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 9th AIM Annual Meeting will take place at University of Santiago de Compostela - Faculty of Geography and History, from 13 to 16 May 2019. Please also visit Aniki : Portuguese Journal of the Moving Image, AIM's cientific journal, and BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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Vacancy: Associate Professor / Professor of Screen Studies




Associate Professor / Professor of Screen Studies
University of Melbourne
Australia
ASSOCIATE PROFESSOR / PROFESSOR OF SCREEN STUDIES


http://jobs.unimelb.edu.au/caw/en/job/898018/associate-professor-professor-of-screen-studies

Job no: 0043282

Work type: Continuing

Location: Parkville

Division/Faculty: Faculty of Arts

Department/School: School of Culture and Communication

Salary: $145,685 - $160,500 (Level D)

Role & Superannuation rate: Academic - 17% superannuation



We are seeking an Associate Professor/Professor to enrich and advance
our program in Screen and Cultural Studies. The appointee will have
expertise and significant publications in areas of Screen Studies
scholarship that complement and enhance our Program.


Screen Studies at the University of Melbourne is concerned with the
aesthetics, history and theory of film and screen media. The Program
offers students the critical, analytical, theoretical and creative tools
required to understand the cinema and work with the moving image in
diverse forms. Students taking undergraduate and graduate subjects
encounter a diverse range of moving images from various countries and
creative and industrial contexts, from the pre-history of cinema to the
most contemporary developments in global digital screen media. Screen
Studies places film, television and screen texts firmly in the context
of their essential relationships with the visual and performing arts and
the creative arts generally. It also examines the role screens play in
the study of a variety of humanities and social science disciplines.
Screen Studies at Melbourne is widely recognised for its excellence and
innovation in teaching, scholarship and research. Staff in the stream
are committed to classroom-based teaching as well as developing online,
interactive projects to support students and encourage them to excel in
the discipline. Screen Studies staff are active in publishing in their
areas of expertise and are successful in attracting research funding,
including Australian Research Council Discovery and Linkage grants,
University and Faculty funding as well as collaborating to develop
grants with colleagues across the globe. We aim to continue to develop
these strengths, particularly in the areas of:

Local and global film cultures, genres, movements and industries;

Gender, sexuality, and feminist film theory;

Film history and media archaeologies from pre-cinema to new
digital media;

Screen media’s relationships with the visual, performing and
creative arts;

Interdisciplinary collaborations across the humanities and social
sciences;

The materiality of film and digital cinema;

Phenomenology, aesthetics, politics and ethics of the cinema.



The Screen and Cultural Studies Program at the University of Melbourne
is an innovative and distinctive formation that fosters research and
teaching in both Screen Studies and Cultural Studies, as well as the
critical intersections between these disciplines.


PLEASE NOTE the close date for applications has been extended; revised
close date shown below.


Position Description

Advertised: 02 Nov 2018 12:00 AM AUS Eastern Daylight Time

Applications close: 29 Jan 2019 11:55 PM AUS Eastern Daylight Time
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CFP: Film-Philosophy Conference 2019



CFP for the 2019 Film-Philosophy conference to be held at the University of Brighton July 9-11.

We invites proposals for presentations on any subject related to film
and philosophy. There is no single overall theme.

Keynote Speakers:

·Dr Victor Fan
<https://www.kcl.ac.uk/artshums/depts/filmstudies/people/acad/fan/index.aspx>,
King’s College London

·Professor Janet Harbord
<https://www.qmul.ac.uk/sllf/film-studies/people/academic/profiles/harbord.html>,
Queen Mary University London

·Dr Andrew Klevan
<https://www.english.ox.ac.uk/people/dr-andrew-klevan>, University of Oxford

·Associate Professor Jane Stadler
<https://communication-arts.uq.edu.au/profile/366/jane-stadler>,
University of Queensland Australia

We invite individual 300-word abstract proposals to be submitted by 31
January 2019.

http://www.film-philosophy.com/conference/index.php/conf/FP2019/author/submit

We use a track system that provides a number of broad headings to which
a presenter may wish to attach their submission. There is, of course, an
Open track if you feel that your paper does not fit within any of the
other tracks.

The tracks for 2019 are:

·Open

·Aesthetics

·Documentary

·Emotion and Affect

·Environment and the Screen

·Ethics

·Existentialism

·Feminism

·Film cultures online (blogging, social media, podcasting)

·Film-Philosophy and Education

·Intersectionality

·New Technologies in/of Cinema

·Phenomenology

·Philosophy of Fiction

·Politics and Film-Philosophy

·Realism

·The Film-Philosophy Canon

·Video Essays

·Workshops


We only accept individual proposals for presentations of 20 minutes.

We do not accept group panel proposals except for Workshops.

The track system allows for papers to group organically around common
themes and approaches.

We are open to workshops that have alternative and innovative formats
that provoke discussion and debate. If you have any ideas for a workshop
- in format or content - please contact the conference director
(D.Llinares@brighton.ac.uk <mailto:D.Llinares@brighton.ac.uk>) before
submitting an official abstract via the website.

We are also planning this year to audio record the keynote speakers and
various panel speakers for an audio journal to be produced after the
conference. If you do not want your paper to be recorded in this way,
please indicate on you abstract submission by putting “DO NOT RECORD” at
the end.

http://www.film-philosophy.com/conference/index.php/conf/FP2019

All abstracts will be considered by at least two members of the
conference committee and decisions will be announced in March 2019.

Accommodation information is available on the conference website.

Please contact the conference director Dr Dario Llinares, University of
Brighton: D.Llinares@brighton.ac.uk <mailto:D.Llinares@brighton.ac.uk>
with any questions.

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CFP: ReFocus: The Films of Zoya Akhtar

Edinburgh University Press

Contact Email: thefilmsofzoyaakhtar@gmail.com
<mailto:thefilmsofzoyaakhtar@gmail.com>

Deadline: February 10, 2019

Zoya Akhtar is one of the very few female writer-directors working in
the Hindi film industry. Along with her contemporary Farah Khan, she is
the only woman who works within the big budget Bollywood film format.
While the reception of her two latest films has made her a commercially
successful director, her films stand out for their complex
representation of relationships, a non-judgemental, progressive
worldview, and her reinterpretation of many of the tropes of the typical
Bollywood film.


While some critics contend that Akhtar’s big budget films reflect the
many limitations of the Bollywood film format, her work refuses to be
defined by one particular style. From her award winning directorial
debut Luck by Chance(2009) about two young actors navigating the
Bollywood industry, to the boys’ road trip blockbuster Zindagi Na Milegi
Dobara(2011) and the family drama Dil Dhadakne Do(2015), Akhtar’s varied
work across the industry indicates a much more important range.
Further, the success of the latter two films has challenged the popular
view that films made by female directors don’t make money at the Indian
box office. Her mark on the Hindi film industry extends beyond the
feature; her short films appear amongst those of other celebrated
directors in the omnibus productions Bombay Talkies (2013) and Lust
Stories(2018) and she has worked as a script writer and lyricist on
films like Talaash(2012) and Bride and Prejudice (2004) respectively.


Akhtar’s career represents a fascinating case study of the gender
dynamics in the Hindi film industry, the possibilities and limitations
of the changing form of popular Hindi cinema, as well as the pressures
of the box office on film-makers. Her film family background adds
another layer, making her career reflective of many of the
contradictions and peculiarities of the Hindi film industry. Keeping
this context in mind, we are seeking chapters for an anthology on the
films of Zoya Akhtar. Exploring her contributions across multiple facets
of Hindi cinema, we invite submissions on any aspect of Akhtar’s films,
her industrial context and position in the field. We are especially
interested in chapters on the following:


*Formal analysis of short films vis-à-vis Bollywood films;

*Akhtar’s work as an assistant director, script writer, lyricist;

*Possible influence of the box office on her film themes and styles;

*Formal analysis of any of her films;

*A woman directing a boys’ road movie in Zindagi Na Milegi Dobara;

*Analysis of popular film criticism of her films;

*Song sequences;

*Film family context;

*Collaborations with Farhan Akhtar, Javed Akhtar, and/or Reema Kagti;

*Comparison with her mother Honey Irani’s work as script writer and director;

*Representation of women in her films;

*Representation of men in her films;

*Your suggested topic


We are proposing The Films of Zoya Akhtarto be one of the first
scholarly editions on an Indian woman in the Hindi film industry, to be
published by the University of Edinburgh Press in the ReFocus series on
international directors. Series editors are Robert Singer, Gary D.
Rhodes and Stefanie Van de Peer.We have already had a positive response
on the project from the editors.


Please send your 500-750 word proposal and CV to the editors of the
volume, Aakshi Magazine and Amber Shields, latest by February 10, 2019.
We welcome initial email enquiries to discuss possible proposals,
especially those not listed above.


Final submissions will be between 6,000 and 8,000 words, in English, and
referenced in Chicago endnote style. We are anticipating an Autumn 2019
submission date.


Any questions and proposals can be sent to:


Aakshi Magazine and Amber Shields

Email address: thefilmsofzoyaakhtar@gmail.com
<mailto:thefilmsofzoyaakhtar@gmail.com>
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Collaborative doctorate on independent cinema in the age of on-demand culture




The Role of Independent Cinema in the Age of On-Demand Culture

Fully-Funded Collaborative Doctorate with Watershed Cultural Cinema
Bristol, UWE Bristol and Exeter Universities

An exciting opportunity has arisen to undertake a collaborative
doctorate analysing the role of independent cinema in the age of
on-demand culture, beginning in October 2019. The project explores
independent cinema’s approach to curation, audience development and
community-building; its relationships with funders and policymakers at
local, regional, national and international levels; and the strategies
it has developed to survive in the face of far-reaching changes to the
ways in which films are distributed, exhibited and consumed notably the
emergence of Subscription Video on Demand (SVoD) services. The project
will focus on the role of Watershed Cultural Cinema in Bristol
_https://www.watershed.co.uk/_ but also engage with the UK independent
film exhibition centre as a whole.

You will be jointly supervised by Mark Cosgrove, the Film Curator at
Watershed, Professor Andrew Spicer at UWE Bristol and Dr James Lyons at
Exeter University. The studentship is fully funded for three years
within the South, West and Wales (SWW2) Doctoral Training Partnership
and you will enjoy all the advantages of working within that
collaborative framework that includes a number of training events.

For further details please go to the SWW2 website:
_https://www.sww-ahdtp.ac.uk/prospective-students/apply/_

If you have any questions or queries about this doctorate, please
contact Andrew Spicer in the first instance: _andrew2.spicer@uwe.ac.uk
<mailto:andrew2.spicer@uwe.ac.uk>_.

In order to be considered for this opportunity, you need to send an
Expression of Interest to Andrew Spicer by email. This should contain
the following:

* Name
* Contact Details
* Educational Background and Qualifications
* A statement (up to 1,000 words) that explains:
1.Why you wish to apply for this collaborative doctorate

2.How you would approach investigating this subject

3.What you see as the advantages in working with Watershed, UWE Bristol
and Exeter

4.In what way your interests, education and existing knowledge makes you
well suited to undertake this project

We need to receive your Expression of Interest by 17.00 on Thursday 3
January 2019 at the latest
. Please note that you must be available to
be interviewed in Bristol on Friday 11 January 2019.
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CFP: Metafiction and Reflexivity in Cinema



Metafiction and Reflexivity in Cinema
November 14-15, 2019
Université Clermont Auvergne / Université Toulouse Jean Jaurès
CELIS / CHEC / CAS


Reflexivity in art is not a practice that is specific to the postmodern
period, as a number of critics have noted. Robert Stam reminds us that
Homer often designates his own enunciation as one of the topics of his
text. We find similar examples of self-reference concerning the writer
or the creative process in the writings of Lawrence Sterne, long before
the reflexive strain that characterized authors from the second half of
the 20th C (William Gass, Vladimir Nabokov or John Fowles among others).
Likewise, cinematographic reflexivity does not appear circumscribed by a
period beginning after 1950. As soon as the silent era,
self-consciousness in the medium is manifest: the cameraman in The Big
Swallow (James Williamson, 1901) engulfed by the camera eye testifies to
this phenomenon, just like, in a different context, Sherlock Junior
(Buster Keaton, 1924), which uses various innovative devices to stage
the adventures of a projectionist who falls asleep during a show and
dreams that he is acting as a great detective. The same reflexive slant
is visible in documentaries or in experimental films like The Man with a
Movie Camera (Dziga Vertov, 1929) or Chronicle of a Summer (Jean Rouch,
Edgar Morin, 1961) where the filmmakers appear several times on screen
while they are shooting the film itself—see Bill Nichols’s (2001)
category of “reflexive documentary.” Because reflexivity is such a
widespread phenomenon, its motivations and forms beg to be considered
more precisely.

A first step in this process is to distinguish metafiction from
reflexivity. In the wake of Robert Stam’s analysis (p. 159), reflexivity
can be considered as the use of devices meant to draw the reader’s or
spectator’s attention to the fictional and/or artificial quality of
representation. Reflexivity may also be found in works that reveal what
goes on behind the scenes of cinematographic creation. By contrast,
metafiction—as it was defined by Patricia Waugh—implies the production
of a critical discourse on a text or a film as a work of fiction, and a
critical discourse on the medium itself, whether it is film or
literature. Metafiction thus refers to a more elaborate practice than
reflexivity, which can be limited to self-referential games around
fiction or to artificial devices, without opening onto larger questions
bearing on the medium itself and on the question of fictionality in the
work itself (or, sometimes, in just any work of fiction). Secondly, we
must note that the metafictional or reflexive quality of a work appears
differently in literature and in cinema. In literature, it can take the
form of a discourse on the text—or on writing in general—and be
inscribed within the text itself. This calls to mind texts which include
writers commenting on their own works, but also texts dealing with
literary influences on the fictional diegesis (such as Madame Bovary and
Don Quixote). The transposition of a metafictional discourse is often
more difficult in the cinematographic medium because the representation
of the cinematic technical apparatus is less realistically integrated in
a fiction film than in writing, which may use cases of interpretation
within the diegesis to justify reflexive episodes. Films staging
directors—such as Day for Night (François Truffaut, 1973), 8 ½ (Federico
Fellini, 1963) and Living in Oblivion (Tom DiCillo, 1995)—resort to
stories focused on the shooting of a film and not only on the influence
of fiction within fiction, as this may be the case in literary
metafictional works. This statement can be qualified by the fact that
many films evince their reflexivity through isolated citations of other
films or audiovisual materials, for instance through the insertion of an
autonomous sequence, distinct from the first narrative level, and that
acts as a reference. Yet, in this case, such citations are in themselves
no guarantee of a metafictional perspective developed in the films,
since this perspective requires theoretical and topical distance towards
the medium. More largely, the overlapping of narrative boundaries—which
Gérard Genette calls metalepses—may function differently from one medium
to another; it can consist in the passage from one narrative to another
(as with the play within the play in Hamlet) meant to signify an
interaction between the initial diegesis and the metafictional text, but
in cinema this passage needs to be motivated in the story; this occurs
in The Purple Rose of Cairo (Woody Allen, 1985) when two narrative
levels encroach upon one another. Yet again these metalepses may appear
artificial in cinema due to the uneasy diegetic justification, in a
realistic frame, of this interaction between narrative levels, whereas
literary texts may integrate references to other literary discourses
more unobtrusively and with less constraint as regards the devices used.

Attention should be paid, of course, not only to the forms of
reflexivity and metafiction in film, but also to its aims. Although the
term “metafiction” seems to have become a common idiom in contemporary
fan culture (through the use of the prefix “meta”), what is at stake in
this issue is diversely regarded, especially if we consider recent
filmic productions. It may be conceived of as a distancing device
serving to detach the viewer from imaginary identification (as in Stam’s
argument, which adopts a Brechtian perspective), or a way to exploit
avant-garde innovations in commercial form, notably in Hollywood
productions. The striking changes visible in these practices, starting
from the first full-length studies focused on the topic in literature
(notably by Linda Hutcheon and Patricia Waugh), namely the fact that
reflexivity seems to have spread beyond the limited circle of auteur
cinema, also suggests that the reception of these devices in mainstream
cinema was influenced by a more general evolution of forms and practices
in the medium itself. Filmic self-reference may be more relevant today,
due to the diversity of modes of consumption and perception of
films—visible through the popularity of series, the use of VOD and
streaming, or the production of films direct to internet. This may also
point to a change in the ontology of film, through the increase in CGI
and online viewing. This situation makes it all the more necessary to
question the very nature of cinema and the potential end of cinema
(Gaudreault and Marion), through this reflexive and metafictional
discourse. This discourse thus contextually points to an interest in the
redefinition of the medium itself, but also to a redefinition of the
spectator’s role in the cinematic apparatus.

These avenues eventually suggest a possible link with a poetics of
cinema, as explored by Christian Metz. The specific way reflexivity
manifests itself in cinema can thus be related to some features in film
aesthetics determined by a form of reflexivity at work in the medium
itself and thus beyond the narrative discourse, as Christian Metz
suggested in Impersonal enunciation or the site of film.

This conference thus invites talks on the following topics:

* The evolution of reflexive and/or metafictional devices in the history
of cinema, notably in relation to technological (r)evolutions (sound,
Internet, digital, etc.)
* The labeling and conceptual differences between reflexivity,
metafiction, metafilm, metacinema, frame narratives
* The role of reflexivity and/or metafiction in defining an artist’s
aesthetic identity, and thus in her/his poetics
* The reception of reflexive devices or metafictional discourses
* The narrative and structural outcome of reflexive or metafictional
strategies in a given work
* The specificity of reflexive devices according to cinematic forms
(feature films or short films), modes (documentaries, fictions,
experimental cinema) or genres (slapstick, film noir, melodrama, social
drama, epics, romances, etc.)
* The practices, techniques and implementation of metafiction in cinema
* The emergence of metafiction determined by a cultural context

We shall have the pleasure to welcome Dr. Daniel Yacavone, from the
University of Edinburgh, who will be our keynote speaker
(https://www.ed.ac.uk/profile/dan-yacavone).

The conference will take place at the Maison des Sciences de l’Homme in
Clermont Ferrand, central France. Registration fees are 40 euros for
lecturers, professors or independent scholars and 20 euros for students.
Accommodation will be provided freely for the participants by the
research centres. The conference organizers will welcome proposals from
confirmed scholars as well as from doctoral students. A publication of
peer-reviewed texts will be proposed by the organizers. Proposals should
include a 300-word abstract with a bibliography and a short biography.
Thank you for sending your proposals to all three following addresses by
1st April 2019: Caroline.Lardy@uca.fr <mailto:Caroline.Lardy@uca.fr>,
Christophe.Gelly@uca.fr <mailto:Christophe.Gelly@uca.fr>,
mudrockca@gmail.com <mailto:mudrockca@gmail.com>
_Scientific commitee_
Julien Achemchame (Université Paul Valéry, Montpellier)
Zachary Baqué (Université Jean Jaurès, Toulouse)
Alain Boillat (Université de Lausanne)
Fatima Chinita (Lisbon Polytechnic Institute)
Robert von Dassanowsky (University of Colorado, Colorado Springs)
Sarah Hatchuel (Université Paul Valéry, Montpellier)
Sébastien Lefait (Université Paris 8)
Shannon Wells-Lassagne (Université de Bourgogne, Dijon)


_Bibliography_
ALTER, Robert, Partial Magic: The Novel as a Self-conscious Genre,
Berkeley : University of California Press, 1975.
BOILLAT, Alain, “Stranger than Fiction : Métalepse de Genette et
quelques univers filmiques contemporaines,” Cinéma & Cie, vol XII, no.
18 (Spring 2012): 21-31.
BOYD, Michael, The Reflexive Novel: Fiction as Critique, London:
Associated Presses, 1983.
CERISUELO Marc, Hollywood à l’Ecran, Essai de poétique historique des
films : l’exemple des métafilms américains, Paris, éd. des Presses de la
Sorbonne Nouvelle, coll. « L’œil vivant », Paris, Presses de la
Sorbonne Nouvelle, 2001
DÄLLENBACH, Lucien, « Mise en abyme », Dictionnaire des genres et des
notions littéraires, Paris, Encyclopedia. Universalis et Albin Michel, 1997.
DÄLLENBACH, Lucien, Le récit spéculaire. Essai sur la mise en abyme,
Paris, éd. du Seuil, coll. « Poétique », 1977.
DIKA, Vera (2003). Recycled Culture in Con- temporary Art and Film.
Cambridge, MA: Cambridge University Press.
FÉVRY, Sébastien, La mise en abyme filmique. Essai de typologie, Liège,
éd. de fournitures et d'aides pour la lecture, coll. « Grand écran,
petit écran. Essais », 2000.
FREDERICKSEN, Don (1979). Modes of Reflexive Film. Quarterly review of
film studies, 4(3), 299-320.
GAUDREAULT André et Philippe MARION, La Fin du Cinéma ? Un média en
crise à l’ère du numérique, Paris, Armand Colin, 2013.
GENETTE, Gérard, Métalepse, Paris, Le Seuil, coll. « Poétique », 2004.
GENETTE, Gérard, Palimpsestes : la littérature au second degré, Paris :
Seuil, Essais, 1982.
GERSTENKORN, Jacques, « À travers le miroir, (notes introductives) »,
Vertigo, n° 1, Le cinéma au miroir, Paris, 1987.
HUTCHEON, Linda, Narcissistic Narrative: The Metafictional Paradox, New
York & London : Methuen, 1984.
JOURNOT, Marie-Thérèse, Le Vocabulaire du cinéma, (sous la dir. de
Michel Marie), Paris, éd. Nathan Université, coll. « 128 », 2003.
LIMOGES, Jean-Marc (2008). Mise en abyme et réflexivité dans le cinéma
contemporain: Pour une distinction de termes trop sou- vent confondus.
Les Actes de la Sesdef (La Société des études supérieures du Département
d ́Études françaises de l ́Université de Toronto).
METZ, Christian, L’énonciation impersonnelle ou le site du film, Paris,
éd. Méridiens Klincksieck, 1991.
MOUREN, Yannick, Filmer la création cinématographique : Le film-art
poétique, Paris: L’Harmattan, 2009.
NICHOLS, Bill, Introduction to Documentary 3rd edition. Bloomington:
Indiana UP, 2017 [2001].
ROCHE, David, Quentin Tarantino: Poetics and Politics of Cinematic
Metafiction. Jackson: UP of Mississippi, 2018. 352 p.
ROSE, Margaret A., Parody/Metafiction : An Analysis of Parody as a
Critical Mirror to the Writing and Reception of Fiction, London : Croom
Helm, 1979.
SIEGLE, Robert, The Politics of Reflexivity, Baltimore & London : Johns
Hopkins University Press, 1986.
STAM, Robert, Reflexivity in Film and Literature : from Don Quixote to
Jean-Luc Godard, Michigan, UMI Research Press, coll. « Studies in cinema
», 1985.
TAKEDA, Kiyoshi, « Le cinéma auto-réflexif : quelques problèmes
méthodologiques », Iconics, The Japan Society of Image Art ans Sciences,
1987.
WAUGH, Patricia, Metafiction : The Theory and Practice of Self-Conscious
Fiction, London & New York : Routledge, New Accents, 1985.

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CFP: Working the Film Script



Working the Film Script: Hidden Production Histories

A Symposium at the Bill Douglas Cinema Museum, University of Exeter

Saturday 23^rd March 2019
Keynote Speaker: Dr Melanie Williams (UEA)


A symposium to illuminate the otherwise hidden labour of individuals who
work on/with film scripts, including screenwriters, continuity/script
supervisors, script editors, text advisors/researchers, (sub)titlers,
translators, authors of source texts (and their representatives),
legislators, censors and other production roles. The symposium
also invites prospective delegates to explore research on the production
of screenplays, treatments, shooting scripts, subtitles, fan fiction,
promotional synopses and other written ‘versions’ which may serve
diverse cultural ends.


Film studies has increasingly relied upon collaborative models of
authorship, but not necessarily at the expense of downplaying individual
contributions. Recent production studies and feminist film
historiographies strategically distinguish the work of academically
marginalised agents from within their respective networks. Speakers are
invited to debate case studies which demonstrate how the script (broadly
understood) has been worked by underappreciated individuals, and their
efforts to share or silo time, energy and expertise within hierarchical
or communal production scenarios.

Overall, the symposium aims to evidence the act of scripting film
narrative and style in historical production contexts, using
wide-ranging examples of specialist labour: plotting shots, managing
continuity, adapting films from/to literature, the iterative process of
screenwriting, and so on. A second aim will be to provide pragmatic
production histories that showcase novel methodological and/or archival
resources, in keeping with the choice of venue:*The Bill Douglas Cinema
Museum*. Among the Museum’s 75,000+ itemsare published and unpublished
screenplays, novelisations of popular films (including the ‘Reader’s
Library’ series), source texts, various filmmaking manuals, programmes
and press books containing plot summaries, and relevant individual
collections including those of Gavrik Losey (film producer), Pamela
Davies (continuity supervisor), and the filmmaker Bill
Douglas.*A**sample of items which thematically complement the symposium
will be available for delegates to browse on the day.*

If you would like to present a paper, please email a 250 word abstract
and 100 word bio toscriptwork@exeter.ac.uk
<mailto:scriptwork@exeter.ac.uk>by 23rd January 2019. Preference will be
given to papers which respond to one or more of the following provocations:

1) What academically marginalised production roles are illuminated by
researching script work in film, broadly understood?

2) How does scripting intersect with gender, class, racial and political
identity?
3) How is script work influenced by transnational workflows, from
subtitling dialogue for international audiences to exporting literary
‘properties’?
4) What methodological, archival and technological resources are
available to researchers of script work in film?

Enquiries addressed toscriptwork@exeter.ac.uk
<mailto:scriptwork@exeter.ac.uk> will be checked by Steven Roberts (PhD
Student and Museum Intern). The symposium is being coordinated by Steven
during a six-month placement at the Bill Douglas Cinema Museum (where he
is cataloguing the Pamela Davies collection), with organizational
assistance from University of Exeter colleagues.
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CFP: Queer Celebrity Conference


The Celebrity, Citizenship, and Status Project are delighted to share
the CFP for our 'Queer Celebrity' Conference on 6-7th June 2019, at the
University of Portsmouth, UK. Abstracts are due 1st February 2019.

Queer Celebrity Conference

University of Portsmouth

6th -7th June 2019


Keynote Speakers:

*Professor Richard Dyer (King’s College, London)

*Professor Jack Halberstam (Columbia University)

*Dr Michèle Mendelssohn (University of Oxford)

The focus of celebrity studies on the cultural mediation and function of
a diverse range of public personalities has foregrounded an ever-growing
archive of queer celebrities. This conference aims to explore how the
entry of queer figures into the public imagination, in different
historical periods and geographical locations, has had a transnational,
even global, impact, changing perceptions, attitudes and the way
individuals live their lives. LGBTQ figures, for example, have risen to
public prominence and become positive role models, while negotiating
their fame alongside cultural associations of homosexuality with crime,
scandal and blackmail. The refusal of closeted celebrities to come out
underlines the detrimental effects of homophobia on popularity, but also
celebrity culture’s preoccupation with the open secret. ‘Straight’
celebrities have become queer icons by tapping into LGBTQ subcultures,
codes and identities, bringing that which is hidden into the open to
become part of everyday life. These cultural and historical trajectories
point to the queer nature of celebrity itself and how celebrities have
unsettled cultural norms, binaries and oppositions.

This conference will consider how the cultural visibility of queer
celebrities has reshaped and expanded norms and expectations relating to
gender, sexuality and identity. How have, for instance, queer identities
influenced celebrity culture throughout history and across all media
forms, society, and politics? How does queer theory complicate our
understanding of celebrity studies and vice versa? Through what
mechanisms and to what ends have LGBTQ public figures, including queer
theorists, become celebrity figures?

Topics for papers may include, but are not limited to:

●Queer Celebrities; Queer Icons

●Celebrity, Sex, Gender

●Histories of LGBTIA+ Celebrity

●Queer Celebrity, Race & Ethnicity

●Queer Fame; Queer Infamy & Notoriety; Queer Celebrity Scandal

●Celebrity, Norms & (anti)normativity

●Transnational Queer Communities

●Celebrity Sexologists, ‘Sexperts’, Practitioners

●Celebrity and the ‘closet’; Visibility & Invisibility

●Queer Celebrity, Time & Space

●The Politics of Queer Celebrity

●Queer Celebrity and the Public Domain

●Queer Style, Queer Form

●Queer Celebrity ‘Texts’

●Queer Celebrity Objects

●Queer Celebrity & Masculinity/Femininity

●Celebrity Failure; Failed Celebrity

●Queer Celebrity Children

●Queer Celebrity, Citizenship & Status

Please send paper abstracts (of no more than 300 words) or panel
proposals (of no more than 600) words, with a brief biographical note
(50-100 words) to _ccs@port.ac.uk <mailto:ccs@port.ac.uk>_ by 1st
February 2019.

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CFP: Transnational Radical Film Cultures: An International Conference on Film, Aesthetics and Politics
Transnational Radical Film Cultures:

An International Conference on Film, Aesthetics and Politics

(Radical Film Network Conference 2019)

Call for Presentations

Date: 3-5 June 2019

Venue: The University of Nottingham (University Park Campus), UK

This conference aims to bring together the political and aesthetic
avant-gardes, with a particular focus on the transnational nature of
contemporary radical film cultures. By looking at how radical films are
produced, circulated and engaged with in different parts of the world,
the conference hopes to shed light on the transnational nature of film
cultures and the intersecting relationship between political struggle
and aesthetic innovation. Bringing together filmmakers and researchers,
the conference hopes to create new and consolidate existing connections
and networks, facilitate transnational and cross-cultural dialogues, and
forge global solidarity among radical filmmakers around the world.

Contributions may include, but are not limited to, the following:

* Radical aesthetics and politics;
* Political filmmaking and ethical issues;
* Class and radical films;
* Forms of radical film activism and political agitation;
* Programming, distribution and exhibition;
* Radical film festivals and audiences;
* Radical film history across national borders;
* (Self)-Representation, identity and privacy in radical film cultures;
* Collaborative and participatory practices in radical film cultures;
* Partnerships between radical filmmakers and institutions;
* Issues of inclusion/exclusion in radical film cultures;
* Radical film cultures, memory, the archive and preservation;
* Creativity and innovation in radical film cultures;
* Radical films and the proliferation of digital technologies;
* Radical film cultures in the Global South;
* Radical film cultures and future direction(s)

Interested participants are invited to submit proposals for one of the
following formats:

1. a 20-minute presentation
2. a 1.5-hour panel (with 3-4 panellists)
3. a 1-1.5-hour workshop on any aspect of radical film cultures

**

Proposals to a maximum of 300 words (presentation) or two-pages (panel
or workshop) should be sent to:

_Trfc2019conference@gmail.com <mailto:mTrfc2019conference@gmail.com>_

(Deadline for submission of abstracts: Thursday 31 January 2019)
For more information, please visit:

_https://www.nottingham.ac.uk/conference/fac-arts/clas/transnational-radical-film-cultures/index.aspx_
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Call for papers of ZER Journal on TV

ZER is a semi-annual journal on communication edited by the Basque
Public University and it is beginning a transformation stage. Among its
new objectives, the journal will focus on highlight specific topics. It
is not related to monographs, so ZER will continue to publish articles
focused on communication. ZER is inviting a call for papers for issue
46, May 2019, from scholars whose research interest connects with
television. In recent decades, some voices have warned about the future
of television and audiovisual media and have questioned its media
centrality.

ZER aims to address the process of reconfiguration and adaptation of the
contemporary television panorama. These are the suggested topics:

-Changes in content production and new professional challenges
-Multiple forms of distribution and different business models
-TV and new forms of consumption: speed watching, multiple devices
-The challenge of public, local, community and regional television
channels. New financing strategies
-New television platforms, new formats and new narratives
-Changes in the relationship of information and entertainment
-Big Data and television.
-Social networks and participation
-Communication Politics on regional, state and community fields
-The big global changes: blockchain

The deadline for ZER applications is March 31th, 2019. The originals may
be sent in English, Basque and Spanish. The information for the
registration and sending of originals can be found at
http://www.ehu.eus/ojs/index.php/Zer/information/authors

Guest editor: PhD Andoni Iturbe Tolosa (Euskal Herriko Unibertsitatea /
University of the Basque Country)
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Sexuality and Gender Research PhD Studentships in the Arts & Humanities and Social Sciences


AHRC and ESRC Studentships available at the University of Brighton
through the TECHNE 2 and SOUTH COAST Doctoral Training Partnerships

The Transforming Sexuality and Gender Research Centre at the University
of Brighton homes internationally recognised scholars who work in a wide
range of fields intersecting with the study of genders, sexualities and
social change across the Arts & Humanities and the Social Sciences.
We are inviting prospective doctoral students who are interested in
applying for studentships either through the AHRC TECHNE 2 Scheme or
ESRC South Coast programme, with a focus on innovative and
interdisciplinary Gender and Sexualities research.

The centre incorporates three key research themes:
•LGBTQ Lives Research
•Sex, Sexuality and Health
•Digital Sexualities
We are committed to cutting edge research and community engagement that
impacts on policy and practice. Many of our researchers have a shared
commitment to feminist, post-structuralist and queer theoretical
approaches and use a variety of methodologies that are participatory,
visual and creative.

The Centre has a thriving early career researcher community and students
benefit from a rich programme of invited speakers, workshops, reading
groups and networking events. We host several national and international
conferences every year.

The Centre for Transforming Sexuality and Gender offers an opportunity
to work with researchers specialising in gender and sexualities research
across a broad range of subject areas, including:

•Human Geography
•Media Studies
•Social Media
•Cultural Studies and Popular Culture
•Drama and Sexualities
•Early Modern Sexuality and Gender
•Literature and Film
•Activism
•Sexualities, Health & Mental Health
•Sexual Practices, Identities and Cultures
•Health Inequalities
•Youth Cultures, Gender and Sexuality

We welcome expressions of interest from potential applicants interested
in pursuing PhD research in the areas listed above. You can find out
more about the Centre members' research expertise on our website.

PhD students will have access to the Research Centre's own
methodological space, The Creative Methods Lab, where researchers meet
to develop and conduct research, using state-of the-art visual and audio
recording equipment.

How to apply:
Enquiries can be made to Director of CTSG, Dr Olu Jenzen
(o.jenzen@brighton.ac.uk), who can also help you identify a potential
supervisor.
You can also make contact with a potential supervisor directly or
contact the Research Centre via email: sexgencentre@brighton.ac.uk

The deadline is 7 January 2019 for TECHNE 2 and 13 January 2019 for the
South Coast DTP
, but it is important to make contact with a potential
supervisor as soon as possible.

Types of funding:
Applicants need to meet AHRC / ESRC eligibility criteria for funding.
The ESRC studentship also offers the option of a Masters+PhD route (1+3
funding).

For more information:
•About the Centre: https://www.brighton.ac.uk/ctsg/index.aspx

•About current CTSG PhD projects: https://www.brighton.ac.uk/ctsg/index.aspx

•About PhD funding at the University of Brighton:
https://www.brighton.ac.uk/research-and-enterprise/postgraduate-research-degrees/funding-opportunities-and-studentships/index.aspx

•About upcoming events: follow us on twitter @CTSG_Brighton
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Call for chapters on disability, bodies, media and representation in Asia



We have space for some additional chapters in the edited collection
Disability and the Media: Other Bodies on the themes of disability,
bodies, media and representation in Asia. in the following edited
collection.


Book edited by Diana Garrisi (JC School of Film and Television Arts,
Xi’an Jiaotong Liverpool University) and Jacob Johanssen (Communication
and Media Research Institute, University of Westminster)

Under contract with Routledge and to be published 2019 in the Routledge
Research in Disability and Media Studies series
(https://www.routledge.com/Routledge-Research-in-Disability-and-Media-Studies/book-series/RRDMS
<https://www.routledge.com/Routledge-Research-in-Disability-and-Media-Studies/book-series/RRDMS>)


Using a variety of theoretical and methodological approaches this
volume encompasses an array of media forms including cinema,
newspapers, television, advertising and social media. This book has
several purposes. It critically discusses the relationship between
self-representation and representations in either reinforcing or
debunking myths around disability and othering. It explores the
cultural, political and commercial basis for why media can negatively
portray some people as intrinsically different. Finally, it suggests
that the dynamic relationship between traditional and new media and the
blurred lines between forms of representation and self-representation in
new media can make it more difficult to continue framing ability and
disability as mutually exclusive categories, and therefore cast the
latter as unwanted. The book presents instances of a possible, slow
cultural shift in favour of non-dichotomic views on ability and
disability increasingly represented as fluid and necessary conditions
characterizing the essence of each human being.

We are specifically interested in chapters that focus on Asia and its
different countries in relation to the themes of the book.**

Possible themes include but are not limited to:
· Affective labour of bodies
· Auto-ethnographic accounts of the body in / through digital media
· Celebrity bodies and the spectacles of transformation
· Cinema and disability
· Contemporary coverage of disability in
print/online/television/radio
· De-colonizing and de-westernising the mediated body
· Disability and advertising
· Disability and race
· Disability and the media: historical perspectives
· (Dis)Empowerments of the disabled body
· Journalism and practices of othering the body
· Neoliberalism, policy and austerity politics
· Reality television and the body
· Representing wounds and scars
· Researching bodies and the media: frameworks and methodologies
· Stigma and the body
- Posthumanist and non-representational frameworks
· The abject body
· The body and trauma
· The mediated body as spectacle
· The medicalised body in the media
· The objectification of the disabled body in the media

We invite submissions of 200-250 words chapter proposals. 
Deadline: Friday, 21 December 2018
Submissions should also include:
a) Title of chapter
b) Author name/s, institutional details
c) Corresponding author’s email address
d) Keywords (no more than 5)
e) A short bio

Please send chapters to diana.garrisi@xjtlu.edu.cn
<mailto:diana.garrisi@xjtlu.edu.cn> and j.johanssen@westminster.ac.uk
<mailto:j.johanssen@westminster.ac.uk>


Commissioned chapters are around 5,000 words. The fact that an abstract
is accepted does not guarantee publication of the final manuscript. All
chapters submitted will be judged on the basis of a double-blind
reviewing process.

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FORGETTING THE ARCHIVE, Istanbul


FORGETTING THE ARCHIVE

Exploring Past Images in the Digital Age

22 - 24 NOVEMBER 2018, İstanbul


Archives are not only places to collect, assemble and categorize
documentary information but also sites of historical struggle over the
writing, filming, collection, destruction, translation, and
interpretation. The question of management of cultural heritage cannot
be simply limited to processes of preservation and conservation, but
also it requires an investigation of the ways in which archiving creates
new forms of academic and artistic studies. In other words, these
studies on archives, instead of merely focusing on data collection,
scrutinize how the past -in the form of a film, a text, an image, is
being recreated and reimagined in the present. Thus, forgetting the
archive envisages a process that is integral to remembering and recreating.


The Film Department of the Turkish Ministry of Culture and Tourism is
going to launch a website of film archive, a great majority of which
consists of silent films from the first half of the past century-1900s.
Regarding this crucial moment in cultural history, the Cinema and
Television Department of İstanbul Şehir University is organizing an
international symposium, ‘Forgetting the Archive’. The symposium aims to
provide an academic and artistic platform for the discussion of
philosophical and theoretical issues pertaining to the archives. To this
end, the symposium brings together scholars, archive directors, and
artists from the United Kingdom, Austria, Germany, India, Netherlands,
and Turkey.

The goals of the symposium are not limited to exploring and discussing
the meaning of archives, as it further aims at developing a cultural
dialogue and connection between different academic and artistic
networks, as well as initiating international collaborations and
partnerships.

İstanbul Şehir University envisages this international event as the
first in a series of annual symposiums that will draw on the
participation of international scholars and artists in collaboration
with worldwide universities, archives, and cultural institutions.



INVITED SPEAKERS

Elif Akçalı, Kadir Has University, Istanbul

Canan Balan, İstanbul Şehir University

Ian Christie, Birkbeck University of London

Peyami Çelikcan, İstanbul Şehir University

Özde Çeliktemel-Thomen, Middle East Technical University, Ankara

Gustav Deutsch, Artist, Film Director, Vienna

Nezih Erdoğan, İstanbul Şehir University

Thomas Elsaesser, University of Amsterdam

Nurçin İleri, Boğaziçi University, Université Grenoble Alpes University,
LARHRA

Claudy Op Den Kamp, Bournemouth University

Nico de Klerk, Utrecht University

Peter Kramer, De Monfort University, Leicester

Aslı Odman, Mimar Sinan Fine Arts University, Istanbul

Saadet Özen, EHESS, Paris

Esin Paça Cengiz, Kadir Has University, Istanbul

Barış Saydam, Türk Sinema Araştırmaları, Istanbul

Rashmi Sawhney, Christ University, Bangalore

Asuman Suner, Istanbul Technical University, Sabancı University

Serkan Şavk, İzmir Ekonomi University

Nikolaus Wostry, Austrian Film Archive, Vienna

Mustafa Selçuk Yavuzkanat, Ministry of Tourism and Culture, Directorate
of Cinema, Ankara

Erkin Yılmaz, Ministry of Tourism and Culture, Directorate of Cinema, Ankara


LIVE MUSICAL ACCOMPANIMENT

Çiğdem Borucu

Güniz Alkaç

Nurcan Arısoy

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CFP: Pleasures of Violence




Pleasures of Violence
Conference to be held at Oxford Brookes University (Oxford, UK)

March 7-8,2019

It has become a truism to claim that social media bring out the worst in
us. But who gets to be the subjects and the agents of violence in an
economy built to repackage violence? In Updating to Remain the Same
Habitual New Media, Wendy Chun exposes the hypocritical dissonance
between our fantasies about the Internet and our online practices. For
instance, we are continually surprised at the leaking of a network that
is precisely built to leak; or we project the promiscuousness of
networks onto bodies that aren’t supposed to matter. Digitality has
become, then, indissociable from questions of injury, aggression and
pre-determined targets. Such impulses of violent digitality have further
become central spectacles on cinema, television and video game screens.
Why does the digital seem so well suited for the most insidious and
blatant of death drives?


From misogyny to racism, from trolling to warfare, from disaster porn
to revenge porn, to be immersed in popular visual culture is to have to
negotiate the circulation, broadcasting and spectacle of violence. Is
digital violence the re-enactment of analog modes of violence or a brand
new kind of economy? Have digital networks simply brought to the surface
the cesspool of destructive desires that whirled beneath surfaces all
along, or do they facilitate unprecedented modes of acting out, and
suffering from, violence? How might we, scholars and creative
practitioners, imagine ways of combating or repairing violence?

This conference aims to consider questions of abuse, misuse of power and
aggression in the (post-)digital age from a variety of perspectives and
fields, exploring the relationship between violence (physical,
psychological, symbolic, et al) and digitality writ large. It also takes
seriously the pleasures on offer through such digital violence, whether
that is the action cinema’s fight sequence or the trainwreck celebrity.
Is “digital violence” a redundant category? How does violence play out
in different national contexts and creative industries: cinema, gaming,
photography, music, fashion?

We welcome abstracts that centre on, but are not limited to the following:


* Doxing, firehosing, gaslighting: The New Language of Violence

* Representations of violence in contemporary TV, cinema, series and
podcasts

* Bot-enacted gender and racial violence

* The relationships between genre and violence

* Digital terrorisms

* The digital circulation of xenophobia

* Disaster porn, revenge porn and other types of sexual violence

* Online communities of violence and self-harm

* Outing as a form of violence

* Youtubeas platform for confessing violence

* Social media, feminism and the exposure of rape culture

* The weaponization of gossip, hearsay, fake news and misinformation

* BDSM online communities: The New Erotic Possibilities of Violence

* Biometric technologies of racial violence

* Necro/Bio-political violence

* Neo-colonial violence

* Glamourization and fetishization of violence

Please send abstracts of 250 – 300 words, with a supporting bio of no
more than 100 words, to violenceconferencebrookes@gmail.com
<mailto:violenceconferencebrookes@gmail.com>


Abstract deadline: Monday 31st of December 2018.

*Dr Diego Semerene*
Senior Lecturer in Film Studies and Digital Media
/Oxford Brookes University/
@diegosemerene
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CFP: Asian Cinema Studies Society Conference, June 2019



Deadline for submission of proposals is 10 December 2018.
Notifications of acceptance
will be sent out by early February 2019.

Papers and panel proposals are invited for the 13th Asian Cinema Studies
Society
Conference: The Environments of Asian Cinemas. With the support of the
Faculty of Fine
Arts, Media &amp; Creative Industries at LASALLE College of the Arts,
in conjunction with the
Asian Cinema Studies Society, the conference is planned for 24–26 June
2019, at LASALLE
College of the Arts, Singapore.

Participants are invited to present papers on any aspect of Asian cinema, though proposals
engaging with the conference theme are encouraged. One key aim here is to seek ways in
which Asian cinema studies might engage with the current moment of global environmental
crisis. At the same time, however, the conference theme of ‘environments’ is being
conceptualized in a broader sense, encompassing not only the material environments of
ecocriticism, but also Asian cinema’s represented environments and its various material,
cultural and regulatory environments of production, distribution, exhibition and reception.

Possible topics may include, but are by no means limited to, the following areas:

Ecocriticism and Asian cinemas
Animal studies and/or plant studies approaches to Asian cinemas
Environment and representation in Asian film and media
Asian cinema and the city
Asian cinema and the rural
Environmental issues in Asian documentary
Apocalyptic themes in Asian film
Ecological implications of Asian film production and/or exhibition
New technological contexts of Asian film and media
Changing regulatory frameworks of Asian film and media
Transnational influences on Asian film production/Asian film business
Globalization and Asian cinemas
Regional dynamics of Asian cinemas
Cultural issues in Asian film
Censorship issues in Asian film

Language: English

Please send proposals or enquiries to acss2019@lasalle.edu.sg.

For individual paper proposals, send a 200–300 word abstract and be certain to include the
title, author name(s), institutional affiliation, mailing address and e-mail contacts, as well as a
brief (50–100 word) biography of the contributor. For pre-constituted panel proposals (of
three to four papers), be certain to provide a brief description (100 words) of the overall panel
along with the individual abstracts and contributor information. Sessions will be 90 minutes
in duration, and time limits will be strictly enforced.

There will be no conference registration fee per se, but all participants must be members of
the Asian Cinema Studies Society, which requires an annual fee of £38.
The fee covers one year membership and one volume of two issues of Asian Cinema, and gives access to the society’s executive meeting at the conference.

Selected papers will be published in the peer-reviewed biannual Asian Cinema. Published by
Intellect Books (UK), this seminal journal has long been the flagship publication of the Asian
Cinema Studies Society.
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Lights, Camera, Learning: Teaching with the Moving Image



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

A few places are still available for this exciting event next week to
mark the seventieth anniversary in 2018 of Learning on Screen (BUFVC -
British Universities Film and Video Council).

It will explore the history of teaching and learning with the moving image.

Dates: Friday 23rd – Saturday 24th November 2018
Description:
http://bufvc.ac.uk/events/lights-camera-learning-teaching-with-the-moving-image

Programme:
http://bufvc.ac.uk/wp-content/media/2017/10/Lights_Camera_Learning_Programme_Formatted_NOV12.pdf


And to register, please click here:
https://bufvc.wufoo.com/forms/w185uje502yjta7/
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CFP: Children's Online Worlds, Digital Media and Digital Literacy


Ecrea's TWG -'Children, Youth and Media' gap-year Conference, Athens
24-25 May 2019.


Digital media is not just part of children’s cultures but is inherently
part of their everyday practices through which they explore and construct
the world. Within this context, children develop a large range of literacy
skills and practices related to education, consumption of media and
cultural texts, lifestyle, sexuality. Young people use digital media for
school work, communication, flirting, news consumption, political
engagement, activism or for interaction with their favourite celebrities
(on Instagram, Facebook, Twitter and other platforms). As such, digital
media serve as a multipurpose platform of self-performance, identity
construction and self-projection, enriching children’s lived experiences
and everyday culture. Considering such skills and practices as agentic
claims to citizenship and claims to broader participation in different
aspects of the public discourse, we invite contributions from researchers
working within media studies, cultural studies, education, psychology and
sociology, looking at how children develop or engage with literacy
practices through the use of digital media and cultural consumption.

We welcome research from (though not exclusively) the following topics:

· Children’s digital media uses for self-performance and identity
construction

· Children’s approaches to risk, safety and literacy

· Social media practices, self-regulation and mediation in the context of
media literacy

· Celebrity culture as media literacy

· Literacy skills as part of children’s citizenship rights

· The role of popular culture in developing children’s literacy skills

· Innovative methodologies in researching children’s media literacy

· Children’s online worlds and cultural consumption


Deadline for abstract submission: 20 December 2019. Please send abstracts
(500 words max) to athenskidsyouthmedia@gmail.com for blind review.

Notification of Acceptance: 20 January 2019


Host: Department of Communication and Media Studies, School of Economics
and Political Science, National and Kapodistrian University of Athens
(NKUA)

Local organizers: Liza Tsaliki (etsaliki@media.uoa.gr) & Despina
Chronaki (despinachronaki@gmail.com)

We estimate for 35- 40 presenters.
Participation fees: 70 euros (covering registration, coffee/snack/lunch
breaks throughout the conference)
Participants are responsible for their own travel and subsidence


Keynote speaker– David Buckingham. Friday 24 May 2019 (morning session)
@ National and Kapodistrian University of Athens, 30 Panepistimiou Street,
Amphitheatre Argiriadis.

for more details, please visit
https://cymecrea.wordpress.com/
and
https://sites.google.com/view/twg-children-youth-media/home


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CFP: Screenwriting Research Network Conference (Católica, Porto)


Screen Narratives: Order and Chaos
12th Screenwriting Research Network (SRN) International Conference
Porto, Portugal, September 12th-14th, 2019

Hosted by School of Arts, Universidade Católica Portuguesa
and the Research Centre for the Science and Technology of the Arts


Call for Papers and Submission


“It turns out that an eerie type of chaos can lurk just behind a facade of order -
and yet, deep inside the chaos lurks an even eerier type of order.”
- Douglas R. Hofstadter

SUBJECT MATTER

Classical Hollywood cinema was built around the concept of clearness, often modeling itself either on the Aristotelian structure advocated for in the Poetics or on the mythical and fairy tale structures identified, respectively, by Joseph Campbell and Vladimir Propp. An impression of order was thus achieved through the maintenance of unity in point of view (a single perspective conveying an impression of objectivity), causality (temporal linear progression), the interrelation of the main character’s goals and the narrative conflict (both of which had to be crystal clear) and unproblematic identities (equating an actor with one single character), among other aspects. According to David Bordwell, these action-oriented stories usually take place in numerous sites and are populated by multiple supporting characters; their ends typically entail the protagonist's transformation and a change in the environmental status quo.

However, European movements such as the French New Wave (Nouvelle Vague), which triggered the rise of modern cinema, and the American New Hollywood directors increasingly looked for different ways of telling stories, expressing a more complex and hazy outlook on life. This trend increased from the 90s onwards in several media: film, television, videogames, multimedia and the internet, with its hypertextual and interactive possibilities. From 2000 onwards, DVDs and video streaming allowed for more compelling ways of storytelling on TV series and web sites such as Youtube. New fruition possibilities arise as repeated viewings grant access to more details and narrative layers, creating a new communication paradigm that calls for a more active and participative stance from the viewers.

Nowadays, although the classical paradigm of the three-act structure still holds an important place in screenwriting, more and more writers, directors, producers, and prosumers, look for different possibilities of storytelling. Terms such as postclassical cinema, puzzle films, modular narratives, interactive fiction and complex narratives became common currency. The question therefore is: how does meaning emerge out of the obscure, the random and the unpredictable? Consequently, researchers are challenged to reflect upon the narrative devices through which order is balanced with chaos, symmetry with asymmetry, integration with differentiation, unity with multiplicity, intelligibility with mystery, continuity with disruption, stability with change. In what way do these dialectics produce simpler or more complex narrative patterns?



POSSIBLE TOPICS
For this SRN conference we welcome papers that discuss the ideas of chaos and order in contemporary screen narrative, through such topics as:
Chaos and order throughout the history of screenwriting.
Chaos and the emergence of new types of order.
Differentiation and integration in complex narratives.
Tension, contention and disruption in screenwriting.
Types of causality: linear, circular, structural...
Clearness, obscurity and mystery both in production and reception.
Randomness vs. strict patterns either during production or reception.
The relationship between complex narratives and film genres.
Multiplicity of meanings vs. single meaning.
Narratives about minorities in screenwriting
Interdisciplinary approaches to narration (pertaining to Philosophy, Psychology, Cultural Studies, etc.)
Traditional vs. contemporary modes of narration.
Contemporary world cinema, contemporary Hollywood cinema, and underground cinema.
Poetic and narrative structures.
Narrative modes of communication (interactive, unidirectional, etc.)
Impact of new devices on disruptive screen narrative’s reception (VR, 4D, 5D, VOD, etc.)
Intermediality (cinema, television, comics, new media, art installations, interactive cinema, web-related content).
Narratives for screen interactive media (installations, videogames, webseries, etc.)
The influence of television and other media on contemporary cinema.
Narrative contamination between visual arts and cinema, as well as between cinematic arts and expanded cinema.
Hybrid fiction and non-fiction.



SUBMISSION

Submissions must be sent to SRN2019@porto.ucp.pt in a Word document containing the following information:
title
authors’ names, affiliation and contact information
abstract (250-300 words)
3-5 keywords
authors’ short bio (100 words max.)

Please, type “SRN2019 Proposal” as email subject heading.

We accept individual submissions (for a 20-minute presentation) as well as pre-constituted panel submissions (3-4 presentations for a time-frame of 20 minutes each). The panel must have a coordinator, who is responsible for the submission. This person chooses the panel's title and its theme, compiles the abstracts and sends everything, organized into one single file, to the email address provided. The panel must also have a designated chair-person, whose contact information and short bio (100 words max.) must be provided by the coordinator in the submission.

Pre-constituted panels may also be proposed by an SNR Working Group leader in order to convey the research work being done in the group and/or its members, but in relation the working group theme.

Alternatively, a pre-constituted panel may be organized as a Discussion Forum panel, which is a workshop in which the 3-4 submitted articles are discussed. Each paper must be presented in 5 minutes, followed by a structured discussion based on a question line-up made up by the chair person. All participants must have read the papers in advance.



Types of Presentations:
Oral presentations
Practice-based presentation
The presentation is practice-based, combining different types of stimuli, of scientific and artistic nature. It is assumed that some information is not adequately conveyed by logical reasoning alone (using words, numbers, graphs…), thus implying incorporation of practical or artistic stimuli as well. During the presentation, each author will show his or her artistic/practical work in 10-15 minutes, accompanied by a theoretical reflection (5-10 minutes), making up a total of 20 minutes per work.
Audiovisual Essay
Authors are invited to present an audiovisual essay of 15 minutes maximum, in which they express a position on one of the above topics on narratives of chaos and order. It should not be a recording of a traditional paper presentation nor an art film, rather it must be an audiovisual discourse on a theoretical position. The screenings will be followed by a discussion with the authors. To submit an audiovisual essay, besides the before mentioned information explaining the theoretical content, authors should also describe the artistic form (700-1000 words).



All panel and paper proposals should be sent to the E-mail SRN2019@porto.ucp.pt until January 15th, 2019.



Contacts

For questions related with registration, please contact eventos@porto.ucp.pt
For questions related with submission of abstracts and other issues, please contact SRN2019@porto.ucp.pt



CALENDAR

Submissions deadline: 15th January 2019

Acceptance information: 28th February 2019

Early bird registration: Until 15th May 2019

Regular registration: Until 15th July 2019

Late registration: Until 1st September 2019

Pre-conference: 11th September 2019

Conference: 12th, 13th and 14th September 2019

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40 years of Alien

An academic symposium hosted by The Centre for Film, Television and Screen Studies

Bangor University, UK

Friday 24 May 2019

Keynote Speaker: Dr Rikke Schubart (University of Southern Denmark)

/Alien /has left an indelible mark on popular culture. Conceived
primarily to cash in on the popularity of science-fiction films in the
late 1970s, directed by a person known for making adverts (Ridley Scott)
and starring an unknown actor in the lead role (Sigourney Weaver), it
transcended its humble origins to frighten and disturb audiences on its
initial release. Its success has led to three direct sequels, two
prequels, one ‘mashup’ franchise, a series of comic books, graphic
novels, novelisations and games, and has an enormous and devoted
fanbase. For forty years, /Alien/ (and its progeny) has animated debate
and discussion among critics and academics from a wide variety of
disciplines and methodological perspectives.

Hosted by the Centre for Film, Television and Screen Studies at Bangor
University, this symposium proposes to bring together scholars from
diverse disciplinary backgrounds to explore /Alien/ forty years since
its release, debate its legacy and consider its position within visual
culture.

*Colin Arthur, who worked on the make-up and special effects for the
film, has confirmed his attendance.*We also hope Roger Dicken, who also
worked on the film’s visual effects, will be able to join us.

*We are delighted to confirm that Dr Rikke Schubart (University of
Southern Denmark) will deliver the keynote address.*Dr Schubart has
written extensively about gender and genre, the action heroine in
popular cinema, and women and horror. Her most recent monograph,
/Mastering Fear: Women, Emotions and Contemporary Horror/, was published
by Routledge in 2018.

We welcome contributions from any perspective such as (but not limited
to) the following:

* /Alien /– origins, influences, production, aesthetics, publicity,
reception, afterlife
* Sequels, prequels and mashups: /Aliens, Alien 3/, /Alien:
Resurrection, Prometheus, Alien: Covenant, Alien vs Predator, Alien
vs Predator: Requiem/
* The /Alien /Transmedia Universe: games, comic books, graphic novels,
novelisations
* Sigourney Weaver: star, producer, auteur?
* Ripley as feminist icon: the gender politics of the /Alien /universe
* /Alien/ and motherhood
* /Alien/ and race, ethnicity and otherness
* HR Giger and The Art of /Alien/
* /Alien /and psychoanalysis
* A Haunted House in Space: /Alien /as Gothic horror
* /Alien/ and science-fiction
* /Alien/, audiences,//fandom and ‘cult’
* ‘The perfect organism’: /Alien/ and evolutionary biology
* /Alien/ and neoliberalism, post-industrialism and the rise of
multinational corporations
* /Alien/ and artificial intelligence, cybernetic organisms, and the
post-human



Oxford University Press has expressed a keen interest in producing a
collection of essays based on the symposium.

We are applying for funding to facilitate postgraduate and unwaged
participation.

Please send 300-word abstracts and a short biographical note to Dr
Gregory Frame (_g.frame@bangor.ac.uk <mailto:g.frame@bangor.ac.uk>_) by
1 January 2019.

https://www.bangor.ac.uk/common/img/email/logo-a2b.png
<https://www.bangor.ac.uk/>

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CFP: Filmic Forms and Practices of Autochthonous Struggles



Filmic Forms and Practices of Autochthonous Struggles

Paris, February 27-28, April 8-9, May 2-3, 2019

La Fémis / PSL Research University

Call for (re)presentations

These three colloquia set out to bring together filmmakers, activists,
and researchers to discuss the use of film and media technologies in the
social movements of autochthonous populations. In the company of those
involved in these communities and social movements, our aim is to map
the film and media forms and practices employed within recent and
ongoing autochthonous struggles. These exchanges will investigate the
different situations and experiences that produce these filmic forms,
their vernacular histories and roles within these political and social
movements of resistance. The colloquia are organized under the auspices
of the research project “For a Global Study of Filmic Practices within
Autochthonous Struggles,” lead by Nicole Brenez at the French national
film school La Fémis and funded by PSL Research University’s Global
Studies initiative.

We are looking for proposals for both presentations that fit the more
traditional academic format of a 20-minute talk, but also experimental
forms. The latter can entail media works or performance pieces,
presented and/or performed either in person or submitted to the
organizers to be screened/played (video, sound recording) or as notes
and directions to be interpreted by the bodies and voices of those
present at the events. The proposals for presentations and experimental
forms should follow the themes of one of the following events.

#1: Autochthonous Cinema against Occupations [North America]

/February 27-28, 2019, with:/

– Alanis Obomsawin (filmmaker and musician)

– Myron Dewey (filmmaker and activist, Digital Smoke Signals)

– Sky Hopinka (filmmaker and visual artist)

#2: A Long View on Colonizing Practices and their Amnesia [Pacific/West
Indies]

/April 8-9, 2019, with:/

– John Gianvito (filmmaker and professor at Emerson College)

– Myrla Baldonado (activist, Pilipino Workers Center)

#3: Autochthonous Futures, Our Future [Oceania/North America]//

/May 2-3, 2019, with:/

– Karrabing Film Collective (artist and activist collective)

– Lisa Rave (filmmaker and visual artist)

– Erik Blinderman (filmmaker and visual artist)

*The research project and its central concerns*

Collectively, we aim to create a space for the study and promotion of
the role and forms of filmic and media practices, enlisted during times
of adversity when the effects of global processes intersect with the
lives of indigenous and rural communities.

These autochthonous communities – their identity and ways of life
embedded in deep historical and cultural bonds to their lands – are
often the first in line to bear witness, suffer and endure political
disenfranchisement, state violence, economic exploitation, pollution and
contamination of lands and living beings, environmental injustice,
expropriation, and displacement. Behind these experiences and instances
of plight are large-scale ecological, macroeconomic, and geopolitical
processes, which take decades or centuries to play out, encompass
continents, and whose origins are largely human. An environmental
catastrophe, a negative economic development, or a series of hostile
political decisions can lead to situations of intense distress and
struggle where autochthonous communities need to mobilize in order to
ensure their existence and protect their environment. During these times
of conflict, they require tools to frame and render tangible the impacts
of global processes. In creating and employing compelling figurative and
representational forms, the communities can make their voices heard and
raise awareness about their causes, allowing them to reach society at
large, which bears a great share of responsibility in begetting and
sustaining large-scale processes. Since the 1960s, many of these
communities have made use of various media practices as a way to
document and engage with the struggles they are involved in.

We are interested in studying how the act of image and sound making
becomes a part of the dynamic of the struggle; what effect do the filmic
and media practices have on the course of the struggle; how are the
figurative and representational forms conceived and adapted to the
particular situation; in what ways does the community participate in or
influence the process of devising these forms; how are the works lent a
historical depth, given a sense of the larger processes at work, while
also conveying the urgency of the situation; how and where are the
resulting works distributed and what is their effect both within the
community and outside?


*Colloquia*

*/Colloquium #1 – Autochthonous Cinema against Occupations [North America]/*

This first meeting will examine the filmic tactics developed by the
autochthonous resistance movements in response to land spoliations and
the extraction and transportation projects of the mining and petroleum
industry. In their masterclasses, filmmaker Alanis Obomsawin of the
Abenaki nation, activist and videographer Myron Dewey of the Newe-Numah
and Paiute-Shoshone nations, and filmmaker Sky Hopinka of the Ho-Chunk
and Pechanga nations, will reflect on the confrontations between
autochthonous communities and armed forces in Oka, in 1990, and at
Standing Rock, between 2015 and 2017. Both the Oka Crisis and the Dakota
Access Pipeline protests at once lay bare the willingness of the
government to forcefully deprive the autochthonous communities of their
rights and demonstrate how employing filmic practices and media tactics
allows the communities to represent themselves and their plight. The
proposals for this section could focus on filmic practices developed
during these ongoing struggles or on the diversity of filmic forms
related to intertribal and pan-Amerindian political movements in North
America.

*/Colloquium #2 – A Long View on Colonizing Practices and their Amnesia
[Pacific/West Indies]/*

These two days will be dedicated to the constitution of a first
cartography and chronology of filmic practices that document the ongoing
autochthonous struggles in the regions historically marked by the
colonial influence and practices of the United States. Collective
amnesia regarding the colonial history of the Philippines will be the
starting point of this colloquium. Filmmaker and professor of visual and
media arts at Emerson College, John Gianvito will discuss the films
where he explores the political and visual history of American
imperialism. Activist Myrla Baldonado, one of the founders of the NGO
People's Task Force for Bases Clean-Up (PTFBC) in the Philippines, will
present the history of collective local and international mobilizations
against the U.S. military bases Clark and Subic. The conversation will
then be extended to all contemporary autochthonous struggles in the
Pacific and the West Indies: Okinawa, Micronesia, Philippines, Hawaii,
Puerto Rico. We are inviting proposals that will take an empirical or
historical (from 1980 to today) perspective on those issues. Special
attention will be given to proposals dealing with social mobilizations
against American bases, on filmic practices of contemporary
environmental struggles in the Pacific or Caribbean regions, as well as
on insurgent movements in the southern Philippines.

*/Colloquium #3 – Autochthonous Futures, Our Future [Oceania/North
America]/*

During this last meeting, we will reflect on the filmic, collective, and
essayistic forms that represent the present-day experiences of
autochthonous communities in contexts marked by the contamination of
ancestral lands and the displacement of populations, and that also
explore and employ alternative narratives, forms of history, and ideas
of coexistence. Karrabing Film Collective will present its work borne of
its community in Northern Australia, and filmmakers Lisa Rave and Erik
Blinderman will talk about their investigation on Yucca Mountain, a
Western Shoshone territory in Nevada, which has been the subject of a
continuous colonization process since the Ruby Valley Treaty in 1863. As
part of this discussion – extended to the autochthonous peoples of
Oceania and North America – the proposals could consider filmic forms
that document the intensive exploitation of natural resources and the
threats it poses to both autochthonous and all of our futures.
Presentations exploring filmic forms that incorporate the ideas of
uchronia, utopia, and futurism will be appreciated.

*Two forms of presentation*


Our wish is to include in our discussions all possible voices.
Therefore, this call is open to both academics and non-academics alike,
to those who either study the issues related to this research project or
those who are involved in and touched by the experiences of struggle. We
thus welcome contributions that follow a traditional 20-minute academic
presentation but also proposals for experimental forms where the
author(s) have a wide range of means to convey ideas and experiences.

**

/*Academic presentations*/

Besides exploring the issues articulated above, or discussing the work
of one of the invited filmmakers or collectives, the academic
presentations may address one or several of the following themes:

– Histories of filmic practices. A study of the practices and/or
legacies (archival or other) of an individual filmmaker or an
activist collective.

– Empirical and ethnographic study of filmmaking, exhibition, and
reception practices.

– Issues and forms of ‘visual sovereignty’ (Michelle Raheja). Ethics
of shooting, decision making processes relative to what and when can
or cannot be represented (e.g. ceremonial rituals, behind-the-scenes
deliberations).

– Technical autonomy and technological sovereignty. Filmmaking and
media production in situations marked by digital divide and in the
conditions of surveillance and tracking across content and social
media platforms.

– Financing and distribution of films. Government funding,
aboriginal media and television stations, self-financing, and the
impact of these forms of production on filmmaking and the autonomy
of the filmmakers.

– Appropriation and adaptation of film and media technologies.
Studies on past and “new ways to indigenizing film and technology
through Indigenous Eyes” (Myron Dewey).

– The historicity of images and their ability to capture the
evolving conditions of autochthonous struggles. The capacity of
films at once to document the urgency (occurrences of state
violence) and to construct in the long run the vernacular memories
of autochthonous struggles.

– Sonic ecology of struggles. Oral histories, chants and protest
songs in films.

– Uchronia, utopia, futurism. The futures and alternative realities
– imagined, forgotten, or reinvented by the filmic practices of
autochthonous struggles.

*/Experimental forms /*

We invite proposals for experimental forms that can be constituted of
media works (e.g. moving image, sound), involve a performance (e.g.
monologue, dialogue, reenactment, dramatization). To encourage and
facilitate the participation of those who are unable to travel to Paris,
we also welcome proposals for performative forms that could be staged
and directed from a distance following notes submitted by the author(s).
For the latter, the author(s) would have at their disposal the bodies
and voices of the organizers and participants of the colloquia and the
entire space where the event takes place (depending on the day, a movie
theater, a conference room).

The piece can last up to 20 minutes. The authors can use the language of
their choice while the non-English works should be accompanied by an
English translation. Thematically, the authors have complete freedom in
their proposals as long as they touch upon the central concerns of this
research project and follow the regional boundaries of one the three
colloquia. For works to be directed from a distance, the organizers
commit to discuss the directions/staging beforehand and, if necessary,
organize a rehearsal. The performative forms could be filmed/recorded by
the organizers following the authors’ instructions and within the
technical means at our disposal. The unedited rushes will then be sent
to the authors who can freely archive, edit, or distribute these materials.

The proposals for experimental forms should specify:

– the form of the piece (sound recording, video, dialogue...);

– the technical and/or human means necessary for the production of
the piece (number of participants, props, technical requirements for
the presentation of sound and moving images...);

– a 300-word summary of the performance/stage piece;

– if applicable, indications as to the recording and possible uses
of the materials.

The authors should be aware of the aforementioned constraints, the
specificity of the resources at their disposal, adapt their works to
them accordingly, and keep in mind the importance of notations and
instructions to be included with their final work if it is to be
directed from a distance.

In order to ensure that the work be presented in the best possible
conditions the final work should be received by the organizers *at the
latest three weeks before the event*.

Calendar and Practical Questions
Please submit your proposal before December 1, 2018, to:
alopai@hotmail.com and larcherj@hotmail.fr. The proposals should specify
the chosen colloquium, the presentation’s format (performance / video /
academic presentation, etc.), include a summary of the academic
presentation (500 words) or the experimental form (300 words), a short
biographical note, and, if applicable, the human and/or technical means
necessary for the production/presentation of the work. The participants
will be notified of acceptance by *December 17, 2018*, and the final
program will be published on *January 20, 2019*. We are unfortunately
unable to provide financial aid, the participants will assume
transportation and accommodation expenses. For any questions regarding
the presentations please write to the email addresses above.

*Organizing committee *

– Nicole Brenez (La Fémis / Sorbonne Nouvelle)

– Daniel Cefaï (EHESS)

– Giovanni Careri (EHESS)

– Jonathan Larcher (EHESS)

– Sébastien Lechevalier (EHESS)

– Ricardo Matos Cabo (Independent film programmer)

– Alo Paistik (EHESS)

– Perrine Poupin (EHESS)

– Caroline San Martin (La Fémis)

– Skaya Siku (Academia Senica)

– Marko Tocilovac (EHESS)

– Barbara Turquier (La Fémis)

– Eric Wittersheim (EHESS)
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Call for Chapters: Gendered Violence at International Festivals: An Interdisciplinary Perspective



We invite researchers to submit chapter abstracts for a proposed book to
Routledge entitled, Gendered Violence at International Festivals: An
Interdisciplinary Perspective, edited by Dr Louise Platt (Manchester
Metropolitan University) and Dr Rebecca Finkel (Queen Margaret University).
The vision for this book is to feature contributions from critical
events and interdisciplinary scholars specifically focused on gendered
violence (symbolic/physical) at international festivals. It is expected
that chapters will provide robust theoretical frameworks and will
interweave theory, policy and/or practice. Empirical work which features
creative research methods is especially welcome.
The underlying motivation for this volume is to contest the widely-held
notion that festivals are temporal spaces free from structural sexism,
inequalities, or gender power dynamics; rather, we argue that they are
spaces where these are enhanced and enacted more freely, using the
experiential environment as an excuse or as an opportunity to
victim-blame and shame. Whilst it has been argued that the
liminal/liminoid space, due to the so-argued temporary suspension of
societal norms, allows women’s bodies and voices to be asserted in a way
that is not usually deemed acceptable in everyday public spaces, there
is often a neglect to understand how hegemonic social and cultural
structures and controls still govern these spaces. We argue that a
persistence to characterise festivals spaces as uncomplicated,
value-free, and utopic is highly problematic.

Possible chapter topics can be drawn from cross-disciplinary literatures
and methodologies and may be from a range of social science subjects,
such as critical event, tourism, and leisure studies; gender and
sexualities studies; critical race theories; urban and cultural
geography; sociology; criminology; and so forth. It is expected that
gender and violence issues will be explored within the framework of one
or more festivals, whereby the festival illustrates broader social
structures and confirms/disrupts established discourses involving
patriarchy, performativity, power, praxis, and perceptions of safety.
Intersectional and feminist approaches are considered a priority.
Recently, there have been more and more media reports surrounding
increased sexual assaults at festivals, especially greenfield music
festivals. However, there has been a paucity of sustained scholarly work
in this area. This collection attempts to highlight international
research in an effort to further thinking about gendered festival
experiences and emphasise the symbolic and physical violence often
associated with them.

Please submit abstracts (100-200 words max.) for your proposed chapter
by Monday, 7 January, 2019.

We look forward to hearing about your work and possibly having you
contribute to this exciting, emerging area! Please email abstracts to
Drs Louise Platt l.platt@mmu.ac.uk and Rebecca Finkel: rfinkel@qmu.ac.uk

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CfP French Journal Genre en séries: Can heroines escape their gender?



Can superheroines escape their gender? 
<http://genreenseries.weebly.com/>

by Sophie Bonadé, doctoral student (UEVE/Saclay, SLAM) and Réjane
Hamus-Vallée,professor (UEVE/Saclay, Centre Pierre Naville)

"Jewel is a great superhero name! »
" Jewel is a stripper's name. »
dialogue in Jessica Jones

In 1938, the first issue of Action Comics featured the character of
Superman on its cover. Success came fast. Although Superman was not the
first superhero (Gabilliet 2004), he would become the prototype of the
American superhero story. As products of mass culture, which today have
a worldwide influence, superheroes did not confine themselves to comic
books for long. In 1941,
Superman also reached TV screens through the animation series produced
by Fleischer Studios (Fleischer 1941). The same year, Adventures of
Captain Marvel (English and Witney 1941) was published, a serial divided
into 12 parts. In 1952, the television series Adventures of Superman
(Syndication, 1952-1958) was the first live-action adaptation of
Superman's adventures. Many other
superhero story adaptations have since been produced, which soared in
the early 2000s with many television, film and video game adaptations of
the stories by the two main publishers of the superhero genre: Marvel
and DC Comics.
While superheroines were born shortly after Superman (Fantomah in Jungle
Comic No. 2 in late 1939/early 1940s or The Lady in Red in the early
1940s, No. 2 in Thrilling Comics), they had more difficulty than their
male counterparts in being adapted to small (and large) screens, with a
fairly marked time lag. This issue of Genre en Séries will therefore be
devoted to the place of superheroines
since their creation and proposes to study them both in comic books and
through their adaptations in types of media.
Apart from Trina Robbins' books, which provide a fairly broad overview
of the evolution of superheroines (Robbins 1996) and the place of women
in the comic-book industry (Robbins and Roniwode 1985; Robbins 1999 ;
Robbins 2001; Robbins 2013), superheroines are poorly studied, with the
exception of the most famous of them,WonderWoman (Robinson 2004; Bilat
2011; Hanley
2014; Bajac-Carter, Jones and Batchelor (eds.) 2014; Zechowski and
Neumann 2014; Cocca 2016).
Most of the time, superheroines are just mentioned in a book
(Hassler-Forest 2012) or are sometimes the subject of a specific chapter
(Gray II 2011; Ducreux 2013). We believe it is necessary to compensate
for this delay.
If our questioning focuses on superheroines from comic books, this issue
also aims to question the limits of these characters. Proposing a list
of definitional, but not essential, characteristics, as
Jean-Marc Lainé has done (in Lainé 2011, we find the following:
superpowers, costume, secret identity, companions, Achilles' heel,
founding trauma, adversary and relationship to the city) is not a
satisfactory definition, as it allows to group under the superhero name
characters as old as Gilgamesh or Hercules (Reynolds 1994 ; Knowles
2007). A definition by characteristics must be combined with a
definition that makes it possible to locate and contextualize the
characters that are superheroes and superheroines. Is Buffy, the vampire
slayer (The WB, 1997-2001, UPN, 2001-2003), who has superpowers and
protects the world by looking after the small town of Sunnydale, a
superhero? She
is not wearing a suit, but her identity as a killer is a fact she hides
from her family during the first few seasons. Are the action women of
1980s cinema - such as Ellen Ripley from the Alien film series (Scott
1979; Cameron 1986; Fincher 1992; Jeunet 1997) and Sarah Connor from the
Terminator
franchise (Cameron 1984; Cameron 1991) superheroines, since they are
fighting to protect humanity?
And what about Max Guevara, the heroine of Dark Angel (Fox, 2000-2002),
whose genetic heritage was modified during childhood to turn into a
weapon and who fights as an adult for her right, and that of her fellow
human beings, to exist: does she not recall the X-Men team of mutants?
This issue therefore proposes to study superheroines as such but also in
their relationships with their male teammates. From comic books to
animated image adaptations, the reasons for their relative lesser
success compared to superheroes is at the heart of our questioning.
Who are the superheroines and where are they today? What place(s) do
they have in the different media? Who are their audiences? How does the
transition from comic book to another medium transform, or not, the
heroine in question? What are their links with superheroes?
Approaches from the different social sciences are welcome in this issue,
which will focus in particular on the following non-exhaustive areas:

1) Evolution of superheroines
A first approach can focus on the socio-historical context of the
appearance of these characters in the tradition of Loïse Bilat's work on
Wonder Woman. When Wonder Woman appeared in 1941, she had physical
strength similar to Superman's. However, its creatorWilliam Moulton
Martson, also
endowed her with qualities that he considered intrinsically feminine
such as softness and charm. This construction of Wonder Woman is
attributable to William Moulton Martson's essentialist vision, but also
to the gender relations at the beginning of the Second World War, when
women were called upon to support the war effort, taking on male roles
while remaining male supporters.
Superheroine stories have since gone through 70 years of American social
transformation. The social changes that have taken place since 1941 -
changes in the status of women, civil rights, feminist movements,
LGBTIQ+ struggles - have influenced the stories of superheroines. The
creation and simultaneous broadcasting, between 1975 and 1977, of the
superhero series The Secret of Isis (CBS, 1975-1977) and Wonder Woman
(ABC, 1975, CBS, 1977-1979) were made possible by the women's rights
movements that shook the United States during the Second Wave of
feminism, but also by the massive entry of women into the paid labour
market, which turned them into consumers to whom a product can be sold
(Passerini 2002). In the early 2000s, Jessica Jones, an alcoholic and
borderline ex-superheroine, was created. Alias (2001-2004, Max Comics),
the series in which she is the protagonist, is a meta-report that offers
a reflection on the evolution of superheroines, but also on their
future. The character's success in comic books but also on the Netflix
video platform (Netflix, 2015-ajd), where the series has been renewed
for a third season, supports an unconventional superhero model.
Nevertheless, Jessica Jones must also question the possibility even for
a woman to embody a superheroic figure, because the character has
precisely renounced being a superhero.
How are superheroines representatives of their time? How do superheroine
stories portray and interact with American social changes in different
media? And does adaptation make it possible to solve certain "problems"
posed by superheroines in comics (objectification, use for scriptwriting
purposes in stories centred on men) or are they reproduced in the target
medium?

2) Creation, production, mediation and public
In this axis, priority will be given to studies that focus on the
contexts of these comic books and their adaptations. On the one hand,
the reception context: which audiences, for which works? Are the
audiences of superhero and superheroine stories really more masculine?
How does this audience
influence the content of these superheroic fictions? In 2013, Paul Dini,
one of the creators of Batman:
The Animated Series (Fox Kids, 1992-1995), attributed the cancellation
of Young Justice (Cartoon Network, 2010-ajd) and Green Lantern (Cartoon
Network, 2011-2013) to the overly female audience, which was not good
for broadcasting channels, as girls are known to buy fewer toys. While the
reasons for this cancellation were never confirmed by the Cartoon
Network, Paul Dini pointed at the gendered dimension of superhero
productions that are intended for the youth market in relation to the
importance of the sale of ancillary products in their profitability.
This also raises the question of the production context: who are the
people who create these superheroic adventures? Can the gender relations
that are played out within a television channel, film studio, video game
production company or comic book publishing house influence its brand
identity?
The CW channel, for example, which produces many of the current
superhero television series, was, when it was created in 2006, the
network with the highest number of female employees and its identity was
marked by the production of series for young women such as Gossip Girl
(Le Fèvre-Berthelot 2015). Can CW's recent production - Arrow, The Flash
- be seen as a desire to remasculinize its audience - after Mark
Pedowitz was appointed head of the network in 2011 - or are these series
also dedicated to a female audience? If so, how can we explain the
inclusive approach of these television series that feature racialized,
homosexual, bisexual and soon-to-be transgendered characters and on
which the CW is basing its brand identity in a video announcing its
upcoming series for the 2018-2019 season (AlloCine)? While these
superheroic television adaptations play the card of a certain diversity,
it is worth questioning the timidity of the film adaptations on this
subject: we had to wait for the 21st film produced in the Marvel
Cinematic Universe, Captain Marvel (Boden and Fleck
2019), to have a superheroine as the main protagonist.

3) Superheroine stories and politics
This axis aims to analyse the place and role of television and film
superheroines by observing the narrative construction of these
characters. How is the scene set for superheroines? What role do
superheroines working alongside superheroes play, for instance in Heroes
(NBC, 2006-2010), the
Avengers film franchise, the Batman: The Telltale Series video game
(Telltale Games, 2016), Batman (ABC, 1966-1968), and Gotham (Fox,
2014-ajd)? More generally, these superheroines must be examined as
heroines (Cassagnes-Brouquet and Dubesset 2009), but also as women of
action (Monk
2010; Bilat and Haver 2011).
It is also necessary to question how superheroines can experience other
types of domination than gender. Superheroes and superheroines were
originally white, heterosexual characters - even if their sexuality was
never mentioned - and they often come from higher social classes. Today,
these
representations have diversified. Racialized and/or non-heterosexual
superheroines exist, and a transgender superhero appeared in the fourth
season of Supergirl (CBS, 2015, The CW, 2016-ajd).
The status of all superheroines must nevertheless be questioned. The use
of the image of Ms. Marvel (Kamala Khan), a Muslim superhero, to fight
Islamophobic campaigns in San Francisco evokes a certain political power
of these representations, but what is really happening? Do superheroines
contribute to challenging patriarchal norms or are they pure
post-feminist products devoid of any political substance (Cervulle
2009)? Are they simple feminist pop characters who spread a message of
individualistic empowerment without its political and collective side or
do they spread globally the idea that women, whoever they are, can be
heroines and even more?

Proposals for articles, accompanied by a short biography, should be sent to
sbonade@gmail.com <mailto:sbonade@gmail.com> and rvallee@univ-evry.fr
<mailto:rvallee@univ-evry.fr> before 15th December 2018. The authors
will be advised by 15th January 2019 and the articles must be sent by
30th April 2019, for publication after proofreading in Autumn 2019.

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Funded Collaborative PhD opportunity at the University of Leeds/Leeds Film

AN ANALYSIS OF THE HISTORY OF INDEPENDENT FILM EXHIBITION IN LEEDS

Lead Academic and Partner Organisation Supervisors:

Prof Stephanie Dennison
Centre for World Cinemas and Digital Cultures, School of Languages,
Cultures and Societies
University of Leeds

Mr Alex King
Programme Manager
Leeds Film

Project summary
This collaborative doctoral project seeks to break new ground by
enabling a student to carry out an analysis on independent film
exhibition in Leeds informed by both academic scholarship and practical
experience of a series of regional film initiatives under the umbrella
of Leeds Film. Such an analysis will fill a significant gap in cultural
memory within the city: despite Leeds' link with film innovator Louis le
Prince and early movie making, and despite currently having the largest
number of DIY film exhibitions in the UK, very few discussions of film
in Leeds appear in literature, academic or otherwise.

A comprehensive historical overview of independent film exhibition in
Leeds constitutes the first aim of the PhD project, with a number of
potential research questions providing a specific focus which might include:

1) What is the impact of the Leeds International Film Festival and other
exhibition initiatives on the city and local community, and to what
extent does this impact match the expectations of the festival
programmers and partners in Leeds City Council?
2) What are the effects on film culture in the region of constantly
shifting patterns of a) taste, b) demographics, c) film funding?
3) How can we usefully trace/judge the impact of independent film
exhibition in the region?

The time spent working with Leeds Film will be dictated by the
exigencies of the student's research focus. The student will also have
contact with the Hyde Park Picture House, a key venue in the independent
film exhibition history of the region, as well as the National Media
Museum in neighbouring Bradford. A further opportunity is available,
depending on the focus of the research: an internship at the Durban
International Film Festival. Interest in hosting a researcher has been
confirmed by the Centre for Creative Arts, the umbrella organisation
(similar to Leeds Film) in Durban. The practical insights gained from
working alongside the Leeds Film team will provide the student with
excellent experience and a solid skills base, that will prepare them for
a variety of academic and non-academic professions, for example in film
programming/festival organisation, or the cultural industries more broadly.


For more information about this project contact
Prof Stephanie Dennison (s.dennison@leeds.ac.uk)
In order to apply for funding you must have applied for a place of study
at the University of Leeds by 9 January 2019, clearly stating you are
applying for this project.
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CFP: Counter-image International Conference (Lisboa)



Counter-imageInternational Conference
Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa
6th and 7th May 2019

Call for Papers

The research on History, made by authors such as Benjamin and Foucault,
sustain a counter-discourse and counter-narrative way of thinking that
aims to embrace the voices of those who have been voted to silence by
the hegemonic powers of society, asserting themselves as counter-memory.
The practices of memory are thus fields of political action where
various agents interact in relationships of power that seek to give
visibility to memory, against forgetfulness, marginalization and
subjugation. The productions of memory and forgetfulness are not passive
acts, but denote conflicts and tensions between different modes of
knowledge. We seek to highlight the different perspectives and
multiplicities of discourses that converge in the formation of memory
guided by heterogeneity and plurality.

From this theoretical and interpretive framework appeared new models
of organization and re-activation of memory; discussions on the
interactions between individual / collective identities; postcolonial
perspectives; gender policies; marginal / peripheral discourses gained
dimension.

We invite academics, students and independent researchers to think the
photographic and filmic image as “a place where recollection - memory –
materializes” (Bergson, 1896) and real and fiction intersect (Dubois,
2016) affirming their power to transgress and open other narrative and
visual paths. The scope of the conference includes, but is not limited to:
- counter-hegemonic narratives;
- temporal densities of/in images;
- archive dynamics in relation to counter-power and counter-memory;
- self-representation between fiction and reality;
- political and sociohistorical dimensions of authorship;
- artistic practices as resistance strategies;
- the use of vernacular images and processes in artistic production.


Abstract Submission
Proposals for communications - of max. 20 minutes - must be sent to
scientific.counterimage@gmail.com
<mailto:scientific.counterimage@gmail.com> , for the attention of
Professor Ana Lúcia Marsillac, until the 10th of December 2018, and
include: a .docx file with the name of the author(s), a biographical
note (max. 100 words), the title of the proposal, keywords (max. 5) and
the abstract (max. 300 words).

Venue and Date
The conference will be held at Auditório 1 - Torre B in Faculdade de
Ciências Sociais e Humanas of Universidade Nova de Lisboa, on the 6th
and the 7th of May 2019.

Confirmed Keynote Speakers
David Campany (Westminster University)
Susana de Sousa Dias (Faculty of Fine Arts – University of Lisbon)

Accepted languages
English and Portuguese

Registration
Paper Submission: free
Regular Registration: 30€
Student Registration: 15€

More information:
https://observatorioevam.wixsite.com/evam
https://www.facebook.com/observatorioevam/
clusterevam@gmail.com <mailto:clusterevam@gmail.com>
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CFP: Beyond the Console: Gender and Narrative Games



Beyond the Console: Gender and Narrative Games

8 / 9 February 2019, at the V&A and London South Bank University, UK

The Centre for Research in Digital Storymaking at London South Bank
University is organising a two-day conference to showcase and explore
narrative games through the experiential and critical lens of gender.
From tabletop live roleplay to mobile apps with user story creation
platforms, from interactive performance to interactive fiction,
narrative games create vibrant participatory communities. Since their
modern incipience, narrative games are also contestedly gendered.
/Little Wars/, a live roleplay strategy game book by H.G. Wells (1913)
is subtitled: ‘for boys and for that more intelligent sort of girl who
likes boys’ games and books'. Yet in the networked age, narrative games
have also opened up a diversity of stories. Open source authoring tool
communities empower personal game authorship (Twine, since 2008);
classic game genres, such as live table top games, are reconfigured as
journeys of becoming (/Monster Hearts/, 2012); commercial mobile apps
place ‘Hollywood-calibre stories’ of melodrama at the centre of their
social media games (/Episodes/, 2014); live action role play games
(LARP) reflect and incorporate gender neutrality in their immersive game
design (/College of Wizardy/, 2018); while interactive performances
invite audience members to play at being a different gender (/Disaster
Party, / 2017).

*Call for Papers

The conference invites submissions from a broad range of disciplines,
and is particularly interested in fostering links between research
scholarship, game making, and curation. We are interested in paper
proposals (including theoretical and methodological proposals,
comparative studies, and case studies), as well as creative research
demonstrations from scholars, art practitioners, curators and
gamemakers. Possible areas for consideration might include, but are not
limited to:

·‘The personal game’: subjectivity and game authorship

·Gender (re-)activism: social media, authoring tools, crowdsourcing

·Language, gender, programming: translation, procedural narratives

·Gender through immersive live action role play (LARP) games

·Gender in interactive performance

·Radical reappraisals of game genres

·The state of ontological play: who plays who, what, where and how

The conference will include a live keynote game by Porpentine,
introduced and chaired by Emily Short, hosted by the V&A Museum. The
keynote speaker is the interactive artist and scholar Hannah Wood.

*Proposals *

Proposals (20 minute length for papers; 10 minutes for demonstrations
and provocations) should include a title, an abstract of max. 300 words,
and a brief biography.

The proposal deadline is 26 November 2018.
Please address proposals to: digitalstorymakingresearch@gmail.com
<mailto:digitalstorymakingresearch@gmail.com>

Registration will open soon at
http://digitalstorymaking.co.uk/call-for-papers-beyond-the-console-gender-and-narrative-games/

Conference Organiser: Dr Karlien van den Beukel, Arts and Creative
Industries, London South Bank University

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CFP: The Films of Jane Campion



Call For Papers: ReFocus The Films of Jane Campion Contact Email:
a.bowler@swansea.ac.uk / adele.m.jones@swansea.ac.uk

Deadline for Submission of Abstracts: 31st January, 2019 

Eds: Dr Alexia L. Bowler and Dr Adele Jones (Swansea University)

As the only female director to win the Palme d’Or, and the second to be
nominated for an Academy Award (both for The Piano [1993]) which is
celebrating its 25th anniversary, Jane Campion is a figure who garners
both critical and popular acclaim, as well as industry-wide respect.
With over thirty years standing as a film, and now television, director
(with Top of the Lake attracting collaborations with critically
acclaimed actresses such as Elizabeth Moss, Holly Hunter, and Nicole
Kidman), Campion’s work shines a spotlight on gender roles, often
through complex female characters and an innovative approach to the
screen representation of women habitually at the edges of society. As
such, Campion’s name is synonymous with women on screen. Indeed, Campion
is also vocal about the under-representation of females in the film
industry more generally, concluding that, as ‘women are going to tell
different stories – there would be many more stories in the world if
women were making more films’ (Pulver, A. The Guardian, 14th May, 2014).


However, her commitment to the place of feminism itself is tempered by
an ambivalence towards the term. Indeed, Campion has stated that ‘I no
longer know what this [feminism, in the context of her filmmaking] means
or expresses...I am interested in life as a whole. Even if my
representation of female characters has a feminist structure, this is
nevertheless only one aspect of my approach’ (Wright-Wrexham, 1999). The
body of scholarship on her work to date is testament to her celebrated
position within film, producing an eclectic and wide-ranging mix of
responses extending to biography, nation and identity, adaptation, sex
and eroticism, as well as authorship in her work. All these
contributions celebrate the multiplicity in, and breadth of, her art and
her vision. Thus the collection aims to interrogate, contribute to, and
extend contemporary scholarship on Campion by bringing together new and
innovative analyses from emerging and established scholars in the field.
There will, then, be a shared focus on the legacy and contribution made
by Campion to films made by, for, and about women, as well as Campion’s
filmmaking (vision and practice) and engagement with (or ambivalence to)
feminist theory past and present, providing new and exciting approaches
for understanding Campion’s work.

We seek contributions that engage with Campion’s work in film,
television, and/or the film and television industry more generally, and
which consider (and potentially re-evaluate) her contributions and
position vis-à-vis feminism and feminist discourse, as well as our
understanding of representations of women and/or gender in the twentieth
and twenty-first century.

The edited collection will be aimed at Edinburgh University Press’s
ReFocus series, examining overlooked international film directors.
Series editors are Robert Singer, PhD (NYC) and Gary D. Rhodes, PhD
(Belfast, N.I.).


Possible topics could include but are by no means limited to:

* Analysis of individual films (including shorts) and/or television

* Female Authorship

* Campion and women’s cinema

* Men, Masculinity and relationships in the work of Campion

* Genre and experimentation in Campion

* Campion and collaboration (with other directors/actors/writers)

* Campion and adaptation (as feminist practice)

* Feminist ethics, politics and aesthetics in Campion’s work

* Problematising feminism

* Sex, sexuality, and the erotic

* The female gaze

* Language, selfhood, subjectivity and agency

* Motherhood

* Generational feminisms

* Film, feminism and philosophy in Campion’s work

* French feminist critical readings of Campion

* Nation and/or institution, identity and subjectivity

* Industry, indie, Hollywood and the festival circuit/prizes

* Trauma, loss, and grief

* Campion, feminism and film philosophy

* Comparisons between feminist filmmakers’ work Campion


If you have any questions regarding the suitability of possible topics
and material for inclu-sion in the volume, please do not hesitate to
contact the editors, Dr Alexia L. Bowler (a.bowler@swansea.ac.uk) & Dr
Adele Jones at (adele.m.jones@swansea.ac.uk).


Abstracts of 350 words, for chapters of between 7,000-8,000 words
including endnotes (referenced in Chicago style), along with a short
biographical note, should be emailed to both editors by 31st January,
2019
. Successful proposals will be notified by 1st March, 2019. Chapters
will be expected, in full, by 30th June, 2019.
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