorship
* Analysis of museographic devices (screens, projections, virtual
reality, augmented reality)
* The exhibition of moving images outside of artistic contexts from
the beginning of the 20th century


Submission Details and Journal Deadlines

A limited number of longer contributions (approximately 5000-6000 words) will be accompanied by a number of interventions that will focus on case studies (approximately 3000 words).

Please send an abstract and a short biographical note tomandelli.elisa@gmail.com <mailto:mandelli.elisa@gmail.com>andfrancesco.federici@iuav.it <mailto:francesco.federici@iuav.it>by March 30, 2018. Abstracts should be from 300 to 500 words of length (either in English or Italian).

If the proposal is accepted, the author(s) will be asked to submit the full article by*June 30, 2018*. Contributions will be submitted to double blind peer review. The number 14 of Cinergie will be published in*December 2018*.


References

S. Arcagni,/Oltre il cinema: metropoli e media/, Turin, Kaplan, 2010.

Id.,/Screen city/, Rome, Bulzoni, 2012.

E. Balsom,/Exhibiting Cinema in Contemporary Art/, Amsterdam, Amsterdam University Press, 2013. R. Bellour, “D’un autre cinéma”,/Trafic/, n. 34, summer 2000, pp. 5-21.

G. Bruno,/Atlante delle emozioni: in viaggio tra arte, architettura e cinema/, Milan, Bruno Mondadori, 2006.

F. Casetti, “The Relocation of Cinema”,/NECSUS: European Journal of Media Studies/, n. 2, autumn 2012,http://www.necsus-ejms.org/the-relocation-of-cinema/.

M. Colleoni, F. Guerisoli,/La città attraente: luoghi urbani e arte contemporanea/, Milan, EGEA, 2014.

M. Connolly,/The Place of Artist Cinema: Site, Space and Screen/, Bristol-Chicago, Intellect, 2009.

M. De Rosa,/Cinema e postmedia. I territori del filmico nel contemporaneo/, Milan, postmedia books, 2013.

P. Dubois, “Un ‘effet cinéma’ dans l’art contemporain”,/Cinéma&Cie: International Film Studies Journal/, n. 8, autumn 2006, pp. 15-26.

P. Dubois, E. Biserna, e P. Brown (a cura di),/Cinema, Architecture, Dispositif/, Udine, Campanotto Editore, 2011.

F. Federici,/Cinema esposto. Arte contemporanea e immagini in movimento/, Udine, Forum, 2017.

S. McQuire,/The Media City. Media, Architecture and Urban Space/, London, SAGE, 2008.

E. Mandelli,/Esporre la memoria. Le immagini in movimento nel museo contemporaneo/, Udine, Forum, 2017.

G. Ravesi,/La città delle immagini: cinema, video, architettura e arti visive/, Soveria Mannelli, Rubbettino, 2011.

J.-C. Royoux, “Pour un cinéma d’exposition. Retour sur quelques jalons historiques”,/Omnibus/, n. 20, april 1997.

J.-C. Royoux, “Cinéma d’exposition : l’espacement de la durée”,/Art Press/, n. 262, november 2000, pp. 36-41.

P. Virilio, “Dal media building alla città globale: i nuovi campi d’azione dell’architettura e dell’urbanistica contemporanea”,/Crossing/, n. 1, december 2000, pp. 5-15.
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CFP: Film Funding for Latin American cinemas (Paris-Sorbonne University)

Deadline: February 28th, 2018

Latin America/Spain/Europe:

Economic and Aesthetic Perspectives on Film Funding for Latin American cinemas since the 1990s

International Symposium, hosted by Paris-Sorbonne University, June 12-13,  2018


New research within the field of film studies in recent years has focused on the globalization of film production, funding and circulation. The low cost of digital technology has also furthered cinema’s reach in circulation and production output. Additionally, transnational cinema scholarship has focused more specifically on the production and circulation of “world cinemas” and their aesthetics. Moreover, film festival studies has recently examined the role of film festivals themselves as producers, which in addition to exhibiting festival films, are also producing them as part of their programming. The common factor to all of these production initiatives is that practically all European and Latin American productions rely massively on state support, without which it would be extremely difficult for them to be produced and distributed at all.

Since the mid 1990s, France and Europe were the main players in the battles for cultural “exception” and later “diversity,” which has resulted in the creation of film funds aimed at supporting “Global South” or “world cinemas.” From the French and European point of view, the purpose of these funds is in part of a larger strategy to make Europe a symbol of resistance against US liberal hegemony.

The issues at stake are at once diplomatic, cultural and economic. For one, there are lobbying efforts to make the UNESCO Convention prevail over the WTO’s more commercial approach to conceptualizing cultural industries. This underscores the cultural value of these funds: they work to position Europe as an alternative center in the face of US domination and they give it a prestige capable of making it a ‘Land of Refuge’ on an international level. At the same time, it should be noted that the Latin American countries that benefited the most from these supports are also those that developed (for the first time in history in some cases) funding supports for national filmmaking in Latin America. This is why it is necessary to discuss two dimensions of institutional support to Latin American cinema: on an international (European) level and on a national one. On an international level, Europe has much to gain in terms of a positive diplomatic image, especially when the films supported by these funds gain critical success and festival attention that underline their “quality” which helps to position them within an “auteur cinema” genre considered as the counterpoint of the more commercial Hollywood cinema. Finally, from an economic point of view, these funds also play a significant role: though their loans are generally modest (with some exceptions), they lead to relative success at the box office and improve European cinema exports on the screens of the beneficiary countries. The question of this visibility of the European-support of Latin American cinema is fundamental, and involves asking to what extent the European stamp of approval is part of their critical and/or box office success.

In sum, Latin American art house film production maintains close relations with European film industries, and is one of the main beneficiaries of these funds that might be seen as a defense against the US hegemony on the continent. The purpose of this conference is to interrogate the relationship between European institutions (national as well as at local level) and Latin American cinemas, on the following topics:

- Economics and financing: this angle will look at the impact of Latin American and European institutional support on film producing through case studies that will show if there is, from a budgetary point of view, a predominant kind of art house cinema. Conversely, scholars may argue that these funds nurture a form of diversity within production formats, supporting low budget as well as more expensive films. These studies will be viewed within the production context of each country: it will also be necessary to consider to what extent and to what proportion these funds contribute to support emerging cinemas versus the more established film industries, that relies on significant public support at a local or regional level. The diplomatic angle will be examined in comparing some Global North countries which utilize different cultural policies and stipluations for these funds. Papers can also include a study of the hierarchies that are invariably set up between Global North policies and Global South beneficiaries: how restrictive are these funds, and what is at stake for both parties?

- Circulation and distribution: If film fund support is key in maintaining Global South diversity in film production, the problem of its distribution is of equal importance. Indeed, most films, once produced, have had the greatest difficulty in finding their audiences. Public television support as well as the role of film festivals as a key site for global circulation of Latin American cinema will be examined. Investigations of theatrical distribution of these films are welcomed, both in Europe as well as in Latin America, in order to see how films have circulated in different periods of time from both quantitative (number of theaters and weeks) and qualitative (type of theaters and circuits they access on both sides of the Atlantic) angles. Furthermore, other digital distribution platforms such as online, through initiatives which encourage legal downloads alongside piracy platforms, cine-clubs, cultural institutions and universities shall be also considered here.

- Critical and Public Reception: film reception studies, from both quantitative and qualitative perspectives will be viewed in comparative perspective. We will observe the number of spectators and of critical reviews for films in Europe as well as in Latin America, in order to analyze the (im)balances that can occur regarding their broadcasting in general. In addition, we will study the way these films are critically received in the popular press in order to understand the possible differing views that emerge depending on their reception. The European critical discourses which either laud the films unproblematically, or conversely, use age-worn stereotypes about Latin America will be a central topic of discussion in this thematic approach in which films are understood at both ends of the production and distribution chain.

- aesthetic: This topic will focus on narrative content. Thus, just as we shall examine film production formats supported by these funds, we shall look at their content from an aesthetic as well as a thematic perspective, in order to assess the reality of the “diversity” that these mechanisms are supposed to support; that is, against the commercial dynamics symbolized by Hollywood productions. We shall here examine aesthetic, thematic, narrative and ideological categories in order to think about the capacity to impose or at least foster certain forms and topics that is often attributed to these funds. We shall work to demonstrate to what extent they contribute (or not) to produce and broadcast some standard tropes that the European imaginary considers to be contemporary Latin America. That is stereotypes often limited to a series of sensational or exploitative clichés (drug trade and violence, poverty and social and economic crisis), based on an aesthetic that is associated with the typical “festival film” (sequence shots, slow narratives, scarce dialogues).

Scientific Committee:

Nancy Berthier, Josetxo Cerdán de los Arcos, Tamara Falicov, Marina Moguillansky, Deborah Shaw, Ana Vinuela

Organizing Committee:

Julie Amiot-Guillouet, Alejandro Izquierdo, Sergi Ramos Alquezar

Proposals shall be sent (title and 200-word abstract) by February 28th, 2018 to:

julie.amiot-guillouet@paris-sorbonne.fr <mailto:julie.amiot-guillouet@paris-sorbonne.fr>

sergi.ramos-alquezar@paris-sorbonne.fr <mailto:sergi.ramos-alquezar@paris-sorbonne.fr>

aleazur@gmail.com <mailto:aleazur@gmail.com>
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CFP: Contemporary Directors Symposium: Sofia Coppola


16^th May 2018, School of Media, Film and Music, University of Sussex

Keynote speaker: Fiona Handyside (University of Exeter), author of /Sofia Coppola: A Cinema of Girlhood (IB Tauris, 2017) <http://ibtauris.com/Books/The-arts/Film-TV--radio/Films-cinema/Film-theory--criticism/Sofia-Coppola-A-Cinema-of-Girlhood?menuitem=%7B6C0F54EA-A043-4E11-842A-DD2A627B3E3E%7D>/

The films of director, writer and producer Sofia Coppola have enjoyed critical and commercial success, with 2017 seeing her receive the Best Director award at the Cannes Film Festival for /The Beguiled. /Only the second woman to win the award, and, in 2004, the first woman to be nominated for the Academy Award for Best Director (for /Lost in Translation)/ Coppola is one of the most significant directors working today. Her six feature films, from /The Virgin Suicides /(1999) to /The Beguiled /(2017) have established her as an important and distinctive voice in contemporary cinema. Exploring key themes such as adolescence, celebrity, fashion, and travel, her films have returned repeatedly to young female protagonists, bringing questions of femininity, girlhood, and (post)feminism to the fore. Working with key collaborators such as Harris Savides and Brian Reitzell, Coppola has also established a distinctive and influential audiovisual aesthetic, from cinematography, costume, and production design to carefully curated soundtracks. Poised between mainstream and indie, Hollywood celebrity and international art film ‘auteur’, Coppola occupies a unique place, both creatively and industrially, in the global film business. And as director of music videos for bands such as /Air/, /The White Stripes/, and /Phoenix/, and high-profile advertising campaigns for Christian Dior, Calvin Klein and Gap, her influence extends beyond her feature film output into popular culture more generally.

This one-day symposium seeks to bring together scholars working on Coppola’s films from a variety of perspectives. We are open to proposals on all aspects of Sofia Coppola’s work.

Please send proposals for 20-minute papers to the organizers Dr Frances Smith frances.smith@sussex.ac.uk <mailto:frances.smith@sussex.ac.uk>and Dr Lawrence Webb l.webb@sussex.ac.uk<mailto:l.webb@sussex.ac.uk>by 28^th February 2018. Proposals should include a title, a 250-word abstract and a brief biography.

Potential subjects to be addressed include, but are not limited to:

•Questions of female authorship

•Coppola’s authorial persona and ‘brand’

•The construction of girlhood and femininity in Coppola’s work

•The aesthetic style of Coppola’s work

•Coppola and ‘indie’ cinema

•Topics of class, race, sexuality, or gender across Coppola’s films

•Analyses of individual star performances in her films, such as Kirsten Dunst, Scarlett Johansson, or Emma Watson

•Questions of the transnational in Coppola’s work

•Coppola as an example of Hollywood dynasty

•Coppola and postfeminism

•Coppola and whiteness

•Coppola and adaptation

•Coppola and fashion

•The use of music in Coppola’s work

•Coppola and her creative collaborators

•Production design in Coppola’s work

•Space, place and landscape in Coppola’s work

•Coppola’s work in music videos and advertising
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Call for submissions: Disrupting media infrastructures

Northern Lights, Volume 17, 2019 - Theme issue on:


Disrupting media infrastructures

Transforming media industries and public spheres

Volume editors: Kirsten Frandsen and Stig Hjarvard

**

During the recent decades digitization has enabled a fundamental disruption of many parts of the existing communication infrastructure of both the media industries and the larger society. Technological and institutional structures that have hitherto served as the underlying framework for mainly nationally oriented media systems have been disrupted by the emergence of new digital production, distribution, and communication technologies and business models. Media act in a double role as both objects of transformation an as agents of the disruptive forces with consequences for individual media’s performance and for the overall media structure and its interfaces with the wider society. Older media organizations and professions are struggling not only to develop new business models but also to invent new forms of content and ways of reaching and engaging users. As a result, new forms of distribution, new strategic alliances, and new types of collaboration are emerging nationally and transnationally. Furthermore, the ability to steer developments through national public policies has diminished, leaving regulators and policy makers with still fewer options to influence the communicative infrastructure of society.

Disruption is often related to changing distribution models, including the general transition from push to pull modes of distribution. Public and private broadcasters’ live and flow based services are giving way to on-demand and streaming services. Legacy news media are losing control over their distribution platforms (newspapers and websites) when audiences increasingly find their news through social network media. The ubiquity of digital media has made data about audiences and users a key commodity and the automated and intelligent processing of information about users’ digital footprints allows for much more sophisticated forms of marketing, targeting individual users with customized advertising and content recommendations. Disruption has often been instigated by global agents such as Google, Facebook, and Amazon that in some regions of the world have acquired near-monopoly status within particular areas such as search-based advertising, social network media, and online shopping. These companies’ control over key networks and technologies raises a series of questions regarding the national media companies’ ability to successfully adapt to a digital infrastructure. Especially because the global companies are now using their distribution-based wealth to establish themselves as important media content producers in genres such as television drama series and news.

The consequences of disruption are manifold and appear within several domains. Within media industries the disruption of the value chain entails the break-up of existing models and circuits of production and distribution making existing professional skills and values (e.g. within journalism) obsolete and prompting industries to look for new types of competences (e.g. within computer technology) and new types of collaborative partnerships and sources of revenue. At the societal level the communicative infrastructure for governance is being altered, including the ways in which media systems are able to sustain a democratic public sphere. With the growing role of social network media and on-demand services, the existing rationalities for public service media are increasingly being tested. Disruption as a socio-economic phenomenon therefore raises questions that are not limited to the media industry: How is the global context and push towards neoliberal policies affecting national political governance of media systems both ideologically and in practice?

/Northern Light/calls for papers exploring how disruption of the media infrastructure relates to transformation both within media industries and in a wider societal context. Research topics may include but are not restricted to:

·Changes in media business models and challenges for legacy news media and public service media.

·Development of push and pull models of media content distribution

·Media content production for on-demand audiences and users

·Emerging strategic alliances and collaborations in distribution and/or content production

·Global tech companies and their influence on disruption of global and national media markets

·Datafication and the value of consumer intelligence; new forms of audience/user data gathering

·Transforming advertising: the demise of mass media models of advertising, search based advertising models, etc.

·The political economy of disruption: the interplay between globalization, neoliberal policies, and technology development

·Changes of the media infrastructure and the implication for the performance of the public sphere

Considering the overall theme of this volume, all submissions must analytically or theoretically be committed to engage with the processes and effects of ‘disruption’.

*Submissions*

Please send an extended abstract of 500-600 words to volume editors Associate Professor Kirsten Frandsen (imvkf@cc.au.dk <mailto:imvkf@cc.au.dk>) and Professor Stig Hjarvard (stig@hum.ku.dk <mailto:stig@hum.ku.dk>).

Deadline for abstract submission: 15 March, 2018
Time Schedule

Notification to authors about acceptance: 15 April 2018

Final article submission: 25 August, 2018

Publication: Spring 2019

Peer review

The journal is using anonymous peer review of the final submission, two for each article. Initial acceptance of abstract to submit a full article does not guarantee publication. Final acceptance of an article is dependent on both the outcome of peer reviews and the editors’ decision.

About the journal

Northern Lights is a peer reviewed international journal dedicated to studies of media. The yearbook is a meeting place for Nordic, European and global perspectives on media. The editors stress the importance of interdisciplinary research and the journal focuses on the interplay between media and their cultural and social context. Media have emerged as important institutions of modern society at the same time as mobile and interactive media technologies become integrated into the fabric of the wider culture and society. The development of new social networks, changes in political communication and governance, and the changing relationship between art, culture, and commercial markets are important aspect of these new dynamics.

From 2019 /Northern Lights/ is moving to an open access platform at Nordicom, the Nordic Information Centre for Media and Communication Research.

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CFP: Don't Look: Representations of Horror in the 21st Century

One Day Symposium

**

28th April 2018

University of Edinburgh

Keynote Speaker: Dr. Sorcha Ní Fhlainn (Manchester Metropolitan University)

We live in scary, uncertain times. In recent years, we have witnessed the rise of hard-line nationalism, the ascendency of racist alt-right politics and attacks on the increasingly fragile-looking institution of democracy. We contend, daily, with the threat of seemingly inevitable ecological catastrophe. The Horror genre has always been understood as a potent mirror and bellwether, able to digest the socio-cultural and political currents of a given moment and feed them back to us in uncompromising and disturbing ways. This conference seeks to consider how representations of horror are changing in our own contemporary moment, where the line between fiction and reality, truth and lies appears to be fraying beyond recognition.

Recent academic scholarship on horror has diverged towards topics such as: fear and the appearance of reality within found footage horror; the multisensory perception of horror in video games, television and theme parks; and the rise of concepts such as 'The Horror of Philosophy'. There has also been a focus towards contemporary studies of Queer Horror and appropriation, audience participation, and changing tastes in horror fandom. This one-day multidisciplinary conference seeks to analyse representations of horror since 2000, with particular emphasis on current trends and cycles, and the ways in which horror can be said to reflect contemporary anxieties and fears. We are specifically interested in determining some of the ways in which these aesthetics have changed and why. We would especially welcome research that addresses the causes of some of these changes in representations of horror across media and academic disciplines.

PAPERS

(for 20-minute presentations)

Topics might include (but are not limited to):

Contemporary Representations of Body Horror

Generic Mutations

New Horror Television (/American Horror Story/, /The Walking Dead, Stranger Things/, /Hannibal/, etc.)

Abjection and Transgression

Horror and Trauma

Experimental/Avant-Garde/Underground Horror: Film, Art and Literature

Horror and Nostalgia

Transmutation/Metamorphosis

News Media Representations of Horror

Virtual Reality (VR) horror

Horror and Disability

Contemporary Cult Horror

New Genres, Subgenres and Hybrids

Horror and the Senses

Queer Horror and Performance

Horror Fandom and Audiences

Literary Horror Adaptations

Shudder, Chiller and Contemporary Horror Networks and Viewing Platforms

WORK IN PROGRESS

As a postgraduate led conference, we also welcome submissions from Masters and PhD students to present work-in-progress papers, which will be 15 minutes in length (as opposed to the usual 20 minutes). We believe these work-in-progress panels will be useful for gaining helpful feedback from peers on ongoing research.

SUBMITTING ABSTRACTS

Please submit proposals of 200-250 words, along with a short biographical note (100 words) to dontlookconference@gmail.com <mailto:dontlookconference@gmail.com> by *Wednesday 7^th February 2018*. Accepted presentations should be 20 minutes in length (15 min for work in progress).

We also welcome video essay proposals. Contributors should upload their video to Vimeo, preferably to a password protected page, then email the relevant URL and password, along with a 200-word proposal and a short biographical note (100 words) to dontlookconference@gmail.com <mailto:dontlookconference@gmail.com> by* Wednesday 7^th February 2018*. PLEASE NOTE: We ask that video essays be no longer than 10 minutes in length, to allow sufficient time to make a formal presentation after the video is screened.

Applicants will be notified of the outcome by *Monday 19^th February 2018. *Updates on the symposium will be made available on our Word Press site:

http://www.dontlook.llc.ed.ac.uk/ <http://www.dontlook.llc.ed.ac.uk/>
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CPF: Animation



Non-Fiction Animation: Narrative Imagination and the Translation of Reality

University of York – The Interdisciplinary Centre for Narrative Studies

Thursday 19th to Friday 20^th April 2018


ABSTRACT DEADLINE: March 20, 2018

From/The Sinking of the Lusitania/(McCay, 1918) to/Tower/(Maitland, 2016), non-fiction animation continues to be instrumental to the mediation of reality in cinema and television. Animation offers a range of structural and narrative possibilities grounded in the flexibility of technique and stylistic choice that is the legacy of this creative form’s evolution. Today the convergence of animation and documentary is receiving much attention in academia, as several recent publications testify; for example,/Animated Documentary/(Roe, 2013), and/Animating Film Theory/(Beckman, ed. 2014).

This symposium invites proposals for papers investigating the way we work animation into non-fiction narratives; the way animation supports the translation of the real world into moving images, and the power of animation in evoking, challenging, questioning our society in the documentary form.

Possible topics include:

·Animation on the written page

·Narrative and layers of signification

·Narrative impossibilities translated through animation

·Animation’s function in narrating reality

·Animation and the news

·Animation and the biopic

·Animation and the sciences

·Little known historical precedents of value

·International examples of animation screenplays

·Animation and information industries

*Application formats (Deadline: March 20th, 2018)*

Please send a 20-minute paper abstract (350 words) and a 100-word bio tort748@york.ac.uk <mailto:rt748@york.ac.uk>- notification of acceptance within one week.

Webpage: https://rt7485.wixsite.com/non-fiction
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CFP: The female detective in Television


Because The Basic Human Form is Female: The female detective in Television. Edited by Anna Backman Rogers and Laura Nicholson.

For decades, the female detective has occupied space within a genre that is all-too-often reserved for the celebratory storylines of self-sacrificial men. She has served to break down sexist barriers placed before women within professional and personal frameworks, acting as an on-screen surrogate for (female) spectators, globally. The female detective has succeeded in cultivating widespread audience attention and high ratings for multiple series across the world, underlining the popularity of, and desire for, the women-led, crime TV genre. It is curious then, that critical literature exploring this central figure’s contemporary, cultural significance is scarce. Given the abundance of on-screen material that has been produced throughout years of prime-time TV and (more recently) online streaming, it seems the female detective, in all her guises, has yet to be afforded the praise and exploration she deserves.

In response to this paucity of critical text, we are assembling the foundations of a special collection on the female detective in crime TV, in the format of a book to be edited by Anna Backman Rogers and Laura Nicholson. The proposal for this research comes just as we are witnessing a cultural ‘boom’ in detective shows featuring women as driving forces, across multiple media platforms. As such, the need for critical literature that explores the feminist realisations and potential of the female detective and her contemporary cultural importance, is timely.

We are calling for papers from scholars across disciplines, in order to shed light on the legacy of the female detective and the ways in which these powerful characters continue to inspire far-reaching audiences, while responding to the socio-political backdrop of their time.

We especially encourage papers from LGBTQ+, Feminist and BME scholars. We also seek contributions from a global perspective that bring to the fore series that we may be unaware of.

We hope to approach a major university publisher with this project after final decisions made by the editors on the collection.

Please send proposals of no more than 600 words to Laura Nicholson and Anna Backman Rogers before March 5^th , 2018 at the following e mail addresses.

Anna.backman.rogers@gu.se <mailto:Anna.backman.rogers@gu.se>

lauracate.nicholson@gmail.com <mailto:lauracate.nicholson@gmail.com>

Topics may include, but are by no means limited to:

1. The intersectional feminism(s) of the female detective

1. Queering the female detective

1. Fashion and the female detective

1. Regionally-specific depictions of the female detective

1. Post-recessionary representations of the female detective

1. The female detective in period TV drama

1. The generational politics of the female detective ‘revamp’

1. The female detective team

1. Cross-cultural imaginings of the female detective

1. Interpretations of the female detective across international remakes

* Female detective articulations of contemporary cultural flashpoints

* The portrayal of violence and the female detective.





TV shows with leading female detectives include, but are not limited to:

1. Get Christie Love! (1974-1975, US)

1. Police Woman (1974-1978, US)

1. The Gentle Touch (1980-1984, UK)

1. Cagney & Lacey (1982-1988, US)

1. Miss Marple (1984-1992, UK), Agatha Christie’s Marple (2004-, UK)

1. Prime Suspect (1991-2006, UK)

1. Engrenages/Spiral (2005-, France)

1. Ashes to Ashes (2008-2010, UK)

1. Vera (2011-, UK)

1. Forbrydelsen (2007-2012, Denmark), The Killing (2011-2014, US)

1. Bron/Broen (2011-, Sweden/Denmark), The Tunnel (2013-, UK/France)

1. Scott and Bailey (2011-2016, UK)

1. The Bletchley Circle (2012-2014, UK)

1. Miss Fisher’s Murder Mysteries (2012-, Australia)

1. The Fall (2013-2016, UK)

1. Top of the Lake (2013-, New Zealand/Australia/UK)

1. Happy Valley (2014-, UK)

1. Quantico (2015-, US)

1. Jessica Jones (2015-, US)

1. Agent Carter (2015-, US)

1. Deep Water (2016, Australia)

1. Frankie Drake Mysteries (2017-, Canada/UK)
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PhD studentships at CAMRI, University of Westminster



Communication and Media Research Institute (CAMRI) Research Studentships in the Westminster School of Media, Arts and Design at the University of Westminster

Three years, full time

£16,000 annual stipend plus fee waiver

A number of full-time University of Westminster Studentships are available to candidates with either Home or Overseas fee status in any area of Media and Communication starting in September 2018.

CAMRI (the Communication and Media Research Institute) is one of the leading research groups in media and communication, its work rated by the UK Government’s 2014 Research Excellence Framework, as 52% 4* (world leading), and 35% 3* (internationally excellent). We have over 20 research active staff and 50 PhD students. We have a wide and expanding range of research interests, centered on three main research groups in social media, media policy and industries and media history. We have established centres for the study of the media in China, India, the Arab world and Africa. In the broadest sense we are interested in the social, economic, political and cultural significance of the media, and welcome proposals from prospective students on these or any other topic related to media and communication.

Eligible candidates will hold at least an upper second class honours degree and a Master’s degree. Candidates whose secondary level education has not been conducted in the medium of English should also demonstrate evidence of appropriate English language proficiency, normally defined as 6.5 in IELTS (with not less than 6.0 in any of the individual elements).

The Studentship consists of a fee waiver and a stipend of £16,000 per annum. Successful candidates will be expected to undertake some teaching duties.

Prospective candidates wishing to informally discuss an application should contact Dr Anthony McNicholas, mcnichc@westminster.ac.uk and/or Dr Alessandro D’Arma, A.Darma@westminster.ac.uk

The closing date for applications is 5pm Friday 16 February 2018

For further information, including how to apply, please visit

https://www.westminster.ac.uk/study/postgraduate/research-degrees/research-areas/media-arts-and-design/research-studentships
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Special Issue CFP: Captivity Narratives Then and Now



/NANO: New American Notes Online /seeks submissions for an upcoming special issue.


Captivity is everywhere in the texts and popular culture of the 20th and 21st centuries—from headline grabbing icons of captivity such as Patty Hearst and Jessica Lynch to the growth of captivity-themed popular television such as /Unbreakable Kimmy Schmidt, Orange is the New Black, /and/ The Handmaid’s Tale/. In its modern iterations, captivity serves to both reify and defy the social construction of race, gender, and national identity endemic to early expressions of the genre.

But, early captivity narratives set the stage for these modern examples. In fact, there is a large body of scholarship from Nancy Armstong, Rebecca Blevins Faery, Christopher Castiglia, Cathy Rex, Gordon Sayre, and Susan Scheckel among others, attesting to the cultural and ideological role that 17th-century captivity narratives like Mary Rowlandson’s ur-text have played in the development of an imagined national community. These early narratives also established one of the most consistent tropes of the genre: the use of white female bodies “as guardians of the boundaries of race to serve the territorial and political purposes of white men and their claim to dominance,” (Faery) or to create what Lauren Berlant has called a “national symbolic.”

This /NANO /special issue seeks to explore this complex legacy by inviting multimodal papers that examine tropes of captivity in 20thand 21st century culture. More specifically, we seek papers that explore the legacy of the captivity narrative genre, particularly its modern, postmodern, and contemporary permutations. This issue seeks to determine the extent to which narratives of captives, particularly those written by women, persist and define American literature and culture.

This issue of /NANO /welcomes multimodal essays up to 4,000 words (excluding works cited) exploring topics relating to captivity narratives, including but not limited to the following:

* the various forms of captivity (e.g., lawful imprisonment,
kidnapping, mental or physical illness, abuse, sex trafficking,
slavery) in women’s narratives of the 19th, 20th, and 21st centuries
* captivity narratives in modern and contemporary media (women’s
magazines, television, film, graphic novels, video games)
* captivity narratives, the nation & nationalism, particularly during
times of war of political conflict
* captivity narratives and the construction of gender and the domestic
sphere
* captivity narratives, race, and the construction of the other
* the use of writing and narrative as therapy to cope with the trauma
of captivity
* the various coping strategies women have used to deal with captivity
in different times and places
* social valuations of transculturation in the narratives of captive
women, including but not limited to transatlantic, trans-Caribbean,
and other border-crossing captivities
* voyeurism and the male gaze in women’s captivity narratives

Please direct questions to the special issue co-editors: Megan Behrent (mbehrent@citytech.cuny.edu) and Rebecca Devers (rdevers@citytech.cuny.edu).

/NANO/ is a multimodal journal. Therefore, we encourage submissions that include images, sound, video, data sets, or digital tools in support of a written argument. The multimodal components of the essay must be owned or licensed by the author, come from the public domain, or fall within reasonable fair use (see Stanford University Libraries’ Copyright & Fair Use site,http://fairuse.stanford.edu/overview/fair-use/
and the U.S. Copyright Office’s Fair Use site, http://www.copyright.gov/fls/fl102.html
for more information). /NANO/’s Copyright and Permissions information is on the top left of this page.

For questions about video, audio, or image usage, please contact /NANO/: editornano@citytech.cuny.edu <mailto:editornano@citytech.cuny.edu>.

/NANO/ uses modified 8th Edition MLA (Modern Language Association) formatting and style.See: /https://www.nanocrit.com/Submissions/Submission-Guidelines/

Please use the Submission Form on top left of this page.

Keywords and abstract: Each author is asked to submit 5 keywords and a 150-word abstract to accompany their submission.

Deadlines concerning the special issue to be published in /NANO/:

* Submission deadline: May 15, 2018
* Pre-production begins June, 2018
* Publication: fall 2018
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CFP: Harold Pinter on Film, Television and Radio


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.

---

Dr Amanda Wrigley FRHistS
Department of Film, Theatre & Television, University of Reading
Please note that I work part-time, usually Tuesdays-Thursdays.
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Funded PhD/ Graduate Teaching Assistant in Media and Film Studies


*About the Role

Graduate Teaching Assistants hold a unique position in the Edge Hill University being both registered students and carrying out teaching/teaching support duties.

Students will be expected to:

* Successfully undertake an initial programme of accredited research
training.
* Undertake a PhD programme of research under the supervision of an
appointed supervisory team.
* Enhance the research culture of the Department in which they are
located and the University by participating in events, conferences
and training.
* Successfully complete a programme of teacher training.
* Undertake up to six hours teaching a week as directed by the Head of
Department.

*Rewards/Benefits

We want you to feel happy when you come to work and proud when you go home.

From the moment you join us you have the opportunity to enhance your skills. We offer a range of specialist development sessions or courses and an award winning staff health & wellbeing programme. This means as well as being enrolled on our PGCTHE to support your professional development, you are able to enjoy a lunchtime stroll across our beautiful campus, book to get a trim from our onsite hairdresser, your car valeted, or get together with colleagues over free food and drink to watch the latest film on one of our Film Nights and so much more. This is just a taste of what we are able to offer you at Edge Hill University.

Payment for teaching hours will be in the region of £8,300 per annum and each GTA will receive a ‘package’ which includes a combined salary (for teaching/support to teaching as appropriate) and full waiver of postgraduate tuition fees as well as a scholarship of £5,500 per annum/ or/ free single room postgraduate student accommodation on campus (subject to availability).


For further information, please see:


https://jobs.edgehill.ac.uk/vacancy.aspx?ref=EHGT160-0118

<https://jobs.edgehill.ac.uk/vacancy.aspx?ref=EHGT160-0118>

Job Vacancy at Edge Hill University: PhD/Graduate Teaching Assistant (GTA) - Media & Film Studies <https://jobs.edgehill.ac.uk/vacancy.aspx?ref=EHGT160-0118>
jobs.edgehill.ac.uk
A fantastic opportunity to study for a fully funded doctorate whilst gaining valuable teaching experienceAbout YouYou will have a 2.1 or above undergraduate degree in a relevant subject, whilst a Masters degree would also be an advantage. You should...
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CFP: Media Representations of Islam and Muslims



An international and interdisciplinary conference

Université de Versailles Saint-Quentin-en-Yvelines, France (19-20 juin 2018)

‘Islamophobia’ and ‘race’ are contested terms in contemporary political and media discourse around the world(Hajjat & Mohammed, 2013; Massoumi et al., 2017; Sayyid & Vakil, 2009). In the case of heated debates in France, for example, academic and/or antiracist arguments – themselves far from homogenous – struggle to be heard, and these terms are often censored more or less explicitly. The absence of official statistics on ethnic and religious diversity in France (Simon, 2008), which purportedly protects minorities from discrimination, also inadvertently makes invisible the social and cultural inequalities that nevertheless exist; and the constitutional establishment of France as a secular state that presupposes equality and freedom leads to problems for the recognition of difference in an increasingly multicultural society (Modood & Webner, 1997; Lentin & Titley, 2011), as well as tensions between the protected values of freedom of expression and freedom of religion (Alicino, 2015).

Similarly, in Francophone and Anglophone academic literature alike, there remains no clear consensus on the definition of either Islamophobia or racism, which, more often than not, continue to be studied separately. In contrast to the political and media rhetoric, however, academic research into these issues from a wide range of disciplines has revealed that systemic and structural discrimination is in fact as widespread in France as they are in other western countries, with non-white people suffering disproportionately in terms of unemployment (Wacquant, 2009), imprisonment (D. Fassin, 2011) and education (Keaton, 2006), while international NGOs (Amnesty International, Human Rights Watch) have repeatedly criticised the failure of successive French governments to independently investigate police violence and discrimination against ethnic minorities. Contrary to the clash of civilisations thesis and the emphasis on the need for Muslims to integrate and accommodate their religion or culture with ‘republican’ or ‘western’ values, studies on the everyday lives and personal opinions of Muslims in France and other European countries have cast doubt on the extent to which any such contradiction exists (Göle, 2015; Massoumi, 2015; Zerouala, 2015), while others have warned against the increasing sacralisation of laïcité as a civic religion (Roy, 2013) and the false dichotomy of anti-sexism and anti-racism when debating issues such as ‘the veil’ (Bouyahia et Sana, 2013; Delphy, 2008).

Increasingly, effort has been made to supplement research into the characteristics of Muslim people and religious, cultural or political identity, with more of an emphasis on Islamophobia as the result of political practices that disproportionately affect Muslim people (Massoumi et al., 2017), and to supplement quantitative research into diversity with qualitative research into the perception of discrimination (Dubet et al, 2013). Transcending the dominant focus on immigration and integration, and recognising the ‘internal exclusion’ of non-migrants (Balibar, 2007), as well as the role of religion as a site of cultural politics rather than an apolitical aspect of the private sphere (Fernando, 2014), some scholars have sought to shift attention away from the ‘Muslim problem’ and onto the ‘republican problem’ instead. That is, engaging with the inherent tensions and contradictions of the secular state, republican values and ‘secular-republican power’ (Fernando, 2014; see also Titley et al, 2017), rather than those of French Muslims and what they eat or wear. Others have located the concept of Islamophobia and the social construction of the ‘Muslim problem’ in the long-term history of international migration and colonial racism (Bancel et al., 2015; Hajjat & Mohammed, 2013;Poinsot et Weber, 2014). Recognising the complexity of the social construction of ‘race’ and citing discursive slippages between the figure of the ‘Muslim’, the ‘Arab’ and other terms, as well as the ways in which Muslims are perceived in racialised terms, some scholars (D. Fassin & E. Fassin, 2006; Mazouz, 2017) have discussed the phenomenon of ‘racism without race’, using the term /racialization/ to emphasise the process whereby certain identities are socially constructed as ‘other’ and categorised hierarchically (du Bois, 1994; Fanon, 1967; D. Fassin, 2011; Gilroy, 1987; Miles, 1989; Murji & Solomos, 2005), and drawing on cultural and media studies approaches to reveal the ways in which ‘race’ intersects with gender and class (Anthias, 2012).

Such approaches have also been important sources for critiquing the role of the media in this process of racialization (Cervulle, 2013; Hall et al., 1978; Petley & R. Richardson, 2011; Poole & J. Richardson, 2006; Rabah, 1998; Said, 1997; Tevanian, 2005; 2006). But, as Hajjat & Mohammed (2013: 116) have argued, analyses of media representations, discourses and content (Bertault et al, 2009; Deltombe, 2005; Macé, 2009; Sian et al, 2013) need to be complemented by more sociological accounts of the conditions of media production and the routine practices of journalists, so as to understand the distance between the habitus of professional journalists and elites, on the one hand, and the ‘popular classes’ on the other, as well as the discrimination experienced by those from ethnic minority backgrounds working within the media industries themselves, and the economic and structural constraints of news agenda setting.

This conference aims to bring together researchers from a variety of disciplines (sociology, information-communication, history, law, media and cultural studies, etc.), from France and from abroad, as well as professionals from the media industry, to further debate and develop our understanding of the media’s role in the construction of the ‘Muslim problem’ – in France and beyond. Because this is an international and interdisciplinary conference, we are keen to receive papers that foreground the contribution that international and interdisciplinary perspectives can bring, and that highlight the different sources, theoretical traditions, methodological approaches and epistemological questions that are raised by researchers working in different fields, so as to provide a reflexive and critical engagement with the efficacy and appropriateness of terms such as Islamophobia, and of hitherto privileged approaches to understanding such processes and practices. As such, papers that are comparative – that focus on such issues in other countries, or on similitudes with other racisms and processes of mediated exclusion – are welcome, as are those that offer historical perspectives on their evolution, and those that combine media analyses with sociological research, or an engagement with interdisciplinary or international literatures, are particularly encouraged. Generally, contributions are encouraged in, but not limited to, the following areas:

-Definitions of, and debates on, terms such as Islamophobia, racism/racialization, mediation/mediatization and media critique.

-Theoretical, methodological and inter/disciplinary approaches and traditions to critiquing media and racism (cultural studies; media studies; postcolonial studies; critical race theory; gender studies; intersectionality; sociology; history; law; international relations etc.)

-Analyses of media content or discourse; media law, policy and regulation; or media practice and journalism ethics.

-Moral panics, media events and controversies over the veil, burkinis, halal meat, school meals, Christmas crèches in public buildings, /Charlie Hebdo/.

-Ethnic diversity, inequality and discrimination in areas such as housing, employment, education, the criminal justice system.

-Liberalism, republicanism, communitarianism, multiculturalism or cosmopolitanism.

-Secularism/s, laïcité, recognition and difference.

-Colonialism, postcolonialism, nationalism, globalisation, terrorism or collective memory.

-‘Race’, religion, religiosity, postsecularism, intersectionality and culture.

-Citizenship, rights, inclusion and exclusion.

-The balancing of freedom of expression with the freedom of religion; academic freedom; press freedom.

-Feminism, gender, class, intersectionality, and anti-sexism and/or anti-racism.

*Proposals for papers should be sent to Simon Dawes at **simon.dawes@uvsq.fr* <mailto:simon.dawes@uvsq.fr>*by Friday 16^th February 2018. Decisions will be confirmed by Friday 16^th March 2018. The conference will take place in 19-20 June 2018. *

*Keynote Speakers:*

*Floya Anthias, Marion Dalibert, Eric Fassin, Abdellali Hajjat, Olivier Le Cour Grandmaison, Eric Macé, Narzanin Massoumi and Sarah Mazouz***

*Organising Committee:*

Simon Dawes ​(CHCSC, Université de Versailles Saint-Quentin-en-Yvelines, Paris Saclay, France)

Marion Dalibert (GERiiCO, Université Lille 3, France)

Eric Fassin (LEGS, CNRS / Université Paris-8 / Université Paris-Ouest, France)

Des Freedman (Goldsmiths, University of London, Royaume Uni)

Claire Gallien (IRCL, Université Paul Valéry, Montpellier, and CNRS, France / Columbia University, États-Unis)

Lise Guilhamon ​(CHCSC, Université de Versailles Saint-Quentin-en-Yvelines, Paris Saclay, France)

Abdellali Hajjat (ISP, CNRS / Université Paris-Ouest, Nanterre, Paris Saclay, France)

Claire Joubert (TransCrit (EA 1569), Université Paris 8, France)

Gholam Khiabany (Goldsmiths, University of London, Royaume Uni)

Olivier Le Cour Grandmaison (CRLD, Université d'Evry-Val d'Essonne, Paris Saclay, France)

Nadia Marzouki (CNRS, France)

Sarah Mazouz (Institut für europäische Ethnologie, Humboldt Universität zu Berlin, Allemagne)

Tom Mills (Aston University)

Marwan Mohammed (ERIS du CMH, CNRS, France)

Aurélien Mondon (University of Bath, Royaume Uni)

Géraldine Poels (CHCSC, Paris Saclay et Institut National Audiovisuel, France)

François Robinet ​(CHCSC, Université de Versailles Saint-Quentin-en-Yvelines, Paris Saclay, France)

Gavan Titley (Maynooth University, Irlande / Helsinki University, Finlande)

*Sponsors:*

Centre d’histoire culturelle des sociétés contemporaines (CHCSC), Université de Versailles Saint-Quentin-en-Yvelines (UVSQ), Paris Saclay

Centre for Global Media and Democracy, Goldsmiths, University of London, Royaume Uni

Institut des sciences sociales du politique (ISP, UMR 7220), Université Paris-Ouest Nanterre, Paris Saclay

« Mondialités Islamiques: Interfaces Francophones/Anglophones et Décolonialités » research programme: l’Institut de Recherche sur la Renaissance, l’âge Classique et les Lumières (IRCL, UMR 5186), Université Paul-Valéry Montpellier III et l’Université Paris 8

"Poétique de l'étranger", TransCrit (EA 1569), Université Paris 8

RTP « Islams et Chercheurs dans la Cité », EHESS

*References:*

Alicino, F. (2015) ‘Freedom of Expression, Laïcité and Islam in France: The Tension between Two Different (Universal) Perspectives’, /Islam and Christian–Muslim Relations/, DOI: 10.1080/09596410.2015.1090105**

Anthias, F. (2012) ‘Hierarchies of social location, class and intersectionality: Towards a translocational frame’, /International Sociology/, Vol 28, Issue 1, pp. 121 - 138

Badouard, R. (2016) ‘‘Je ne suis pas Charlie’: Pluralité des prises de parole sur le web et les réseaux sociaux’ in P. Lefébure and C. Sécail (eds.) Le défi Charlie: Les médias à l’épreuve des attentats. Paris: Lemieux Éditeur.

Balibar, E. (2007) ‘Uprising in the Banlieus’, /Constellations/ 14(1):47-71.

Bancel, N., Pascal Blanchard, Ahmed Boubeker (2015) /Le Grand repli/. Paris, La Découverte.

Bouyahia, M. et Sana, M.E. dir. (2013), /Polysémie du voile : Politiques et mobilisations postcoloniales/. Paris : Éditions des Archives Contemporaines.

Cervulle, M. (2013) /Dans le blanc des yeux. Diversité, racisme et médias/. Paris, Amsterdam.

Commission Islam et Laïcité (2006) /Islam, médias et opinions publiques : Déconstruire le « choc des civilisations »./ Paris, L’Harmattan.

Deltombe, T. (2005) /L’Islam imaginaire. La construction médiatique de l’islamophobie en France, 1975-2005./ Paris, La Découverte.

Dubet, F., Cousin, O., Macé, E., Rui, S. (2013) /Pourquoi moi ? L'expérience des discriminations/, Paris, Seuil, 384 p., ISBN : 978-2-02-109741-2.

Du Bois, W. E. B. (1994) /The Souls of Black Folk/. New York: Dover Publications.

Dawes, S. (2015) ‘Charlie Hebdo, Free Speech and Counter-Speech’, /Sociological Research Online/, 20(3).

Delphy, C. (2008) /Classer, dominer : Qui sont les « autres » ?/ Paris : La Fabriques Editions.

Fanon, F. (1967) /Black Skin, White Masks/. New York: Grove Press.

Fassin, D. ( 2011) /La force de l’ordre: Une anthropologie de la police des quartiers/. Paris : Seuil.

Fassin, D. & Fassin, E. eds. (2006) /De la question sociale à la question raciale? Représenter la société française/. Paris : La Découverte.

Fernando, M.L. (2014) /The Republic Unsettled: Muslim French and the Contradictions of Secularism/. Durham and London: Duke University Press.

Gilroy, P. (1987) /There Ain’t No Black in the Union Jack. The Cultural Politics of Race and Nation/. London: Routledge.

Göle, N. (2015) /Musulmans au quotidien : Une enquête européenne sur les controverses autour de l’Islam/. Paris : La Découverte.

Hajjat, A. & Mohammed, M. (2013) /Islamophobie: Comment les élites françaises fabriquent le « problème musulman »/. Paris : La Découverte.

Hall, S., Critcher, C., Jefferson, T., Clarke, J., Roberts, B. (1978) /Policing the Crisis. Mugging, the State and Law and Order/. London: Macmillan.

Hepp, A., Stig Hjarvard and Knut Lundby (2015) ‘Mediatization: theorizing the interplay between media, culture and society’, /Media, Culture & Society/, 0163443715573835, first published on February 17, 2015

Hjarvard, S. (2008) ‘The Mediatization of Society. A Theory of the Media as Agents of Social and Cultural Change,’ /Nordicom Review/ 29(2): 105–134.

Keaton, T.D. (2006) /Muslim girls and the other France: Race, identity politics and social exclusion/. Bloomington: Indiana University Press.

Lentin, A. and Titley, G. (2011) /The Crises of Multiculturalism: Racism in a Neoliberal Age/. New York: Zed Books.

Liogier, R. (2016) /Le mythe de l’islamisation. Essai sur une obsession collective/. Paris, Seuil.

Macé, E. (2009) « Mesurer les effets de l'ethnoracialisation dans les programmes de télévision : limites et appports de l'approche quantitative de la 'diversité' », /Réseaux/, n°157-158, 2009, p. 235-265

Massoumi, N. (2015) /Muslim women, Social Movements and the 'War on Terror'/. Basingstoke: Palgrave Macmillan.

Massoumi, N., Tom Mills & David Miller (eds.) (2017) /What is Islamophobia ? Racism, Social Movements and the State/. London, Pluto Press.

Mazouz, S. (2017) /La République et ses autres : Politiques de l’altérité dans la France des années 2000/. Lyon : ENS Editions.

Miles, R. (1989) /Racism/. London: Routledge.

Modood T. & Webner P. eds. (1997) /The Politics of Multiculturalism in the New Europe/, London, Zed Books

Murji, K. and Solomos, J. eds. (2005) /Racialization: studies in theory and practice/. Oxford, UK: Oxford University Press.

Petley, J. & Richardson, R. (2011) /Pointing the Finger. Islam and Muslims in the British Media/. Oxford: Oneworld Publications.

Poinsot, M. et Weber, S. (2014) /Migrations et mutations de la société française, l'état des savoirs/. Paris : La Decouverte.

Poole, E. & Richardson, J. eds. (2006) /Muslims and the News Media/. London: I.B. Taurus.

Rabah, S. (1998) /L’Islam dans le discours médiatique. Comment les médias se représentent l’Islam en France/. Beyrouth : Al-Bouraq.

Roy, O. (2013) /La laïcité face à l’Islam/. Paris. Editions Pluriel.

Said, E. (1997) /Covering Islam: How the Media and the Experts Determine How We See the Rest of the World (Fully Revised Edition)./ London: Vintage

Sayyid, S. & Abdoolkarim Vakil (2009) /Thinking Through Islamophobia: Global Perspectives/. New York: Columbia University Press.

Sian, K, Ian Law and S. Sayyid (2013) /Racism, Governance, and Public Policy: Beyond Human Rights/. Routledge Advances in Sociology.

Simon P. (2008) « Les statistiques, les sciences sociales françaises et les rapports sociaux ethniques et de « race » », Revue française de sociologie 2008/1, Volume 49, p. 153-162.

Strömbäck J. and Esser F. (2014) ‘Introduction: making sense of the mediatization of politics’, /Journalism Studies/ 15(3): 243–255.

Tevanian, P. (2005) /Le voile médiatique: Un faux débat: « L’affaire du foulard islamique »./ Paris : Raisons d’agir.

Tevanian, P. (2006) /Islam & Laïcité: Islam, medias et opinions publiques. //Déconstruire les chocs de civilisations/. Paris. L’Harmattan.

Titley, G., Des Freedman, Gholam Khiabany & Aurélien Mondon (2017) /After Charlie Hebdo: Terror, Racism and Free Speech/, Zed Books.

Wacquant, L. (2009) /Punishing the poor: The neoliberal government of social insecurity/. Durham, NC: Duke University Press.

Zerouala, F. (2015) /Des voix derrière le voile/. Premier Parallèle.
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2nd International Media Literacy Research Symposium in Lisbon, Portugal (April 19-20, 2018)


Registration Is Open!

Follow this link to register: https://medialiteracyresearchsymposium.wordpress.com/

*Keynote Plenary Speakers:

/*Paul Mihailidis- */Principle Investigator and Co-Director of the Engagement Lab and Associate Professor in the School of Communication at Emerson College. His research explores the nexus of media literacy, young people and engagement in civic life. He is the Director of the Salzburg Academy on Media & Global Change, a program that annually gathers scholars and students from around the world to investigate media and global citizenship.

*/Nico Carpentier/*-Professor at the Department of Informatics & Media of Uppsala University. Additionally, he holds two part-time positions: Associate Professor at the Communication Studies Department of the Vrije Universiteit Brussel (VUB) and Docent at Charles University in Prague. He is a Research Fellow at Loughborough University and Cyprus University of Technology. He is an executive board member of the International Association for Media and Communication Research (IAMCR).

*Join researchers from all over the world to discuss research trends and work in the following areas:

* Media Literacy: Past, Present, and Future
* Civic Media Literacy and Participatory Culture
* Education: Digital Citizenship, Social Networking, Policy and Training


*Registration Costs: 100€ (Euros) for academics/researchers/educators & students.
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CFP: (MADRID) International Conference, Cinema, TV and Popular Culture in the 1990s: Spain-Latin America

The group Tecmerin (Universidad Carlos III de Madrid), within the Research Project "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global"(CSO2016-78354-P), organizes de International Conference “Cinema, TV and Popular Culture in the 1990s: Spain-Latin America” on October 17th, 18th and 19th, 2018 (5th Tecmerin Academic Encounter).

The 1990s are the beginning of a new historical cycle in which the hegemonic growth of a series of neoliberal ideas takes place. Simultaneously, the symbolic disappearance of the Berlin frontier-wall occurs. In addition, it is a key period in the reconfiguration of culture in different areas. The audiovisual sector—both cinema and television—was no exception. One could even argue that contemporary Spanish and Latin American production stems, to a great extent, from the several industrial, cultural and aesthetic processes that crystallized during this period.Likewise, it is a crucial moment in the establishment of a series of connections between Spain and Latin America in terms of audiovisual production. There is an attempt to re-evaluate the role of a series of cultural agents, tracing, potentially, new platforms of exchange.

From a cultural and social viewpoint, the 500th anniversary of the encounter between Europe and America channels Spain’s greatest effort to work collectively in a variety of identity policies.After the consolidation of democracy, several international institutions legitimize the achievements of the Spanish Transition model and foster the celebration of top-notch cultural and sports macro-events, grouped around the commemorative 1992 date (the Barcelona Olympics, Seville’s Universal Expo, Madrid as European Cultural Capital). During those days, a series of important meetings and political agreements take place in Spain as well, such as the 1991 Peace Conference, or the creation of new tools to strengthen the Ibero-American community with a variety of cultural exchange and cooperation initiatives (the second Ibero-American Summitof “Chiefs of State and Government”, in 1992, takes place in Madrid).Nonetheless, these inclusion policies suffer from notable limitations, in the sense that they avoid establishing productive exchanges with discrepant sectors and opinions within the cultural, social and political fields.

During this period, Spain’s incorporation to the European Union (the ECC) turns into an immediate economic boost and the implementation of a series of liberalization policies. These international processes had unprecedented effects in a country, Spain, which was attempting to establish itself as the bridge between Europe and Latin America. Part of this accrued capital gets to local, regional and national governments, which, driven by their access to the riches of economic globalization, use this money (following a European pattern) in the creation of a series of cultural infrastructures and the financing of projects for new cultural consumers, a phenomenon that French author Marc Fumaroli has called the emergence of a “cultural State”. This well-known process—widely recognized today—started in Spain around the symbolic 1992 date. In Latin America, newborn democracies start also de-regulating and privatizing policies that will have a great impact in the development of the audiovisual sector.

From the on, cultural production would combine the modern logic of a personal style with production models that belong to an increasingly complex and multimedia industrial sector, bound by transnational synergies. There are, therefore, major changes in terms of production and consumption practices. In Spain, in the years prior to 1992, there are a series of mutations that point to the fact that the country is leaving behind certain artistic canons and modes of cultural production, entering thus a new phase. In cinema, there are several legislative modifications that attempt to supersede the limitations of the so-called Miró law, which championed projects according to a series of “quality” criteria, disregarding box-office results; in literature, as it happens with the cinema, a new generation of authors, where women figure prominently, come to the fore, and become central referents within the public sphere; in television, the arrival of private channels in 1990 drastically alters the audiovisual panorama; in music, the emerging bands of the 1980s have become mainstream and a new wave of creators, mobilizing other artistic practices such as comic books and B cinema, challenge the /statu quo/ with conceptual works close to a DIY (‘do it yourself’) ethos, molding a new scene typically labeled as ‘indie’; in the visual arts, new contemporary museums and international fairs such as ARCO are born; in addition, there are dozens of exhibitions that encourage the Spanish population to catch up with international artistic trends, creating a transnational logic of circulation and exhibition linked to other European cultural events and the wider international panorama. Similarly, transformations can also be detected within Latin America during this decade, which will, for example, catapult in the last stages of the 1990s the emergence of renowned filmmakers such as Walter Salles, Alfonso Cuarón, Guillermo del Toro, Lucrecia Martel, Pablo Trapero, Carla Camurati or Juan José Campanella, among others.

We consider, therefore, necessary to approach this period from an analytical viewpoint, putting special emphasis in the Spanish cultural production, and the multiple cultural connections between Spain and Latin America.

We are especially interested in the following areas of analysis, although we invite scholars to propose other fields of study:

- Transformations in the 1990s film panorama.

-The rebirth of national television fiction.

-Film and television co-productions between Spain and Latin America.

-Legislative changes within the 1990s Spanish and Latin American audiovisual sector.

-La Ruta del Bakalao: History and Evolution

-New music approaches during the 1990s: the “indie” generation.

-The festivalization of Spanish culture: from the FIB to the Sónar or Primavera Sound.

-The EU and 1990s cultural production.

-Globalization, identity and the celebration of macro-events.

-The arrival of private and pay television in Spain and its effects on the audiovisual panorama.

-Regional television models.

-“Star System” and representations of the “Hispanic”.

- Critical approaches from the margins in relation to the 1990s in Spain and/or Latin America.

-Contemporary approaches to the 1990s in film and television.



*Key Note Speakers:*

Robert Stam, New York University

Sabine Schlickers, Universität Bremen

Duncan Wheeler, University of Leeds


Proposals:

The official languages of the conference are both English and Spanish. Scholars and researchers may submit two kinds of proposals:

Individual: Send a paper title, 300-word abstract and a 100-word bio.

Pre-constituted panels (3 or 4 speakers): Send a panel title, 300-word abstracts and 100-word bios for each paper and author.

Send all proposals through the conference’s website:

*http://congreso92.uc3m.es/


Please direct any questions to the following email:

*congreso92@uc3m.es <mailto:congreso92@uc3m.es>*

Proposals Deadline: June 15th 2018. 

*Price:


*The cost of the conference is 75 euros for researchers and university professors and 30 euros for postgraduate students.

**

*Payment may be done once a proposal has been accepted until the first day of the conference through an online registration platform that will be available after the proposals evaluation period.***

Proyecto I+D+i "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global" (CSO2016-78354-P), Ministerio de Economía, Industria y Competitividad. Gobierno de España)**



*CFP Congreso Internacional, Cine, TV, y Cultura Popular en los 90: España-Latinoamérica*
**

El Grupo Tecmerin de la Universidad Carlos III de Madrid, en el marco del Proyecto "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global"(CSO2016-78354-P), organiza el Congreso Internacional “*Cine, TV, y cultura popular en los 90: España-Latinoamérica*” los días 17, 18 y 19 de Octubre, 2018 (V Encuentro Académico Tecmerin).

**

Los años noventa del siglo XX, que inauguran un nuevo ciclo histórico tras la paulatina hegemonía de las concepciones neoliberales y la simbólica desaparición de la frontera-muro de Berlín, constituyen un momento clave en la reconfiguración de la cultura en diversos ámbitos, y el audiovisual—tanto el cine como la televisión—no fue una excepción. Se puede incluso argumentar como hipótesis que la actual producción cultural española y latinoamericana es en gran medida heredera directa de varios de los procesos industriales, culturales y estéticos que cristalizaron en este periodo. De igual modo, es un momento en el que se establecen una serie de conexiones con la producción audiovisual entre España y Latinoamérica con el fin de re-evaluar los vínculos con los diferentes agentes culturales en este continente y trazar, potencialmente, nuevas plataformas de intercambio.

**

Desde un punto de vista social y cultural, el aniversario de los 500 años del encuentro entre Europa y América canaliza el mayor esfuerzo realizado en España para trabajar colectivamente con políticas de identidad. Consolidada la democracia, las instituciones internacionales legitiman los logros del modelo transicional español y apuestan por la celebración de macro-eventos culturales y deportivos de gran relieve, que se agrupan en torno a la fecha conmemorativa de 1992 (Juegos Olímpicos en Barcelona, Expo Universal en Sevilla, Madrid Capital europea de la cultura). Por aquellos días, también tienen lugar en España importantes encuentros y acuerdos políticos, como la Conferencia de Paz de 1991, o la creación de nuevos cauces para consolidar una comunidad iberoamericana, a partir de iniciativas de intercambio cultural y de cooperación (la segunda Cumbre Iberoamericana de “Jefes de Estado y de Gobierno”, correspondiente a 1992, tiene lugar en Madrid). Sin embargo, estas políticas de inclusión adolecen de notables limitaciones, en la medida en que soslayan el diálogo con sectores y corrientes discrepantes con el proyecto en material cultural, social y política.

Durante este periodo, la incorporación de España a la Unión Europea (entonces CEE) setraduce en la inyección de un significativo volumen de ayudas económicas y la puesta en marcha de políticas de liberalización. Estos procesos internacionales tuvieron efectos sin precedentes en una España que busca su lugar en el mundo como puente entre los países latinoamericanos y Europa. Una parte del capital acumulado que llega a los gobiernos locales, regionales y nacionales — catapultados por su acceso a las riquezas de la globalización económica—, se canaliza, siguiendo el patrón europeo, en la construcción de infraestructuras y en la financiación de proyectos para nuevos consumidores culturales, fenómeno que el ensayista francés Marc Fumaroli explica como el de la emergencia de un “Estado cultural”. Este bien conocido proceso arranca precisamente en España en torno a la fecha simbólica de 1992. En Latinoamérica, las recién nacidas democracias emprenden también políticas desreguladoras y privatizadoras que repercutirán sin duda en los modelos de desarrollo del sector audiovisual.

La producción cultural combinaría a partir de aquí la lógica moderna del estilo personal con modelos de producción que responden a una industria cada vez más compleja, multimedia y sujeta a sinergias trasnacionales, al tiempo que se evidencian cambios de calado en la relación entre prácticas culturales y formas de producción y consumo. En España es fácil observar que en los años previos a 1992 se están abonando cambios que hacen pensar que en el país se dejaban atrás determinados cánones artísticos y relaciones de la economía cultural para entrar en una nueva fase. En cine se producen modificaciones legislativas que intentan superar las limitaciones de la conocida como ‘Ley Miró’, que abogaba por una producción más interesada por lacalidad y menos por otras variables relacionadas con la taquilla; en literatura, al igual que en cine, aparece una generación de jóvenes autores, y sobre todo de nuevas autoras, que van a convertirse en la referencia central en el espacio público; en televisión la llegada de la competencia entre emisoras públicas y privadas a partir de 1990, van a modificar drásticamente el panorama audiovisual español; en música, por una parte, las bandas emergentes de los años 80 son ya /mainstream/ y una nueva ola de creadores vinculados a otras prácticas artísticas, como el cómic y el cine de serie B, desafían al /statu quo/ con trabajos conceptuales cercanos al DIY (‘do it yourself’), moldeando una nueva escena típicamente denominada ‘indie’; en las artes visuales se crean museos de artes contemporáneos y ferias internaciones como ARCO, y proliferan exposiciones que ponen al día a los españoles, creando una lógica de circulación y exhibición vinculadas cada vez más a otros países europeos y el panorama internacional más amplio. Similares transformaciones pueden observarse de manera paralela en el horizonte latinoamericano a lo largo de la década, que influirán, por ejemplo, en el ámbito cinematográfico, en la trayectoria de realizadores como Walter Salles, Alfonso Cuarón, Guillermo del Toro, Lucrecia Martel, Pablo Trapero, Carla Camurati o Juan José Campanella, entre otros.

Consideramos, por tanto, oportuno abordar este periodo desde un punto de vista analítico, poniendo especial énfasis tanto en la producción dentro de España como las múltiples conexiones culturales entre España y Latinoamérica.

Se proponen las siguientes áreas de análisis, aunque se invita a los ponentes a abordar otras temáticas:

- Transformaciones en el panorama cinematográfico de los años 90

-El renacimiento de las ficciones televisivas nacionales.

-Co-producciones cinematográficas y/o televisivas entre España y países latinoamericanos.

-Cambios legislativos en el audiovisual español y latinoamericano durante los años 90.

-La Ruta del Bakalao: Historia y Evolución

-Nuevas propuestas musicales a comienzos de los 90: la generación “indie”.

- La festivalización musical de la cultura española: del FIB al Sónar o Primavera Sound.

-La EU y la producción cultural de los 90.

-Globalización, identidad y celebración de macroeventos

-El surgimiento de los canales de televisión privada y de pago en España y sus efectos en el panorama audiovisual.

-Modelos de televisión regional.

-“Star System” y representaciones de lo “hispano”.

-Propuestas críticas desde los márgenes del audiovisual en relación a este periodo histórico en España y/o Latinoamérica.

-Re-lecturas de los 90 desde el cine y/o la televisión contemporánea.

*Ponentes invitados:*

**

Robert Stam, New York University

Sabine Schlickers, Universität Bremen

Duncan Wheeler, University of Leeds

*Presentación de propuestas:*

Invitamos a realizar ponencias tanto en inglés como en español. Se podrán presentar dos tipos de propuestas:

*Individual*: Se solicita a los autores que envíen en sus propuestas un *resumen **con una extensión máxima de 300 palabras* y una breve *bio **de 100 palabras*. **

**

*Mesas pre-constituidas (3 ó 4 ponentes): **Se deberá incluir el **resumen**con una extensión máxima de 300 palabras y una **bio**de 100 palabras para cada uno de los autores así como el **título**de la mesa propuesta.*

**

El envío de propuestas se realizará en la página web del congreso:

*http://congreso92.uc3m.es/

Dirijan cualquier pregunta al siguiente email:

*congreso92@uc3m.es <mailto:congreso92@uc3m.es>*

El plazo para el envío de propuestas finalizará el 15 de Junio de 2018. 
**

*Precio:

El pago por la inscripción en el congreso será de 75 euros para profesores e investigadores y de 30 euros para estudiantes de posgrado. Dicho pago podrá hacerse efectivo una vez se haya confirmado la aceptación de la propuesta, hasta la inauguración del congreso, a través de la plataforma de inscripción que estará disponible tras la evaluación de resúmenes en junio de 2018.

Proyecto I+D+i "Cine y televisión en España 1986-1995: modernidad y emergencia de la cultura global" (CSO2016-78354-P, Ministerio de Economía, Industria y Competitividad. Gobierno de España)

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CFP: Histories and New Directions: Soap Opera/Serial Narrative Research

With the invention of radio, the stories that we heard came to us through the airwaves. In the past, audiences tuned in to listen to their favorite shows, including soap operas/serialized narratives. With the advertisers’ support (mainly soap and detergent companies in the US context), radio channels produced and aired serial dramas regularly. When the last radio serial exited the media landscape in 1960, daytime serials, widely known as soap operas, were already established as part of popular television programming. Despite the prediction that television soap operas would fail, over the years, television serials proved to be among the most successful and profitable programs in the US, the UK, and Australia as well as in non-English speaking countries.

Television as a popular media form is now competing with other media, such as web, social network sites, video games, comics and manga and mobile communication forms. These cultural changes are influencing different television genres, including soap operas and other serial narratives. There is a strong relationship between the nature of storylines and how they are told and the success of a serial narratives or soap operas or how they are received by the audience. Understanding the reasons behind the genre’s popularity or decline in some cases is important to determine its future directions.

The many intriguing intersections and overlappings of past, present, and future of serial narratives and soap operas lack the scholarly attention they deserve. We invite papers that would reflect on the past, present, future of seriality, television serial narrative, and soap opera.

We invite proposals for papers for a special dossier on soaps/serial narrative research for the /Journal of Popular Television/. Please send your abstracts and a short bio to Ahmet Atay aatay@wooster.edu and Kristyn Gorton at kristyn.gorton@york.ac.uk by 31st January, 2018.
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7ª conferência internacional de cinema de viana
A Conferência Internacional de Cinema de Viana é um espaço de reflexão e de partilha de experiências visando a construção de uma comunidade internacional de interesses e de divulgação de projetos relacionados com duas temáticas centrais do cinema – cinema e escola e cinema, arte, ciência e cultura.

Calendarização para apresentação de comunicações:
Inscrição para envio de resumos: até 25 de fevereiro.
Comunicação de aceitação de resumos: até 10 de março.
Envio de comunicações e pagamento (conferencistas): até 14 de abril.
Inscrição e pagamento (participantes): até 14 de abril.


+ info: http://www.ao-norte.com/encontros/2018/conferenciacinema.php

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I International Congress on Colonial and Post-colonial Landscapes: Architecture, Cities, Infrastructures
This congress seeks to bring to the knowledge of the scientific community the dynamics of occupation of colonial territory, especially those involving agents related to architecture and urbanism and its repercussions in the same territories as independent countries.

It is hoped to address issues such as how colonial infrastructure has conditioned the current development models of the new countries or what options taken by colonial administrations have been abandoned or otherwise strengthened after independence.

The congress is part of the ongoing research project entitled "Coast to Coast - Late Portuguese Infrastructural Development in Continental Africa (Angola and Mozambique): Critical and Historical Analysis and Postcolonial Assessment" funded by ‘Fundação para a Ciência e Tecnologia’ (FCT - Foundation for Science and Technology), which has as partner the Calouste Gulbenkian Foundation (FCG).

The aim of this congress is to extend the debate on the repercussions of the decisions taken by the colonial states in the area of ​​territorial infrastructures - in particular through the disciplines of architecture and urbanism - in post-independence development models and the formation of new countries with colonial past.


+ info: https://www.colonialandpostcoloniallandscapes.com/

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