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 VII AIM Annual Meeting will take place at University of Minho (Braga), from 10 to 13 May 2017. Please also visit Aniki : Portuguese Journal of the Moving Image, AIM's cientific journal.
[Know more] [Join AIM]

News


Enterface'17 - Universidade Católica Portuguesa - Porto



O Enterface'17 (13th International Summer Workshop on Multimodal Interface), decorrerá entre 3 e 28 de Julho na Universidade Católica Portuguesa, Porto. Serão vários os workshops grátis para investigadores e muitos ainda estão a aceitar propostas para participação!

Visite o site do evento: http://artes.ucp.pt/enterface17/

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Workshops Festival de Cinema de Avanca 2017
OFICINAS DE CRIAÇÃO FÍLMICA 2017 | CREATIVE FILM WORKSHOPS 2017
Um espaço de WORKSHOPS onde se filma, onde se troca e praticam ideias.
Um espaço para terminar filmes, para fazer RESET e iniciar novos e grandes projetos!
Cineastas e futuros cineastas num embate de ideias e filmes no AVANCA 2017.

Durante 5 dias, CINEASTAS vindos de todos os lados filmam e produzem um filme nas ruas, nos campos e com as pessoas de Avanca.
Um embate de criatividade, de experimentação fílmica, de explosão narrativa, de apuro técnico.
Participar nos CREATIVE FILM WORKSHOPS é integrar uma equipa de cinema inesperada e produzir um filme para o grande ecrã dos cinemas.
Filmes que o AVANCA 2017 se irá encarregar de distribuir por todo o mundo, com parceiros dos 5 continentes.
Ficção, animação, documentário, em filmes sem limite de tempo e produzidos por equipas onde se misturam todas as nacionalidades.
Para participar nos CREATIVE FILM WORKSHOPS basta escolher um projeto, sugerir uma ideia ou sinopse para um possível filme e preencher a ficha de inscrição.

OS TUTORES
Cineastas premiados são os tutores das equipas, apoiando, com a sua experiência, cada um dos filmes em produção.
(No primeiro dia, os tutores mostram também a sua obra e o porquê do que fazem e como. Um momento de inspiração e de excelência...)

OS PROJETOS
PROJETO 1 – FILMAR FICÇÃO OU DOCUMENTÁRIO
Espaço para explorar ideias, preparar e até realizar um novo filme.
Jessica Rodríguez (Cuba)
Laurent Van Lancker (Bélgica)
Chris Raiber (Áustria)
Dalia Abuzeid (Jordânia)
Luís Margalhau (Portugal)

PROJETO 2 – OFICINA DE GUIÃO
Desenvolver a escrita de um projeto audiovisual.
(Pré-requisito para participação – ter um argumento/sinopse de um projeto de curta ou longa, ficção ou documentário)
Marcia Paraiso (Brasil)

PROJETO 3 – TÉCNICAS DE ILUMINAÇÃO PARA CINEMATOGRAFIA DIGITAL
Oficina voltada para fotógrafos, videastas, iluminadores e amantes da fotografia e cinema.
Prática de iluminação baseado em cenas da cinematografia clássica mundial.
Ralf Tambke (Brasil)

PROJETO 4 – NA TRINCHEIRA DO CINEMA DE ANIMAÇÃO
Integrar uma equipa e desenvolver um novo projeto de cinema de animação.
Janice Nadeau (Canadá)
Arly Jones (Espanha)
Sami Natsheh (Espanha)

APOIO ESPECIALIZADO
As equipas terão, ainda, apoio especializado de alguns dos melhores profissionais do cinema português.

PROGRAMA DAS OFICINAS DE CRIAÇÃO FÍLMICA
Dia 26 (quarta-feira) 18h - Apresentação das equipas
Dia 27 (quinta-feira); Dia 28 (sexta-feira); Dia 29 (sábado)
9h30 às 17h30 - "Masterclass" com os tutores da sua equipa, início da produção, visita de locais de filmagem e escolha de atores.
Preparação, filmagens e montagem.
Dia 30 (domingo) Manhã - Apresentação de cenas dos filmes produzidos.

A INSCRIÇÃO
até 10 de julho: 50 euros | após 10 de julho: 60 euros

Inclui: pequenos almoços; jantar inaugural; almoço final; documentação; sessões do festival; possibilidade de acampar sem custos.

OFICINAS DE CRIAÇÃO FÍLMICA | CREATIVE FILM WORKSHOPS
Um desafio | Uma oportunidade | Um debate de ideias | Uma experiência profissional
AVANCA 2017, um encontro e um festival que comemora a 21ª edição a exibir e a apoiar o ato criativo de cineastas de todo o mundo.
Um mundo mais próximo, porque se encontra todos os anos em julho, em AVANCA.

Contactos para informações e inscrições:
AVANCA 2017
Cine-Clube de Avanca
Tel. 234880658 Telem.966190163
ccavanca@gmail.com | www.avanca.com
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CFP: II IntermIdia Conference


CALL FOR PAPERS (DEADLINE: 30^TH JUNE 2017)

We welcome submissions for the II IntermIdia Conference:

THE MOVING FORM OF FILM:

EXPLORING INTERMEDIALITY AS A HISTORIOGRAPHIC METHOD

6-8 November 2017, University of Reading, UK

As part of the AHRC/FAPESP-funded IntermIdia Project (www.reading.ac.uk/intermidia), led by investigators from the University of Reading (UoR), UK, and the Federal University of São Carlos (UFSCar), Brazil, this international conference seeks to invite discussion of intermediality as a historiographic method.

Conference Convenor: Prof Lúcia Nagib

UoR Investigators: Prof Lúcia Nagib (PI); Alison Butler (Co-I); Prof John Gibbs (Co-I); Dr Lisa Purse (Co-I); Dr Albert Elduque (PDRA); Dr Stefan Solomon (PDRA).

UFSCar Investigators: Dr Luciana Corrêa de Araújo (PI); Dr Flávia Cesarino Costa (Co-I); Dr Samuel Paiva (Co-I); Dr Suzana Reck Miranda (Co-I); Dr Margarida Adamatti (PDRA).

Administrator: Richard McKay.

CONFIRMED GUEST SPEAKERS

Keynote Speakers:

- Alain Badiou – French philosopher, former Chair of Philosophy, Université de Paris VIII

- Luciana Corrêa de Araújo – Professor of Film Studies, Universidade Federal de São Carlos

- Robert Stam – University Professor of Cinema Studies, New York University

- Ismail Xavier – Professor of Film Studies, University of São Paulo

Plenary Speakers:

- Ágnes Pethő – Professor of Film Studies, Sapientia Hungarian University of Transylvania in Cluj-Napoca

- Lisa Shaw – Reader in Portuguese and Brazilian Studies, University of Liverpool

Opening Conference Screening and Guest Speakers:

Screening of Dong (2006, 66 minutes), documentary directed by China’s greatest filmmaker Jia Zhangke on the celebrated painter Liu Xiaodong.

Post-screening discussion with:

- Jia Zhangke (tbc)

- Cecília Mello – Lecturer in Film Studies, University of São Paulo

- Jean-Michel Frodon – Former editor of the Cahiers du Cinéma, current Professorial Fellow in Film Studies and Creative Industries at the University of St. Andrews

*

From its birth, the film medium has fuelled debates around its possible specificity versus its obvious connections with other arts and media. In recent days, with the advent of digital technologies that trigger and depend on media convergence, it has become indisputable that film is inherently intermedial, giving scope for reconsidering film history in light of the medium’s moving, all- encompassing form. As Alain Badiou summarises, it is impossible to think cinema outside of a general space made of its connections to the other arts. He says: ‘Cinema is the seventh art in a very particular sense. It does not add itself to the other six while remaining on the same level as them. Rather, it implies them – cinema is the “plus-one” of the arts. It operates on the other arts, using them as its starting point, in a movement that subtracts them from themselves’ (2005: 79). This conference will build on such an understanding by investigating the ways in which intermediality, rather than obstructing, enhances film’s artistic endeavour. More pointedly, it will ask: how can intermediality help us to understand the history of cinema as a whole?

Broadly speaking, ‘intermediality’ refers to the interbreeding of artistic and technical medial forms. The uses of the term hark back to the 1960s and Higgins (1966; 1981), who applied it to an array of countercultural artistic phenomena of the time. Through the years, the concept has evolved to encompass an ‘inflation’ of definitions (Pethö 2010), which concur in the celebration of ‘hybridisation’, ‘transnationalism’, ‘multiculturalism’ and cross-fertilisations of all sorts. As for cinema, intermediality has gained prominence among other more established approaches, such as comparative, intertextual, adaptation and genre-based studies, for its wider premise that keeps the interrogation into the properties of the medium constantly on the critic’s horizon (Rajewsky 2010). This conference will look at medial interstices, intercultural encounters and creative clashes where the specificities of cinema are questioned and re-fertilised into new forms. Its ultimate aim will be to stimulate an overarching exploration of and theorising on the uses of intermediality as a historiographic method.

We welcome proposals which explore the following issues, with particular emphasis on histories and historiographies of cinema and the film medium:

Intermediality and historiography;

Intermediality and the history(ies) of cinema

Intermedial and intercultural encounters;

Intermediality as hybridity;

National cinema(s) and intermediality;

Experimental cinema and intermediality;

Early Cinema and intermediality;

Multi-mediality in New Cinemas;

Border-crossings in genres and genders;

Intermediality and new technologies;

Comparative medial approaches across regional, national and transnational cinemas.

SUBMISSION GUIDELINES

All proposals should be on subjects relevant to the objectives of the conference, as described above. Proposals must be submitted in English. Please submit your title, abstract (max. 300 words), short bio (max. 150 words), e-mail address and institutional affiliation.

For pre-constituted panels (between 3 and 4 participants), please follow guidelines above, appoint a panel chair and add a panel title and description of max. 200 words.

Proposals should be submitted by e-mail to intermidia@reading.ac.uk . Deadline for submissions is Friday 30 June 2017. Please use the same e-mail address for general information.

Notification of accepted proposals will be given by Monday 31 July 2017.

Details of the registration fee, the conference programme, and the registration process will be announced shortly thereafter on the IntermIdia Project website: http://www.reading.ac.uk/intermidia/

Support: AHRC, FAPESP, University of Reading.
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CFP: ECREA Television Studies Conference 2017. "The Future of European Television: Between Transnationalism and Euroscepticism"



15^th -17^th November 2017

University of Málaga (Spain)

Deadline 7^th July 2017



In recent years Television in Europe has become more and more transnational as the increasing number of European co-productions shows. These tendencies are now challenged by the recent developments of a political climate of anti-Europeanism and neo-nationalism in Europe such as the Brexit as well as by a new protectionism in the USA that could affect European media ecology. This section interim conference will focus on the current political developments, transformations, challenges and risks that impact on the future of television, its creative processes, contents and its reception in Europe.

Just as Europe as a continent, regarding its political construction and common project, lives in a time of changes, threats and tensions, Television also experiences deep transformations. It stages new requirements for academic research: How can we approach Television past, present and future in Europe in the face of this new paradigm of change and even Euroscepticism? How does the current development impact not only ways of production but also ways of viewing and reception? What is the political and cultural role of Television through its live events broadcasting, TV journalism, fictions or shows, within the dynamics of social and political change? Will it be possible in the future to refer to "European television" as a concrete concept?In this landscape of globalization, digitalization, media convergence, streaming platforms, post-networks Era, transmedia productions and social media interactions could be weakened or reinforced the idea of an identifiable, common and shared cultural pattern around European Television?

Among others, papers addressing on comparative studies of Television, international researches on the new modes of distribution and consumption or on Television as an agent of European cultural cooperation and understanding will be welcomed, as others related to other challenges of European Television, including:

-The future of Television’s ecology, creative processes and reception in Europe.

-Anti-Europeanism and neo-nationalism and the role of Television.

-Political, Economy and Cultural threats in European Public Broadcasting Services.

-Tensions and opportunities of European Television market in the digital convergence context.

-The image of Europe portrayed by Television contents: from Journalism to Fiction shows.

-European Television productions and formats in the globalised market of Television.

-Examples of past collaborations, present and future of European co-productions.

-Persistent national peculiarities in TV consumption and reception all over Europe in the newconvergence media context.

-Theoretical and methodological approaches to European TV History and current practices.

We particularly invite colleagues from Europe and beyond to present papers that address, among other aspects, how will be the cultural importance of television in the immediate future; how the processes of content creation are and will be transformed; how regional, national, international and transnational modes of production are and will be developed; how the new digital distribution platforms are affecting and will change specifically the European continent TV landscape; or what changes are already visible in the modes of constitution of European Television audiences.

Proposals for individual papers or panels can be submitted to ECREA Television Studies section (*tvstudiessection@gmail.com* <mailto:tvstudiessection@gmail.com>) until 7^th July 2017.

Abstracts should be written in English and have to contain a clear outline of the argument, the theoretical framework, and methodology and results if applicable. The length of individual abstracts should be between 300 and 500 words plus a short biographical note. Panel proposals, which should consist of five individual contributions, will combine a panel rationale with five paper abstracts, each of which shall be a maximum length of 500 words and should include also a short biographical note of each author.

The conference is organized by the ECREA Television Studies section <http://www.ecrea.eu/divisions/section/id/19>and the University of Málaga <http://www.uma.es>(Spain) in collaboration with “Production and circulation of media contents" section of the Spanish Association of Communication Research <http://www.ae-ic.org>(AE-IC).

Website: http://eventos.uma.es/8524/detail/the-future-of-european-television_-between-transnationalism-and-euroscepticism.html

Contact: *tvstudiessection@gmail.com* <mailto:tvstudiessection@gmail.com>
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DEADLINE APPROACHING- Locarno Documentary Summer School (7-11 August)

Submissions are open until Friday 23^June (CET) to the 18th Documentary Summer School (7-11 August 2017 in Locarno, Switzerland), a residential educational program, jointly organized by the Institute of Media and Journalism of the Università della Svizzera italiana (www.imeg.com.usi.ch/en/index.htm <http://www.imeg.com.usi.ch/en/index.htm>) with the Locarno International Film Festival. This year’s theme is “To show or not to show. The possibilities and limits of shocking images in documentary filmmaking”. Guest lecturer Prof. Brian Winston (University of Lincoln) will join a faculty of international academics and practitioners, including award-winning filmmaker Andrea Segre (/Shun Li and the Poet/).

Participation is open to 25 graduate students in the fields of film, media and communications studies. Early doctoral students and emerging filmmakers are also welcome to apply. The official language of the Documentary Summer School is English.

Full program, costs, conditions of participation and guidelines for submission can be found here < www.pardolive.ch/pardo/professionals/summer-academy/documentary-summer-school.html <http://www.pardolive.ch/pardo/professionals/summer-academy/documentary-summer-school.html> >

Please send information enquiries and applications to:

Gloria Dagnino, PhD – gloria.dagnino@usi.ch <mailto:gloria.dagnino@usi.ch>
Università della Svizzera italiana
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Call for Practice: Screenworks special issue - Digital Ecologies and the Anthropocene



This special issue of Screenworks, the online publication of practice-research in film and screen media, invites all practice researchers with an interest in Digital Ecologies and the Anthropocene to submit works that explore the multiple interpretations and intersections of these themes.

Contemporary technologies are crucial in enabling human life and culture to function as well as realising the production and distribution processes of capital. They provide us with useful tools for visualising processes such as climate change and tracking the earth’s own movements or seismic activity but also depend on material realities, consisting of complex meshes of human and non-human moving parts with their own environmental implications. Today <http://airmail.calendar/2017-06-14%2012:00:00%20AEST>’s digital machines are heavily dependent on the extraction of raw materials, the use of fossil fuels and the production of material waste at sites such as Guiyu, China which has been called ‘the electronic graveyard of the world’.

Histories of the internet and current pervasive media technologies also closely relate to the study of the earth and ecological observations. Emerging from the development of military and nuclear technologies, the conception of cybernetics and the design of self-governing computer systems with inbuilt feedback loops - these machines and systems can be approached as actors within a complex mesh of networks, hyperobjects, production processes, waste disposal and notions of deep time.

Discussing possible responses to these conditions Christophe Bonneuil describes the ‘shock of the Anthropocene’ as a space for generating new political arguments, new modes of behaviour, new narratives, new languages or new creative forms and this special issue of Screenworks seeks to bring some of these emerging discourses to the surface through practice-research work.

This call for practice follows a symposium of the same name hosted by the Media Convergence Research Centre at Bath Spa University and will be edited by guest editors Charlie Tweed (Bath Spa University), Joshua McNamara (University of Melbourne) and Screenworks associate editor Alex Nevill.

The deadline for submissions is 30^th September 2017 for publication in January 2018.

Submissions must comprise two parts: 1) the practical work/documentation itself, preferably as a Vimeo URL provided in the submission form; and 2) a 2000-word Research Statement, using the https://protect-au.mimecast.com/s/wxnKB8F39WZXSw?domain=screenworks.org.uk available on the Screenworks website. To contact the editorial team with any queries please email: digitalecologiesscreenworks@gmail.com<mailto:digitalecologiesscreenworks@gmail.com>.
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CFP QueerFemSEE: Queer and Feminist Studies in Eastern Europe International Conference



We are inviting you to the first conference of its kind in the Romanian academia: QueerFemSEE – Queer and Feminist Studies in Eastern Europe International Conference. The conference is hosted by the University of Bucharest and will take place on 17 – 19 November 2017.
QueerFemSEE is an interdisciplinary conference that seeks to explore various accounts of South-Eastern and Eastern European researchers (and their Western peers with similar interests) concerning topics connected to media studies, cultural studies, public space, and their intersection with gender and queer studies. We aim to offer a space for sharing research, ideas, alternative readings of cultural and media products that are often neglected in various national academic contexts.

More info on the conference website: https://queerfemsee.wordpress.com/call-for-papers/

There is no participation fee and possibility of covering transport and accommodation for the persons coming from South-Eastern and Eastern Europe.

Feel free to join us and to circulate the call for papers!
Thank you,

Ramona Dima

ramona.dima@drd.unibuc.ro
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Funded PhD Studentship on Bill Douglas and British Cinema



The College of Humanities at the University of Exeter and The Bill Douglas Cinema Museum are pleased to announce a funded PhD studentship to research Bill Douglas’ place in British cinema.

The studentship is entitled 'Creativity and Constraint in the British Film Industry in the 1970s and 1980s: A Case Study on Bill Douglas' and will analyse the problems and issues in the British film industry in this period and how the work of Bill Douglas, a singular film artist, fits within British cinema of the time.

The project will draw upon The Bill Douglas Working Papers. This collection comprises new archival material recently donated by Bill Douglas’s friend and collaborator Peter Jewell and others that worked with Douglas. The papers offer insights Douglas’ working methods across his career; there is particularly rich material relating to the production of his ‘poor man’s epic’ on the Tolpuddle Martyrs, ‘Comrades’ (1987).

You can find more details on the studentship, eligibility, and how to apply at http://www.exeter.ac.uk/studying/funding/award/?id=2645 and more details on the papers at .http://www.bdcmuseum.org.uk/about/the-bill-douglas-working-papers-by-arielle-woods/

This is a collaborative PhD studentship funded by the College of Humanities at the University of Exeter and The Bill Douglas and Peter Jewell Trust. The studentship will be for a period of up to 3 years of full-time study, dependent on satisfactory progress, and will cover full UK/EU tuition fees and a maintenance grant of £14,553 per year. Deadline for applications is 16 July.

This is an exciting opportunity for a new scholar to work with unique materials to produce original research.
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Fully funded PhD studentships at Bournemouth University



Please see below open call for two fully-funded PhD studentships in the Faculty of Media and Communication at Bournemouth University. Please do pass on to anyone who you think might be interested.

Funding for: UK Students, EU Students
Funding amount: £14,000 per annum
Hours: Full Time

Deadline: 2nd July 2017

We are seeking two excellent candidates presenting academically strong proposals committed to completing innovative and high-impact doctoral projects. The studentships will support doctoral work likely to contribute within or across a range of academic fields in the Faculty and demonstrating the highest academic standards.

These studentships represents an opportunity for engagement with internationally recognized research excellence in media, communications, arts practice, design, law, English literature, media history, media education, animation, cultural studies and politics. We have special interest in supporting applications linked to the following areas:

• Media and Communication – futures, change and innovation
• Psychosocial studies, political psychology, culture, memory and affect
• Promotional cultures, consumption and brand communication
• Politics and media
• Journalism, innovation and change
• Media education, innovation, digital literacy
• English Literature(s) and literary media
• Media history, cultures, heritage, archiving and curation
• Hollywood film /global film; new film formats and platforms
• Practice-led / practice-based work in film, animation, media, art and design
• Media law and Intellectual Property
• Law, war and conflict
• Animation, Internet of Things, Augmented and Virtual reality, 3D Printing
• Media, culture, gender, ethnicity and identities

Candidates must provide a strong, original and creative proposal linked to an area of strength within the Faculty of Media and Communication.

For full details and information on how to apply, please visit:
http://www.jobs.ac.uk/job/BBQ780/project-title-open-call-two-phd-studentships-in-the-faculty-of-media-and-communication
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Lecturer/Senior Lecturer Game Art vacancy
Head of Leicester Media School
Faculty of Technology
De Montfort University

https://jobs.dmu.ac.uk/webrecruitment/Default.asp?Section=Vacancy&VacID=10761

Lecturer/Senior Lecturer in Game Art (10761) - External Vacancy
Details
Description Lecturer/Senior Lecturer in Game Art
Salary £32,958 - £46,924 per annum
Faculty/Department Faculty of Technology
Closing Date 21-Jun-2017
Summary of Role
We are currently seeking a Lecturer/Senior Lecturer in Game Art as part of the continued advance of the Leicester Media School at De Montfort University. This is an excellent opportunity for a dedicated professional to join an established and successful team running England's first industry accredited games course. Student growth in this area is noteworthy, with applications high. This is a superb opportunity to become an influential member of the newly formed Animation and Game Art Subject Group, working closely with the Subject Group Leader. We are seeing someone with the potential and passion to possibly take on the role of Programme Leader.

The successful applicant's role in the first instance will include, but is not limited to: teaching on the highly successful undergraduate programme (BA Hons Game Art); enhancing the student experience e.g. year tutor; appropriate administrative duties; conducting appropriate research; undertaking other duties as required.
The role holder will also make a contribution to and further the existing excellent industry links and graduate employability. There is the potential to work in other areas if appropriate (Animation, VFX, Media Production).

This particular role is designed to:
- offer potential to progress to programme leadership
- enhance teaching expertise in Game Art
- develop innovative cutting edge curricula


The job holder will, in the main:
Enhance the student experience, teach undergraduates, supervise UG and PG students, manage modules, work as a personal tutor, contribute to admissions processes where appropriate, undergo training as appropriate, and help develop the degree in line with the direction of the Subject Group Leader and Associate Head of School.

For the job description, person specification and further details please click on the Job Details link.

If you decide to apply for this post, keep a copy of these details, as they will no longer appear on this web site when the post is closed.

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CFP: The short form in television



Short (and sweet?): The short form in television

One-day symposium

Université de Bourgogne, November 27, 2017



As critics, creators and academics alike herald the new “Golden Ag Time in Television Narrative: Exploring Temporality in Twenty-First-Century Programming, 2012) reminds us however that time is at the very center of the television narrative, and that television differs from its cinematic equivalent notably by its incremental approach to storytelling. Thus, for this symposium, we will be examining television as a short form, insisting on the structure implicit in the television episode, or the increasing popularity of webseries that feature microepisodes (of 2-10 minutes), like The Lizzie Bennet Diaries, Frankenstein, MD, Carmilla, or Kings of Con and Con Man. We will attempt to examine this balance between short episodes and long duration, as well as the association of episode length with genre – traditionally, hour-long series have been dramatic, and half-hour series comic. It is worth mentioning that all the webseries with microepisodes mentioned here are comedies, as are French “shortcoms” like Bref or Connasse. However, other short webisodes are dramatic, notably those like The Walking Dead’s transmedia webseries, intended to complete the larger narrative. Finally, the tendency towards summary in the televised short form will also be broached, whether it is in the authorized content of the series (the credits or the “previously on” sequences) or the fan-made videos on line (like “5 seasons of LOST in 8 minutes”; “Best of” videos showcasing the viewers’ preferred jokes, insults, love scenes, etc.; alternate credits, or indeed vidding). The symposium thus hopes to emphasize television’s brevity, in all its forms (and all its platforms).

Proposals on case studies are also welcome.


Please send all proposals to Sylvaine Bataille (sylvaine.bataille@wanadoo.fr), Florence Cabaret (florence.cabaret@gmail.com) and Shannon Wells-Lassagne (Shannon.Wells-Lassagne@u-bourgogne.fr) by September 1st 2017.
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CFP: Found Footage Magazine issue #4


Found Footage Magazine is an independent semi-annual publication distributed worldwide and printed both in English and Spanish, offering theoretical, analytical and informative contents related to found footage filmmaking. Found Footage Magazine accommodates a selection of articles and sections aimed at promoting the culture of recycled cinema from different approaches: monographs, academic essays, interviews, opinion pieces, film reviews, film festival reports and profiles of media products related to the eclectic universe of found footage film-making.

Paper Submissions Deadline For Issue #4: Extended deadline to July 15th 2017

General Policy
Found Footage Magazine is a double-blind peer reviewed publication.

For each issue, Found Footage Magazine will select essays/articles that engage with scholar discourses from a wide range of found footage filmmaking theory and praxis.

These topics can help you:
Found Footage – Recycled Film – Collage Film – Archival Footage – Compilation Film – Assemblage Films – Mashup Movies – Recut movies – AV Remix

General Conditions For Submission
Articles must be written in clear, grammatical English.
Found Footage Magazine does not pay remuneration to authors.
Book and film reviews are also welcome.
Found Footage Magazine only admits unpublished and original works.
The essay/article must not be under review or be submitted for an elsewhere publication.
Authors will be notified of acceptance or rejection as soon as possible.
Essays/articles length: between 18,000 and 35,000 characters with spaces (including footnotes).
Book/film reviews length: between 4,000 and 8,000 characters with spaces.
The author will be responsible for obtaining permission for the use of images under copyright.
If the manuscript is accepted, the author should sign a letter of agreement.
Found Footage Magazine will not accept liability for the opinions expressed in submitted writings.
Manuscripts must be submitted by email to: submissions@foundfootagemagazine.com

Privacy Statement
The names and email addresses sent to Found Footage Magazine site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose.

Copyright Notice
Authors retain copyright and grant Found Footage Magazine right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work’s authorship and initial publication in this journal.
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CFP: Secuencias - Revista de Historia del Cine



CFP Special Issue First Semester 2018

THE MAINSTREAM VOCATION Phenomena and Screens

Secuencias. Revista de Historia del Cine, no. 47 (first semester, 2018) Coordinator: Minerva Campos
Contact: revista.secuencias@uam.es / minerva.campos@uam.es Deadline: 15th October 2017

Accepted materials: unpublished original papers Languages: Spanish, English, French, Portuguese

STARTING POINT

Within the last two decades the audiovisual and film markets have followed two complementary directions: on the one hand, towards an increase of the number of products targeting more fragmented and specific niches; and, on the other hand, towards increasing the number of films and plots hoping to reach massive audiences worldwide, which could be labeled as mainstream.

Admittedly understanding the blockbuster (or Hollywood’s super productions) as a fundamental part of mainstream cinema, there are, nonetheless, other categories related to popular cinema in its broader sense resulting from the tension between non- Hollywood-cinemas and the North American blockbuster factory, which compete for international markets and screens. The most interesting aspects of this rivalry are those productions that, while devoted to massive audiences, still deal with diverse elements as the Star System; film genres (from the most classic to hybrid formulas); popular culture (national, regional and global); the relations with other cultural markets as music and television; and the review of successful formulas (sagas, adaptations, parodies and remakes). Correspondingly, these aspects should be considered within the new variety of possibilities of access to audiovisual contents.

Within this frame there are products (which success and scope may be bigger than ever before) that can potentially reach every corner of the world and attract the gaze, or at least the attention, of spectators worldwide. In our globalized world we must also consider the importance of other filmic and audiovisual products that have a shorter itinerary than the so called blockbusters, but which still have a noteworthy influence in specific contexts. The so called audiovisual “niches” apply to very different variables as the screen (internet, television, videogames, cinema); the format (music video, series, film, piece); the audiences; or the cultural frames (related to music styles, urban/street cultures, or national, regional and local traditions and stories).

MAIN THEMES AND ISSUES OF INTEREST

Some topics have special interest for this issue of Secuencias. However, other perspectives and other approaches to the mainstream phenomena will be also considered.

- Star System: recognizable faces, bodies and voices are important elements that allow films to cross several borders. The Star System can be thought on different levels: within the national film industry, the regional and the global. Additionally, the Star System can be seen as a transmedial element able to operate within diverse products such as videogames, television, internet contents, music and cinema. For instance, Lady Gaga ́s appearance in American Horror Story (Brad Falchuck and Ryan Murphy / FX, 2011-), Ricardo Darín in the arena of the Iberoamerican (co)production, and Sigourney Weaver and Willem Dafoe providing their bodies and voices to videogames like Alien: Isolation (The Creative Assembly/ Sega, 2014) and Beyond: Two Souls (Quantic Dream/Sony, 2013), respectively.

- Genre films: destined to wide audiences, they are a marker in the origin of the so- called blockbusters. The division of cinema into film genres is still encouraged by the industry and many times it also counts with the support of the audiences. When looking at the films released during the last years there are patterns that seem to repeat themselves and are reproduced with the aim of increasing the commercial success of the already tested film formulas. For that reason, remakes, spin-offs, parodies, as well as adaptations from other formats and sagas are appropriate objects to study the mainstream issue.

- Ageing Studies: another interesting option is focusing on more specific audiences (that are not necessarily narrower). Thinking about Hollywood, in addition to ‘family comedies’, we can find plenty of films starring -and destined to- urban women with a similar profile to that of the multifaceted Lena Dunham: youngsters between thirty and forty years old with maturity problems that are usually represented in Jud Appatow’s products. In the same way, there are comedies and dramas starred by mature actors like Meryl Streep, Alec Baldwin or Diane Keaton in some of their last films.

- Indiemainstream and alternative mainstream formulas: at the same time that some products are successful and exhibited all over the world, other products have a similar effect in their respective market’s niches. Being able to define several domains, one of them can be the one integrated by the role of the cinephile international critic. Even though, films by Michael Haneke, Lars Von Trier, Lav Díaz, Pedro Costa and Wong Kar Wai have low impact at the box office when they are commercially released, these filmmakers are worldwide celebrities on cinephile circuits and film festivals. Therefore, the labor of the international critic- review deserves attention when it is related to the creation of these alternative mainstream filmographies.

- Animation films and documentaries: phenomena as Frozen (Chris Buck and Jennifer Lee, 2013), Pixar and Dreamworks; and, in opposition, Searching for Sugar Man (Malik Bendjelloul, 2012), Michael Moore and the rockumentary wave devoted to new music groups and players (or to music legends) encourage us to think “minor” cinemas as documentary and animation in the field of the mainstream.

Deadline: 15th October 2017.

The proposed works must be original researches that follow the editorial guidelines of Secuencias (read/download guidelines). Within the same document, the author must include:

- Title
- Author’s full name and institutional affiliation
- Brief biographical note
- Abstract (250-300 words)
- Keywords (5 -8 words)
- Original research (up to 9.000 words)

EDITORIAL POLICIES

The papers received will be evaluated according to the journal editorial policies (read). The author will be notified by email if his/her work is been approved or discarded to continue to the second phase of the evaluation process within six weeks since the reception of the article. In the first stage the adequacy of the proposal to the theme of the special issue will be considered. In case of getting a positive first review, the article will be evaluated following the peer review process, according to the editorial policies of Secuencias. All the decisions related to the evaluating process will be notified to the authors by email.

The deadline to the reception of original articles is 15th October 2017. Articles must be sent by the journal application form on the web https://revistas.uam.es/secuencias following the authors’ guidelines and Secuencias’ editorial policies.

In case of questions, authors can contact: revista.secuencias@uam.es / minerva.campos@uam.es
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CFP: "Cinema of the Arab World"


CALL FOR ABSTRACTS: “Cinema of the Arab World”
The American University in Cairo
Film Program, Department of the Arts
Cairo, Egypt

Contact: Terri Ginsberg, Director, AUC Film Program

Abstracts are sought for a film studies conference to take place March 3-4, 2018 on the New Cairo campus of The American University in Cairo. Papers are welcome which problematize contemporary scholarship on cinema of the Arab world by offering critiques of colonized theory or by offering new lines of inquiry which carry the discourse beyond prevailing tendencies. We seek papers that engage critically with, for example,

● the contemporary gravitation toward “world” and “transnational” cinema, including message-driven narrative films purporting socio-political commentary and critique

● the limitations of Arab cinema classics and festival darlings

● the longstanding practice of general and descriptive, theme-, genre- and auteur-based national cinema surveys

● the scope for research into commercial cinema audiences

● the culturalist emphasis on issues of “identity” and “difference,” religious “fundamentalism,” violence and “terrorism”

● intersections between experimental cinema and video art

● the seemingly endless deference to Continental philosophical fashions and trends (e.g., Agamben, Rancière, Deleuze, Foucault)

● new formations of celebrity and fan culture

● the relationship between satellite television, online platforms and contemporary cinema

In order to accommodate screening of clips and encourage more in-depth inquiry, papers are expected to run 30 minutes and will be organized into panels that will run approximately 2-¼ hours each. Depending upon the availability of funds, every effort will be made to supply conference participants with 2 nights’ sleeping accommodations. Meals will be provided during the conference. Please submit 300-400-word abstracts, including a short biographical statement and a 5-entry bibliography, to Terri Ginsberg terri.ginsberg@aucegypt.edu and Iman Hamam ihamam@aucegypt.edu by August 31, 2017. Acceptance notices will be circulated by October 1, 2017. Participants must submit their completed papers by February 4, 2018 in order for their names to appear on the conference program.

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SIMPÓSIO 4. VISUALIDADES CONTEMPORÂNEAS: MEMÓRIAS E APRENDIZAGENS EM REDE
Coordenadores: Alice Fátima Martins [UFG], Aline Nunes da Rosa [UDESC], Lara Lima Satler [UFG]
Tendo em vista os princípios das aprendizagens colaborativas, dos processos de criação compartilhados, tendência de um contexto digital de rede 2.0, neste simpósio propõe-se discutir pesquisas em andamento voltadas para a produção de imagens, a invenção de narrativas, em conexão com a memória. A noção de memória, aqui, não reporta possíveis experiências (ultra)passadas, mas território de atualização de experiências, de movimentação de novas relações, de conformação do sujeito em contínua autorrecriação, um sujeito que não para de se produzir, inventar, torcer, em termos deleuzianos. A exemplo do documentário Jogo de cena (2007), de Eduardo Coutinho, a memória não pretende representar uma realidade. Ao contrário, faz sentido pensar nela como uma fabulação, uma invenção das participantes que, ao narrar suas histórias ao cineasta, reinventam-se, em um processo dinâmico. Também o artista plástico Cao Guimarães, na obra intitulada Memória (2008), propõe uma metáfora para ela: a pequena imagem do que ficou para trás exposta em um retrovisor colado em um parabrisa de um carro onde se vê a paisagem do que ainda está por vir. Este diálogo entre presente passado e futuro expresso por meio de imagens em movimento exige pensar no processo de ir e vir das janelas do lembrar. Assim, a memória pode ser entendida como um acionador de narrativas, de experiências que agenciem imagens e sentires, que nos ajudem a dar conta de viver e sobreviver em nossos cotidianos. Nesses termos, a memória, em tensionamento com as visualidades, propicia também a produção de sentidos e reinvenção da experiência, em narrativas e processos de aprendizagem deflagrados tanto nos ambientes de educação formal, quanto por onde os sujeitos aprendentes disponham-se a modificar-se, em diálogo com o ainda não sabido. E diálogo supõe encontro com o outro, o estabelecimento de conexões. Redes de relações mediadas por narrativas entre memórias, aprendizagens, negociações. Narrativas encharcadas de experiências do já vivido, em processo de atualização contínua. Fluxos de visualidades atravessando memórias. Fabulações.
Palavras-Chave: visualidades; memórias; aprendizagens em rede.

Informações e inscrição:
http://www.anpap.org.br/
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CFP ICIDS 2017 - International Conference on Interactive Digital Storytelling - Funchal
10th INTERNATIONAL CONFERENCE ON INTERACTIVE DIGITAL STORYTELLING (ICIDS)

November 14-17, 2017

If you prefer to view this call online go to http://icids2017.m-iti.org/



This year, the International Conference on Interactive Digital Storytelling (ICIDS2017) will take place in Funchal, Madeira Islands, Portugal and be hosted by the Madeira Interactive Technologies Institute

​ ​

ICIDS has its origin in a series of related international conferences that ran between 2001 and 2007. Since 2008, ICIDS became the premier annual venue that gathers researchers, developers, practitioners and theorists to present and share the latest innovations, insights and techniques in the expanding field of interactive storytelling and the technologies that support it. ICIDS welcomes contributions from a *large range of fields and disciplines related to interactive storytelling*.


We encourage original contributions in the forms of research papers, position papers, posters and demonstrations, presenting new scientific results, innovative theories, novel technological implementations, case studies and creative artistic projects in the field of Interactive Digital Storytelling and its possible applications in different domains. We particularly welcome research on topics in five areas, such as storytelling technologies and analyses and evaluation of systems. (For more information visit http://icids2017.m-iti.org/?page_id=232#papers) <http://icids2017.m-iti.org/?page_id=232#papers>.



IMPORTANT DATES
Call for Papers: http://icids2017.m-iti.org/?page_id=232#papers

• June 23rd, 2017 – Submission deadline – Authors are strongly advised to upload their submissions well in advance of this deadline. (11:59 pm. HST)

• July 31st, 2017 – Papers accept/reject notifications sent.

• August 25th, 2017 – Paper camera-ready due.



Call for Workshops:http://icids2017.m-iti.org/?page_id=232#workshops

• July 7th, 2017 – Workshop proposal submission deadline

• August 4th, 2017 – Workshop accept/reject notifications sent.


Call for Demos, Posters and Doctoral Consortium (DC): http://icids2017.m-iti.org/?page_id=232#consortium:

• August 4th, 2017 – Demo, Poster and DC submission deadline.

• August 25th, 2017 – Demo, Poster and DC accept/reject notifications.

• September 1st, 2017 – Demo, Poster and DC camera-ready due.



Call for Art Exhibitions: http://icids2017.m-iti.org/?page_id=232#exhibition

• August 4th, 2017 – Art Exhibition submission deadline.

• September 4th, 2017 – Art Exhibition accept/reject notifications sent.



Call​ <http://icids2017.m-iti.org/?page_id=232#volunteers> for Student Volunteers: Let’s keep the conference organized and running smoothly!

http://icids2017.m-iti.org/?page_id=232#volunteers

• August 14th – Application deadline

• August 25st – Notification of acceptance



SUBMISSION GUIDELINES
The peer review process for ICIDS’17 is double blind – neither authors nor reviewers are informed of the identity of the other party. All submissions must follow the

Lecture Notes in Computer Science*(http://www.springer.com/us/computer-science/lncs/conference-proceedings-guidelines) *

(LNCS) format. Papers must be written in English, and only electronic submissions in PDF format will be considered for review. Submissions that receive high ratings in the peer review process will be selected for publication by the program committee.

(For more information visit http://icids2017.m-iti.org/?page_id=232#guidelines).



The submission categories are:

• *Full papers *(10-12 pages in the main proceedings) describing interesting, novel results or completed work in all areas of interactive digital storytelling and its applications.

• *Short papers *(6-8 pages in the main proceedings) presenting exciting preliminary work or novel, thought-provoking ideas in their early stages.

• *Demos and Posters *(2-4 pages in the backmatter of the proceedings) describing working, presentable systems or brief explanations of a research project.

• *Doctoral Consortium *(2-4 pages in the backmatter of the proceedings) describing core topics, issues, problem statements, outcomes and/or progress of a student’s PhD studies.

• *Workshops *(2-4 pages, not in proceedings) organizers must submit their calls for participation to icids2017workshops [at] m-iti [dot] org

• *Works for the Art Exhibition: *ICIDS welcomes proposals for interactive digital storytelling artworks that explore the curatorial theme "Time & Tempo", and the engage with the challenge of combining computational digital media and storytelling.



ORGANIZATION

General chair

Valentina Nisi, Madeira-Interactive Technologies Institute, University of Madeira, PT


Programme Chairs

Nuno Nunes, Instituto Superior Técnico, Lisbon, PT

Ian Oakley, Busan University, KR

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CONVOCATORIA II PREMIO ALBERTO ELENA DE INVESTIGACIÓN SOBRE CINES PERIFÉRICOS



II PREMIO ALBERTO ELENA DE INVESTIGACIÓN SOBRE CINES PERIFÉRICOS

Categoría: Investigación > Medios audiovisuales y cine
Premio: Publicación en Secuencias. Revista de Historia del cine + Conferencia pública de la investigación ganadora (ver detalles)


Fecha de cierre: 30 SEPTIEMBRE 2017

Contacto: premio.alberto.elena@uc3m.es

Bases online: http://tecmerin.es/premioalbertoelena2017 
https://revistas.uam.es/secuencias/pages/view/PREMIO

Convocantes: Grupo de Investigación TECMERIN (Universidad Carlos III de Madrid) y Secuencias. Revista de Historia del Cine (Universidad Autónoma de Madrid)

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GHITALY 2017: CFP - 1st Workshop on Games-Human Interaction



GHItaly17
–––––––––––

1st Workshop on Games-Human Interaction
In Conjunction with The 12th Edition of CHItaly,
the biannual Conference of the Italian SIGCHI Chapter
http://sites.unica.it/chitaly2017/ghitaly/ <http://sites.unica.it/chitaly2017/ghitaly/>


–––––––––––––––––
CALL FOR PAPERS
–––––––––––––––––
The 1st Workshop on Games-Human Interaction (GHItaly 2017) aims at bringing
together scholars and industry practitioners to establish a common ground on
the topic. Main goal of the event is to spur discussion, exchange of ideas,
and development of new ways of researching, teaching, and working on HCI
applied to design and production of video games.
The application range of video games has to be intended in its broadest sense:
both entertainment and applied finalities.

GHItaly 2017 will be held in conjunction with the 12th Edition of CHItaly, the
biannual Conference of the Italian ACM SIGCHI Chapter, from 18th to 20th of
September 2017 in Cagliari.

–––––––
TOPICS
–––––––
The workshop aims at collecting contribution advancing the research applied to
video games. Suggested topics include (but are not limited to):

Human Computer Interaction
Usability (also for special needs)
Biometric measures for interaction
Game Design & Level Design
Artificial Intelligence applied to Game and Level Design
Visualization techniques
Immersive VR systems
Social interaction in video games and virtual environments
Software architectures
Distributed and Online systems
Sensemaking
Agency of objects
Critical or meaningful play experience
Moral choices
Procedural rhetoric
Storytelling

–––––––––––
SUBMISSION
–––––––––––
All paper submissions must be in English, and they must not exceed six (6)
pages in length, including references. The papers must be formatted using the
ACM SIGCHI format. The latest version of the ACM SIGCHI templates can be found
at the following URL: https://chi2017.acm.org/submission-formats.html <https://chi2017.acm.org/submission-formats.html>

Papers must be submitted online on EasyChair.

https://easychair.org/conferences/?conf=ghitaly17 <https://easychair.org/conferences/?conf=ghitaly17>

All the papers will be subject to a double review process by the members of
the Programme Committee. The proceedings with the papers accepted to the
GHItaly 2017 workshop will be published in CEUR Workshop Proceedings
(http://ceur-ws.org/), and will be indexed by SCOPUS.
The authors of the best papers will be invited to submit an extended version
of their work to a special issue of Multimedia Tools and Applications
published by Springer International Publishing, ISSN: 1380-7501 (print),
1573-7721 (electronic).

–––––––––––––––––
IMPORTANT DATES

–––––––––––––––––
June 11 Deadline for submitting papers (extended)
June 30 Review notification
September 18 GHItaly 2017 Workshop
September 19-20 CHItaly 2017 conference

–––––––––––––––––––––––
ORGANIZING COMMITTEE
–––––––––––––––––––––––
Maria De Marsico - Sapienza Università di Roma
Laura Anna Ripamonti - Università degli Studi di Milano
Davide Gadia - Università degli Studi di Milano
Dario Maggiorini - Università degli Studi di Milano
Ilaria Mariani - Dipartimento di Design, Politecnico di Milano

––––––––––––––––––––––––––––––
PROGRAM COMMITTEE (tentative)
––––––––––––––––––––––––––––––
Barbara Rita Barricelli - Università degli Studi di Milano
Riccardo Berta - Università degli Studi di Genova
Maresa Bertolo - Dipartimento di Design, Politecnico di Milano
Matteo Bittanti - IULM Libera Università di Lingue e Comunicazione
Umberto Castellani - Università di Verona
Alessandro De Gloria - Università degli Studi di Genova
Maria De Marsico - Sapienza Università di Roma
Ines Di Loreto - Université de Technologie de Troyes
Gabriele Ferri - Amsterdam University of Applied Sciences
Davide Gadia - Università degli Studi di Milano
Marco Granato - Università degli Studi di Milano
Jouni Ikonen - Lappeenranta University of Technology
Antti Knutas - Lappeenranta University of Technology
Pier Luca Lanzi - Politecnico di Milano
Dario Maggiorini - Università degli Studi di Milano
Ilaria Mariani - Dipartimento di Design, Politecnico di Milano
Mario Ornaghi - Università degli Studi di Milano
Claudio Palazzi - Università di Padova
Daniele Riboni - Università di Cagliari
Laura Anna Ripamonti - Università degli Studi di Milano
Elif Surer - Middle East Technical University
Francesco Tissoni - Università degli Studi di Milano
Stefano Valtolina - Università degli Studi di Milano
Daniela Villani - Università Cattolica del Sacro Cuore di Milano

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CfP International Conference "Italian Cinema, Italian Identity"



Italian Cinema, Italian Identity:
Visual Culture and National Imaginary Between Tradition and Contemporaneity

International Conference of Film and Media Studies

by Stefania Parigi, Christian Uva, Vito Zagarrio

28-29 November 2017

The 23th edition of the International Conferences of Film Studies, organized since 1994 by the Department of Media and Performing Arts of Roma Tre University (now Department of Philosophy, Media and Performing Arts), addresses Italian identity and its cultural traits as represented in cinema, media and visual culture, considering the Italian tradition as well as the contemporary context. Italian cinema, photography, television, and the recent narratives and aesthetic forms proposed by new media produce an anxiety-ridden national identity as historically problematic, as an unreconciled dimension. The tormented search for a national tradition and for a perfect /epos /has nurtured the most intense moments of Italian iconic and audiovisual culture. This was signaled even at the beginning of the 20^th century – when cinema was in its early stages – by broad nationalizing processes, when institutions posed Italian identity and characteristics at the center of cultural discourses. From that moment on, cinema and each of the other media systems that could influence public discourses were progressively configured as “spaces of memory”, “hyperspaces”, or «collectors for multiple previous cultural, iconological and ideological systems» (Brunetta), that collected some of the most significant symbols and archetypes of national identity. Cinema hence embodied the perfect device for the realization, at an imaginary level, of the incomplete mission to /make the Italians/, or in other words to finally give a solution to the problem of the creation of an /Italian subject /(Stewart-Steinberg). Italian film history testifies to how the «necessity to forge and unify an uneven population, with little self-consciousness» (Patriarca) has been progressively substituted by an anxiety which, sometimes in the form of a true existential anguish, reiterates in many, varied ways the idea of the /Italian specificity/ as an undecided and “schizophrenic” condition, between modernity and backwardness. Embodied therefore with drifting mythologies of identity re-foundation and the multiplication of identities and dis-identities, national cinema, media and visual culture, reaffirm again and again the antinomic status of Italian specificity and history, i.e. the laborious attempt to be open to the future, preserving at the same time a «basic caution toward modern civilization» (Bollati).

Possible areas of research, which could be addressed from a theoretical perspective or through specific case studies, include (but are not limited to):


-History, memory and national identity
-Italian politics and temperament
-Epics and anti-epics: genres “Italian style”
-Dis-identities in Italian cinema
-“/Italiani brava gent//e/”: the myth of the “buon italiano"
-Aesthetics of realism in the national tradition
-Masks of Italian-ness
-Journeys to Italy: between mythology and documents
-Portraiture and self-portraiture
-Screenplays “Italian style”
-The rhetoric of beauty and the idea of Italian-ness: bodies and landscapes
-Regionalisms and the national dimension: cultures and languages between the local and global
-National identity and European policies
-Italian stardom: cinema and the faces of Italian-ness
-The “Italian style” of acting
-Cinema and the economy of Made in Italy, from the sixties to the present
-Italian-ness and its images in international cinema
-Italian professionals and their role in international film and media industries
-Migration, imaginaries, and Italian identity
-Diversity in contemporary Italian film and fiction
-Women professionals and female subjectivities in Italian film and media industries
-Representation of Italian feminisms and their relations with cultural production
-Italian identity and documentary practices
-Italian identity and “film works of cultural interest”

Please send 300-500 word proposals, including 5 keywords, 3-5 bibliographic references and a short biography, by 10 September 2017 to cinemaitaliano@uniroma3.it <mailto:cinemaitaliano@uniroma3.it>

The results of the selection will be communicated by *30 September 2017*.

Official languages of the Conference: English, French, Italian.

Conference fees:

-early registration (*before 15 October 2017*): 70€ (lecturers and professors); 40€ (independent scholars);

-late registration (*after 15 October 2017*): 90€ (lecturers and professors); 60€ (independent scholars).
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Media, Film, Architectures - Publication and conference call
Moving Images – Static Spaces?

The blurring of Architectures, Film, Animation, Digital Art, Coding and Design

Dates: 12-13 April 2018
Place: Istanbul, Turkey

Altinbaş Foundation / Istanbul Kemerburgaz University

For those who cannot travel to Istanbul: Pre-recorded Video | Skype Presentations
Publications: 1. Book Series – The Mediated City 2. Proceedings Series, ISSN 2398-9467 3. Architecture_MPS journal Special Issue, ISSN 2050-9006

Abstract deadline: 15 December 2017

Website: http://architecturemps.com/istanbul/

The relationship between architecture, urban environments and the moving image is deep rooted. It is also mutating. Born in the City Symphony films of the early 20th it was premised on the dynamic and mobile representation of buildings, streets and cities. Today, however, moving imagery and architecture coexist in multiple other worlds too: virtual reality spaces explored through headsets and haptic sensors; the animated environments of Second Life; the projection mapping of buildings in physical space; the fantastical settings of the gaming industry; fly-through representations of architectural projects; and the real-time algorithmic formation of parametric architecture on a computer screen. This complex new scenario will be explored at this event and all its related publications.

This conference is international and interdisciplinary. It welcomes filmmakers, animators, video artists, computer programmers, cinematographers, interior designers, gamers, cultural theorists, architects, urban designers and more.


Organisers:
Amps is a UK based non-profit that coordinates a consortium bringing together universities and academics internationally around issues of new technologies and medias, and their relationship to the built environment, its representation, design and experience. Publications and events have been developed in conjunction with Woodbury University, Ravensbourne, the University of the West of England, the Centre for Moving Image Research, the Brooks Institute, Altinbaş Vakfi / Istanbul Kemerburgaz University, UCL Press and Intellect Books, amongst others.


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Base de dados de Investigações Científicas sobre Imagem em Movimento (BDIM)
No âmbito de uma parceria já noticiada entre o LabCom, a UBI e a AIM, está já disponível o sítio "Base de dados de investigações científicas sobre Imagem emMovimento", localizado em bdim.org.pt. Este sítio virtual pretende recolher os dados de todas as dissertações e teses académicas produzidas em Portugal ou por portugueses no estrangeiro sobre temáticas próximas da imagem emmovimento.



Gostaríamos, por isso, de solicitar aos nossos membros - que cumpram os critérios assinalados em cima - a contribuição com os dados das suas próprias dissertações ou teses para esta Base de Dados, que se quer cada vez mais um local de pesquisa académica na área de trabalho da AIM.

Para contribuir, por favor siga esta ligação.

A base de dados foi criada em 2006 no âmbito do Projeto Teoria e Estética do Documentário, financiado pela FCT (PTDC/CCI/69746/2006), e continuada pela parceria entre Labcom.IFP – Comunicação, Filosofia e Humanidades, UBI - Universidade da Beira Interior, e AIM - Associação de Investigadores da Imagem em Movimento.

Para informações ou dúvidas, por favor contacte-nos em bdim@aim.org.pt.


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CFP - Movie: A Journal of Film Criticism, Issue 8


CFP - Issue 8, Movie: A Journal of Film Criticism

'Moments of Choice', Videographic Criticism, General Call.


1. 'Moments of Choice'

Following dossiers in previous issues of /Movie: A Journal of Film Criticism/ <http://www2.warwick.ac.uk/fac/arts/film/movie/>//which focused on specific aspects of film style, in Issue 8 we invite submissions for a dossier called ‘Moments of Choice’, in tribute to V.F. Perkins’ 1981 article <http://www.rouge.com.au/9/moments_choice.html>. Perkins is concerned with the appreciation of creative choices made by filmmakers. The excellence of an individual choice is measured in terms of how well it serves the design of a particular sequence and the film as a whole. As he writes: ‘Directors work in the knowledge that nothing is right “in itself” but only in relation to the developing design’. In his complementary study, /Filmmakers Choices/ <http://www2.warwick.ac.uk/fac/arts/film/movie/ebooks/>, John Gibbs notes that a valuable approach when assessing the film is ‘to identify a decision, or group of decisions, and ask what is gained by doing it this way?’ We invite contributions that discuss such ‘moments of choice’.

The choices considered should relate to details of film form: for example, performative gestures, props, items of costume, compositional arrangements, editing, or features of the soundtrack. Discussions could be short – up to 3,000 words – but we are also happy to consider longer pieces. Essays may concentrate on moments that last only a few seconds of screen time, or on a range of related moments across a sequence, a film, or more than one film. Articles which reflect on critical methodology as part of their discussion are also welcome.

2. Videographic Criticism

We hope that audiovisual essays <http://www2.warwick.ac.uk/fac/arts/film/movie/videographiccriticism/> will form a regular dimension of future issues and we welcome style-based submissions in this field. For this issue, these could be contributions to the /Moments of Choice/ dossier, but contributions of other kinds are also welcome. Submissions (to movie.journal@gmail.com <mailto:movie.journal@gmail.com>) should take the form of a password-protected link to the video on Vimeo and a statement of approximately 500 words contextualising the essay. Statements will be published alongside accepted audiovisual essays.

3. General Call for Papers:

Movie: A Journal of Film Criticism/also makes a general call for papers. We are committed to publishing rigorous but accessible critical writing, at a variety of lengths, that is responsive to the detailed texture and artistry of film and television, old and new. We also welcome articles that illuminate concepts, analytical methods and questions in film aesthetics that are of significance to film criticism. We welcome articles up to 8,000 words in length, though are also open to the possibility of longer pieces, to be judged on a case-by-case basis. A style guide for submissions can be found here <http://www2.warwick.ac.uk/fac/arts/film/movie/contents/movie_style_sheet-1.pdf>.

*Articles and audiovisual essays should be submitted by 1^st September 2017. Articles should be sent for review as email attachments to movie.journal@gmail.com <mailto:movie.journal@gmail.com>.
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CFP: Women in Iberian Cinema


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

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

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

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

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

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

We welcome proposals for 20-minute presentations and/or pre-constituted panels of max. 3 speakers. The event’s working languages will be English, Portuguese and Spanish. Early-career researchers are especially encouraged to apply. Topics may include (but are not limited to): 


- Female characters, subjects and representations in specific regional, national and/or transnational contexts;
- Gender and genre in the cinemas of Portugal and Spain;
- The role of women in the film industry, from early to contemporary cinema;
- Case studies of women directors, producers, screenwriters and below-the-line staff;
- Female stars in Portugal and Spain; 
- Feminist and postfeminist approaches to film studies in different eras;
- Women and censorship, propaganda, or politics more generally.

Please send 300-word abstracts and a brief biographical note addressed to the organizers, Elena Cordero and Mariana Liz, to womeniniberiancinema@gmail.com by 9 June 2017. The symposium will also include a roundtable on women in Portuguese cinema, with guest directors, producers and programmers.

More details will soon be available online, at http://www.comparatistas.edu.pt/en/events/upcoming- events/international-symposium-women-in-iberian-cinema.html



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


MOTHERS OF INVENTION: PARENTING AND/AS FILMMAKING PRACTICE, co-edited by Corinn Columpar and Sophie Mayer.

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

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

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

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


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

CALL FOR PAPERS AND PRESENTATIONS

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

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

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

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

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

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

lporter@dmu.ac.uk <mailto:lporter@dmu.ac.uk>

Deadline for contributions: 31 July 2017.
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