PT/EN

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

News


Times and movements of the image - International Conference (Caldas da Rainha)


Caldas da Rainha and Lisbon, 15 and 16 November 2018


Among several artistic projects and critical debates developed in recent years in the fields of art history, art criticism, film and new media studies, many bring to the fore issues of hybridity, medium specificity and image materiality. Emphasis is placed on questions concerning the ways of experiencing "subliminal images" (R. Durand, 1995) in contemporary visual practices. For example, in photography the focus shifted from the isolated moment to the productive relationship between stasis and motion (D. Sutton, 2009), including visual arrangements that transform notions of "photographic narrativity" (P.Wollen, 1984; G.Baker, 2008). In cinema, chrononormativity and linear montage give place to the interruption of movement, addressed by Bellour as a new category of time that extends Gilles Deleuze's dynamic taxonomy of images (R.Bellour, 1987; 2002). New media technologies, such as video and audio-visual installation, considered by some authors as "transformation imagery" (Y.Spielmann, 2008), focus on the transitions between images and the experience of time, encompassing "unintended pleasures" (L.Mulvey, 2006) and new forms of creative thinking and spectatorship. Finally, performance is increasingly integrated in cinema, photography and video, leading to the investigation of the practices of the body in relation to anti-diegetic structures and processes of repetition and duration. Finally, even the so-called traditional artistic disciplines increasingly incorporate issues of time and movement that question the conventional principles of representation.

We invite scholars, artists and independent researchers interested in the study of the multiple times and movements of the images, probed in their limits and potentialities across different media and disciplines. We are interested in presentations and artistic projects that consider the tensions between the still image and the moving image, and/or that seek to examine the problems of durability posed by the new technologies of the image and by performance art, while keeping focus on the many issues this subject raises when confronted with the so-called traditional disciplines of painting, sculpture and drawing.

*Conference Venue & Dates

The conference will take place at the Caldas da Rainha School of Arts and Design, Polytechnic Institute of Leiria (IPLeiria-ESAD.CR), and at the Faculty of Social Sciences and Humanities, Universidade NOVA de Lisboa, on 15 and 16 November 2018, respectively.

*Submit Abstracts

Proposals for individual papers of 20 minutes should be sent in MS Word (max. 500 words, including the title and the theme it most adheres to), followed by a short bio (250 words: full name and status). We encourage academic investigations that aim at re-examining the new possibilities of intermediality, contributing to the theoretical reflection and artistic redefinition of what an image is today.

*Submit Artistic Projects

Artistic projects may be presented in any medium or explore the crossing of different artistic disciplines, and shall allow interpretations on the conference themes or experiment on subjects relevant to the main topics. Artists should submit a description and draft that will be assessed by a specific scientific committee.We encourage applications by artists holding an advanced academic degree, or in the course of obtaining an advanced academic degree in their field of expertise.**

**

All proposals must be submitted by email to: *timesandmovementsoftheimage@gmail.com <mailto:timesandmovementsoftheimage@gmail.comby 15 June 2018.
Participants will be notified by the end of June, and the conference program will be published in July. The working languages of the conference are English and Portuguese. After the conference, a second call on this theme will be opened to select articles to be published in *Revista de História da Arte - Série W* <http://revistaharte.fcsh.unl.pt/>, a peer-reviewed online journal. The selected artistic projects will be exhibited in a show to be held from 15 November to 15 December 2018 (place to be defined).

More information on the conference:*https://timesmovementsimage.weebly.com/*
(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: V Simpósio Fusões no Cinema


Está aberto até 15 de Setem­bro o Prazo para a Recep­ção de Pro­pos­tas de Comu­ni­ca­ção no 5.º Sim­pó­sio Inter­na­ci­o­nal Fusões no Cinema que irá decor­rer de 23 a 24 de Novem­bro de 2018 em São João da Madeira.

Reno­vando a par­ce­ria dos Cami­nhos do Cinema Por­tu­guês com a Uni­dade de Desen­vol­vi­mento dos Cen­tros Locais de Apren­di­za­gem (UMCLA) da Uni­ver­si­dade Aberta, con­­vi­­dam-se os docen­tes, inves­ti­ga­do­res e alu­nos do Ensino Supe­rior a sub­me­ter pro­pos­tas de comu­ni­ca­ção, em por­tu­guês, inglês ou cas­te­lhano, que não exce­dam os 1500 carac­te­res (incluindo espa­ços), nas seguin­tes linhas temá­ti­cas (que pode­rão ser alar­ga­das a outras) do Sim­pó­sio:


LINHA1 – A FUSÃODASARTESNOCINEMA

As rela­ções entre as dife­ren­tes artes e o cinema: -Arqui­te­tura; – Lite­ra­tura /​Argu­men­tismo; – Inter­pre­ta­ção /​Repre­sen­ta­ção; – Música; – Foto­gra­fia; – Artes Plás­ti­cas.

LINHA2 – CINEMA E TECNOLOGIA

A evo­lu­ção tec­no­ló­gica e a forma como o Cinema chega ao Espec­ta­dor: -A legen­da­gem, dobra­gem e audi­o­des­cri­ção; -As Novas tec­no­lo­gias, Inter­net e cinema; -Os supor­tes, for­ma­tos e os novos media;

LINHA3 – CINEMA, INVES­TI­GA­ÇÃO E EDUCAÇÃO

Cinema em dife­ren­tes ambi­en­tes peda­gó­gi­cos (online e pre­sen­ci­ais); Cinema e Inves­ti­ga­ção em Con­texto Edu­ca­tivo; Prá­ti­cas de Cinema na Escola; Cinema e Novas Tec­no­lo­gias em Edu­ca­ção; Cinema e Redes Soci­ais em Con­tex­tos For­mais e Infor­mais de Apren­di­za­gem; Pro­du­ção de Obje­tos de Apren­di­za­gem (OA) Audi­o­vi­su­ais com Fins Edu­ca­ti­vos e recor­rendo à Lin­gua­gem Cine­ma­to­grá­fica.

LINHA4 – CINEMA E TELEVISÃO

Abor­da­gens teó­ri­cas, sobre a pro­du­ção audi­o­vi­sual em geral, incluindo todos os géne­ros e pla­ta­for­mas de difu­são, enqua­­drando-a num con­texto con­tem­po­râ­neo naci­o­nal e inter­na­ci­o­nal; A aná­lise das rela­ções entre rea­li­za­ção e pro­du­ção de con­teú­dos cine­ma­to­grá­fi­cos e tele­vi­si­vos; Cinema e Tele­vi­são mun­dos para­le­los ou inter­li­ga­dos.

Todas as pro­pos­tas de tra­ba­lhos apre­sen­ta­dos pas­sa­rão por um pro­cesso de revi­são por pares, rea­lizado sob a forma de aná­lise cega (blind-review), de modo a garan­tir a isen­ção e impar­ci­a­li­dade da ava­li­a­ção. O Comité Cien­tí­fico do Sim­pó­sio conta a par­ti­ci­pa­ção de inves­ti­ga­do­res e docen­tes de várias Uni­ver­si­da­des Por­tu­gue­sas de onde se des­ta­cam Antó­nio Costa Valente, Fátima Chi­nita, Filipe Luz ou Maria do Céu Mar­ques.

As pro­pos­tas de comu­ni­ca­ção a apre­sen­tar devem incluir a defi­ni­ção e deli­mi­ta­ção do objeto de estudo da inves­ti­ga­ção; a rele­vân­cia e per­ti­nên­cia cien­tí­fica da pro­posta; os obje­ti­vos e a meto­do­lo­gia da investigação/​aná­lise uti­li­zada; prin­ci­pais refe­rên­cias bibli­o­grá­fi­cas, e três a cinco pala­vras chave. Cada pro­posta de comu­ni­ca­ção deve igual­mente ser sub­me­tida com uma bio­gra­fia do(s) autor(es) com até 750 cara­te­res (incluindo espa­ços). Os tra­ba­lhos sub­me­ti­dos serão publi­ca­dos em livro de actas sendo que os tra­ba­lhos mais rele­van­tes serão publi­ca­dos num número futuro da ICONO14 edi­to­rial. O prazo para a recep­ção de pro­pos­tas de comu­ni­ca­ções decorre até 15 de setem­bro.

A par­ti­ci­pa­ção é aberta ao público que queira assis­tir, sendo que par­ti­ci­pa­ção de docen­tes terá acesso a um Cer­ti­fi­cado de For­ma­ção acre­di­tado pelo CCPFC com 1 cré­dito para pro­fes­so­res dos Ensi­nos Básico e Secun­dá­rio com o título ​“Fusões no Cinema”. O Sim­pó­sio terá uma dura­ção de 25 horas, sendo que 10 horas serão pre­sen­ci­ais, nos dias 23 e 24 de novem­bro e 15 horas serão em ambi­ente online na semana seguinte, com con­fe­rên­cias em ambi­ente vir­tual de espe­ci­a­lis­tas inter­na­ci­o­nais.

Mais infor­ma­ções em www​.cami​nhos​.info/​s​i​m​posio
(info actualizada em ~~~ItemPubShortDate~~~)

------------



CfP: Race and (de)coloniality in culture, the media and the arts



Nós Journal

(Spanish and Portuguese bellow)


Guest Editors:

Ana Lúcia Nunes de Sousa. Universidade Estadual de Goiás, Brasil. (anabetune@gmail.com <mailto:anabetune@gmail.com>)

Karo Moret Miranda. Universitat Pompeu Fabra, España. (karo.moret@upf.edu <mailto:karo.moret@upf.edu>)


*/A dossier on “Race and (de)coloniality in culture, the media and the arts” /*


The consequences of the colonial legacy in the territories of AbyaAyla and the African Diaspora continue to shape and influence contemporary culture. We want to invite you to send texts as pedagogies that exert a decolonizing dynamic in which the Race category interpellate transversally to the academy, its members andsociety in terms of ideologies, critical theory, aesthetics and its cultural and global manifestations.


We invite interdisciplinary projects in areas of cultural studies such as dance, painting, literature, performance, mass communication, cinema, visual arts, music, curating, publication, art management andhistory.


The dossier proposes to evaluate the field of studies of race, diaspora and gender/racialized feminist thought within the culture, its production andcultural studies. Artists and academics who want to theorize on racial issues, diaspora, decolonization of curricula and study content, representation and authorship are invited to send proposals to this CFP.


Authors from Abya-Ayla and/or Afro diasporic are highly welcome and specially invited to submit their proposals.


Submission Guidelines:

Bio: 50 words

Abstract: 300 words


Abstracts due: 1 July 2018
Notification of acceptance: 30 July 2018

Full paper: 30 October 2018

Publication: April 2019

Submission guidelines:

http://www.revistanos.com/normas-para-publica%C3%A7%C3%A3o.php

Please send an electronic copy of your 300-word abstract via email text to both Guest Editors, Ana Lúcia Nunes de Sousa (anabetune@gmail.com <mailto:anabetune@gmail.com>) and Karo Moret Miranda (karo.moret@upf.edu <mailto:karo.moret@upf.edu>), by Sunday, 1 July 2018.


Revista Nós

Chamada de trabalhos


Organizadoras

Ana Lúcia Nunes de Sousa. Universidade Estadual de Goiás, Brasil. anabetune@gmail.com

Karo Moret. Universitat Pompeu Fabra, España. karo.moret@upf.edu


Dossiê Raça e (de) colonialidad na cultura, na comunicação e nas artes


Português:

As consequências do legado colonial no território de Abya-Ayla e/ou nos territórios da diáspora africana continuam moldando e influenciando a cultura contemporânea. Convidamos a enviar textos como pedagogias que exerçam uma dinâmica descolonizadora, nos quais a categoria “raça” interpele transversalmente a academia, seus membros e a sociedade em relação a ideologias, estética e suas manifestações culturais e globais.

Convidados textos que abordem projetos interdisciplinares da área de estudos culturais, como dança, pintura, literatura, performance, comunicação e jornalismo, cinema, artes visuais, música, comissariado, publicação, gestão da arte e história.

O dossiê se propõe a avaliar o campo dos estudos da raça, diáspora e género/pensamento feminista racializado dentro da cultura, sua produção e os estudos culturais. Artistas e acadêmicos cujo trabalho incida sobre questões raciais, diaspóricas, de descolonização do currículo e dos conteúdos de estudo, representação, autoria estão convidados a enviar suas contribuições.

Autores vinculados a Abya-Ayla e/ou à diáspora africana são bem-vindos e especialmente convidados a enviar seus resumos.

Normas de envio:

Bio: 50 palavras

Resumo: 300 palavras

Resumos: até 1 de julho de 2018
Notificação de aceitação: até 30 de julho de 2018

Envio do artigo completo: até 30 de outubro de 2018

Publicação em abril de 2019

Normas de publicação:

http://www.revistanos.com/normas-para-publica%C3%A7%C3%A3o.php


Por favor, envie seu resumo de 300 palavras por email para as editoras convidadas

Ana Lúcia Nunes de Sousa (anabetune@gmail.com) e Karo Moret Miranda (karo.moret@upf.edu), até domingo, 1 de julho de 2018.



*Spanish*

Revista Nós

Llamado para colaboraciones


Organizadoras

PhD Ana Lúcia Nunes de Sousa. Universidade Estadual de Goiás, Brasil. anabetune@gmail.com

Msc. Karo Moret. Universitat Pompeu Fabra, España.



Dossier Raza y (de) colonialidad en la cultura, la comunicación y las artes


Español:

Las consecuencias del legado colonial en Abya-Ayla y/o los territorios de la diáspora africana continúan moldeando e influenciando la cultura contemporánea. Invitamos a enviar textos como pedagogías que ejercen una dinámica descolonizadora en los que la categoría Raza interpele transversalmente a la academia, sus miembros y a la sociedad en cuanto a ideologías, teoría crítica, la estética y sus manifestaciones culturales y globales.


Invitamos proyectos interdisciplinares en áreas de estudios culturales como danza, pintura, literatura, performance, comunicación y periodismo, cine, artes visuales, música, comisariado, publicación, gestión de arte e historia.


El dossier propone evaluar el campo de los estudios de raza, diáspora y género/pensamiento feminista racializado dentro de la cultura, su producción y los estudios culturales. Quedan invitados a enviar propuestas artistas y académicos que quieren teorizar sobre las cuestiones raciales, diáspora, descolonización del curricula y de los contenidos de estudio, representación y autoría.


Autores de Abya-Ayla e/ou de la diáspora africana son muy bienvenidos y especialmente invitados a enviar sus abstracts.


Directrices de envío:

Bio: 50 palabras

Resumen : 300 palabras

Resúmenes hasta el 1 de julio del 2018
Notificación de aceptación o rechazo hasta el 30 de julio del 2018

Envío del artículo completo hasta el 30 de octubre del 2018

Publicación en abril del 2019

Reglas de sumisión de Nós:

http://www.revistanos.com/normas-para-publica%C3%A7%C3%A3o.php


Por favor, envíe su resumen de 300 palabras por email para las dos editoras invitadas

Ana Lúcia Nunes de Sousa (anabetune@gmail.com <mailto:anabetune@gmail.com>) and Karo Moret Miranda (karo.moret@upf.edu <mailto:karo.moret@upf.edu>), hasta el domingo, 1 de julio del 2018.
(info actualizada em ~~~ItemPubShortDate~~~)

------------



CfP: new approaches to silent film historiography: technology, spectatorship and the archive


The event is a collaboration between the University of Leeds’ School of Languages, Cultures, and Societies, the Universities of York and Sheffield, and the Audiovisual Heritage Meeting. The conference is generously funded by the Arts & Humanities Research Council and White Rose College of the Arts & Humanities_



FREE TO ATTEND 

SMALL PGR TRAVEL BURSARIES AVAILABLE (LIMITED NUMBER)

*Location: University of Leeds

*Dates: 18^th -19^th September 2018

*Keynote Speakers: Dr Lawrence Napper (King’s College London) and Kieron Webb (British Film Institute)

*Submission Requirements: 200-300 word abstracts and three key words on topics related to the conference’s focus

*Contact Person/Email: Laurence Carr/silentfilmhist@gmail.com

Deadline for Submission: 10^th August 2018

Abstract

In the years following the death of silent cinema and the rise of the talkies in the early 1930s, there was a supreme lack of interest in silent film preservation and restoration. Due largely to this lack of care and, in many cases, deliberate destruction of silent films, the Library of Congress estimates that about 75% of all silent films are now lost forever. Many of the silent films that managed to survive in archives and private collections are incomplete or suffered significant damage and decay. During the 1980s, owing largely to the launch and success of home cinema and the establishment of silent film forums and events (e.g. Pordenone Silent Film Festival), a renewed interest in silent film developed. More recently, high quality digital restoration technology has given archives and independent silent film restorers new opportunities to compensate for substantial filmic losses. In addition to this, HD home media silent film releases, and internet platforms such as YouTube, have made numerous silent films readily available to the public. Although these current developments have arguably improved the aesthetic qualities of many silent films and made them far more accessible to the public, they have also raised controversial questions surrounding the safeguarding of the filmmakers’ artistic intent, the contextualisation and historical reliability of film experiences, and the sustainability of digital preservation, amongst other issues. This conference will analyse the impact of recent technological and institutional developments on the study, experience, and restoration of silent films and discuss sustainable ways forward.


Potential topics could include, but are not limited to:

  * New narrative or technical analyses of specific silent film
    restorations (case studies)
  * Silent film restoration ethics (e.g. preserving silent filmmakers’
    artistic intent)
  * Digitisation, curatorship and reliability of historical evidence
  * Silent film experiences, digital archive accessibility and film
    scholarship
  * Silent cinema journalistic writing (past and/or present)
  * Theatrical presentation and distribution of silent cinema (past
    and/or present)
  * Home cinema, the internet and silent cinema audiences
  * Silent film and sustainable analogue and digital preservation
  * Silent film copyright



*We welcome abstract submissions from postgraduate researchers, film scholars, film preservationists, and curators.*

*_Please send 200 to 300-word abstracts and three key words to _*silentfilmhist@gmail.com <mailto:silentfilmhist@gmail.com>*_by 10^th of August 2018._*


*_Useful Links:

Our 2018 silent film conference website: https://silentfilmhist2018.wordpress.com <https://silentfilmhist2018.wordpress.com/

https://silentfilmhist2018.wordpress.com/ The 2017 Audiovisual Heritage Meeting website, containing the names and project titles of all speakers:**http://media.leeds.ac.uk/events/audiovisual-heritage-and-academic-research-at-the-university-of-leeds/*
(info actualizada em ~~~ItemPubShortDate~~~)

------------



Fully-funded PhD scholarship at The Centre for Research in Digital Storymaking



*The Project*
We invite applications for one full-time, funded PhD in the School of Arts and Creative Industries at London South Bank University. The scholarships cover fees and offer a stipend of £15,000 p.a. for three years. We welcome proposals in all areas of research relevant to The Centre for Research in Digital Storymaking, but are particularly interested in applications which relate to one or more of the following:
• care and digital technologies
• digital storytelling and art (including digital journalism)
• performance and new technologies

We are happy to support a practice-based research proposal.

Further information about The Centre’s projects and staff research interests can be found at:
http://digitalstorymaking.co.uk/

*The Candidate*
You should have a first or upper second class honours degree in an appropriate area such as theatre, digital media, journalism or related fields.

Key skills and selection criteria:

• Good relevant first or upper second class honours degree
• Evidence of interest and experience in the highlighted areas
• Experience of software packages e.g. Microsoft Office.
• Ability to research subjects using libraries, the internet and other information resources.
• Ability to communicate in writing and verbally, the outcomes of the work to commercial industrial and scientific audiences.
• Able to demonstrate an understanding of equality and diversity and their practical applications.

*Award Details*
The 3 year studentship is funded by The Centre for Research in Digital Storymaking and leads to the degree of PhD in Arts. The Studentship provides a tax-free maintenance allowance of up to £15,000.00 pa and includes tuition fees payable to the University. The studentship will also come with the opportunity of disseminating research outcomes on National and International conferences. The successful candidate will join an active research team. The chance to teach LSBU students will also be given to the successful candidate.

*Application Procedure*
Informal enquiries can be made to Dr Elena Marchevska <mailto:marcheve@lsbu.ac.uk>
Interested applicants should apply via UKPASS <https://pgapp.ukpass.ac.uk/ukpasspgapp/login.jsp> by 5 p.m. on 27th April 2018, quoting reference DST001

A shortlist of candidates will be invited for an interview and the successful candidate will be selected for an award in accordance with the University’s postgraduate admission requirements and meet the eligibility of Education (Fees and Awards) Regulations 1997.

*London South Bank University (LSBU)*
London South Bank University is a dynamic, inner-city university with a diverse multi-cultural population of some 17,000 students and around 1700 staff. For over 100 years the university has provided top quality teaching and learning, underpinned by relevant research and delivered in an environment that is focussed on the needs of its students and the great capital city of London. Our students and staff come from every part of the community and from all over the world, making our campus truly multicultural. The courses offered here are flexible and closely linked to the needs of industry and the professions, with particular specialities in health (nursing and allied health professions); computing, internet and multimedia, engineering, applied science and sports science; architecture, construction and estate management; business studies, management, tourism, hospitality and law; social sciences, arts, media studies, digital media and video production; English and a new exciting programme of Combined Honours degrees.

*The School of Art and Creative Industries *
The School has an established track-record of delivering courses that offer core academic knowledge alongside applied professional knowledge. This approach ensures our graduates have the right skills and competencies to compete successfully for jobs, and have the potential to lead innovation within their sectors. We understand the importance of the digital age, and within LSBU we have internationally recognised research excellence in science and technology. This, combined with our strong and deep heritage in design, performance, media and the visual arts, positions us at the important strategic intersection between technology and the liberal arts. Additionally, our central SE1 location ensures we have a wide range of internationally renowned creative industry partners at our doorstep. We work with some of the capital’s major art, media and performance institutions through collaborative grants and research funding.

*The Centre for Research in Digital Storymaking *
The Centre for Research in Digital Storymaking focuses on storymaking across different digital media. Our focus on digital storymaking is intended to ensure an interdisciplinary set of engagements. The Centre’s aims are to analyse how stories are constructed, remediated, and hybridized in contemporary digital culture and to promote innovative and collaborative methodologies and develop analysis that is grounded in relevant industry contexts. The Centre’s core enquires are:
• the impact of digital storymaking in real world contexts (in journalism, documentary, curation, public policy communications such as health);
• contextual distribution of story events (transmedia, social media);
• new forms in imaginative narrative media (games, interactive fiction, immersive theatre).
The Centre pursues this mission by organising public events, academic symposia and workshops, and facilitating and coordinating research projects.
(info actualizada em ~~~ItemPubShortDate~~~)

------------



Call for Essays for Edited Collection on the Films of Tim Burton



Gothic, Ghastly, Corporeal and Creaturely: Tim Burton's Curious Bodies

Film director Tim Burton has acquired an international reputation and critical acclaim for fantasy horror films that variously encompass alternative worlds inhabited by ghosts, animated corpses, grotesque and horrible bodies, or otherwise, ‘different’ beings. So too do creaturely apparitions feature regularly in his productions. While his work often centres on animated characters, he collaborates with a number of specific star personae such as Johnny Depp, Helena Bonham-Carter, Christopher Lee, Winona Ryder, Vincent Price, Christopher Walken, Danny de Vito, Michael Keaton, and Jack Nicholson. Burton also frequently uses composer, Danny Elfman, as well as certain crew members and technical staff to work on his films. Following on from a recent successful conference, the organisers now seek to draw together scholarship on the theme of ‘bodies’ in Burton’s films and invite proposals accordingly. As we already have a number of excellent proposals/essays in place, we are currently looking for contributions that focus on:

 Collaborative bodies – stars, actors, composers, and we particularly welcome proposals from crew members and technical staff involved in Burton’s films to complement those already received  Gothic bodies
 Creaturely bodies

Please send proposals of up to 500 words along with a 100 word bio by April 30th 2018 to the editors: Fran Pheasant-Kelly at f.e.pheasant-kelly@wlv.ac.uk and Stella Hockenhull at s.hockenhull@wlv.ac.uk

We have a major British publisher interested in this collection, which we are aiming to publish in good time for REF2021
(info actualizada em ~~~ItemPubShortDate~~~)

------------



XXII ENCONTRO SOCINE - 50 ANOS DO MAIO DE 68
23 A 26 DE OUTUBRO DE 2018
UFG - Goiânia, GO

Estão abertas as inscrições para o XXII Encontro da SOCINE, que será realizado na Universidade Federal de Goiás (UFG), em Goiânia. O tema do Encontro será 50 anos do Maio de 68. Tomando como ponto de partida o 50º aniversário dos acontecimentos políticos, sociais, culturais e artísticos de 1968, a SOCINE propõe repensar o legado cinematográfico e audiovisual de 1968 a partir do presente.

Esclarecemos que o tema é indicativo mas não exclusivo para proposição de trabalhos e/ou mesas temáticas.

As inscrições deverão ser escolhidas entre as QUATRO CATEGORIAS, cada qual com as seguintes exigências:

1. Comunicações Individuais: Propostas de mestres, doutorandos e/ou doutores contendo título (até 70 caracteres), resumo expandido (de até 4000 caracteres com espaço), resumo (500 caracteres), bibliografia (1000 caracteres) e mini-currículo (500 caracteres). As apresentações orais podem ter até 20 minutos cada.

2. Seminários Temáticos: As propostas de mestrandos, mestres, doutorandos e/ou doutores para apresentações individuais em Seminários Temáticos devem ser feitas indicando diretamente o seminário escolhido e conter: título (até 70 caracteres), resumo expandido (de até 4000 caracteres com espaço), resumo (500 caracteres), bibliografia (1000 caracteres) e mini-currículo (500 caracteres). Os resumos dos Seminários Temáticos em vigor encontram-se disponíveis no site da Socine. As apresentações orais podem ter até 20 minutos cada.
Importante: trabalhos não arrolados nas sessões dos Seminários Temáticos (que estão limitados a 18 trabalhos no total) serão redistribuídos para avaliação por dois pareceristas, de acordo com a titulação do proponente, para as outras modalidades do encontro: mestrandos serão avaliados para Painéis e mestres, doutorandos e doutores serão avaliados para sessões de Comunicações Individuais.

3. Mesas Temáticas pré-constituídas: As mesas devem conter 3 participantes, sendo pelo menos dois doutores de duas instituições de ensino superior diferentes e o terceiro membro pode ser mestre, doutorando e/ou doutor, sem que nenhum dos membros tenham relação de orientação em andamento. As propostas de Mesas Temáticas devem conter: título (até 70 caracteres), resumo da proposta da mesa, a cargo do coordenador da mesa (até 1000 caracteres); resumo expandido (até 4000 caracteres com espaço) e resumo (500 caracteres) de cada proposta individual de comunicação integrante da mesa, bibliografia (1000 caracteres) e mini-currículo (500 caracteres) para cada um dos participantes da mesa. As apresentações orais podem ter até 20 minutos cada.
A inscrição das apresentações de trabalhos integrantes da mesa deverá ser realizada individualmente (seguindo o modelo estabelecido para comunicações individuais) por cada um dos três componentes da mesa, inclusive pelo coordenador, em momento posterior à inscrição da mesa.

4. Painéis: espaço para mestrandos com apresentações orais de 15 minutos cada. As propostas devem conter: título (até 70 caracteres), resumo expandido (de até 4000 caracteres com espaço), resumo (500 caracteres), bibliografia (1000 caracteres) e mini-currículo (500 caracteres).

O cadastramento e a inscrição para o XXII Encontro da SOCINE estão sendo efetuados em três etapas, descritas a seguir:

ETAPA 1 – Recadastramento eletrônico de sócias/sócios e pagamento da anuidade. O boleto será gerado na área do associado do website. O pagamento é obrigatório para a segunda etapa (inscrições). Estrangeiros devem contatar a secretaria por e-mail para informações sobre pagamento da anuidade.

* Período de pagamento da anuidade: de 26 de janeiro a 6 de maio (com vencimento neste dia)

* Valor da anuidade: R$185,00 (R$92,50 para estudantes)

O pagamento da anuidade é imprescindível para a realização da inscrição e submissão de propostas para o próximo encontro, por isso as duas etapas não poderão ser feitas no mesmo dia (é preciso esperar pelo menos três dias úteis para a compensação do banco e liberação do site).

ETAPA 2 – Inscrição eletrônica das propostas, apenas pelo site (www.socine.org.br) e apenas uma inscrição por autor, inclusive no caso de co-autoria.

* Período de inscrições: de 2 de abril a 6 de maio.

Lembramos que NÃO SERÃO ACEITAS inscrições enviadas por email, apenas aquelas submetidas através do site.

ETAPA 3 – Pagamento da taxa de inscrição no encontro. O boleto será gerado na área do associado do website. Estrangeiros devem contatar a secretaria por e-mail para informações sobre pagamento da inscrição.

* Período de pagamento das inscrições:

+ Primeiro prazo (R$185,00 profissionais/R$92,50 estudantes): de 10 de julho a 10 de agosto;

+ Segundo prazo (R$220,00 profissionais/R$110,00 estudantes): de 13 a 24 de agosto;

+ Prazo final (R$260,00 profissionais/R$130,00 estudantes): de 27 a 31 de agosto.

Quaisquer dúvidas ou dificuldades devem ser encaminhadas diretamente ao e-mail da secretaria: socine@socine.org.br
(info actualizada em ~~~ItemPubShortDate~~~)

------------



Call for Papers: SSAAANZ2018 uses of cinema


Extended Call for Papers: Second Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ) conference,‘The Uses of Cinema: Film, Television, Screen’, 2018 <http://ssaaanz.org/conference/>*


*Closing date for submissions: 30 April 2018*
Location: School of Media, Film and Journalism, Monash University, Melbourne
November 21–23, 2018

In recent years film and television scholarship has seen a renewed focus on /the uses of cinema/ – that is, on educational, instructional, non-theatrical, client-sponsored and government-sponsored filmmaking – in collections such as /Films That Work /(Hediger and Vonderau, 2009), /Useful Cinema /(Acland and Wasson, 2011), /Films of Fact: A History of Science in Documentary Films and Television/
 (Boon 2008) and/ Learning with the Lights Off: Educational Film/(Orgeron, Orgeron and Streible 2012).
This work – along with 2018’s fiftieth anniversary of the events of May 1968 – provides an occasion for reflection upon /the usefulness of film/ and television practice and scholarship, and offers twin points of reference for the Second Biennial Conference of the Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ).

SSAAANZ invites papers and panel suggestions from researchers, archivists, educators, policymakers, and practitioners on any aspects of /the //critical, social and political uses of cinema/ including, /but not limited/ to the following themes:

* Activist film and television
* 1968 and global film culture
* Film and television practice and praxis
* Film and ethnography
* Utilitarian filmmaking
* Women and cinema
* Seriality and cinema
* Cinema and the environment
* Cinema and the brain
* Film and pedagogy
* Film and tourism
* Language use on screen
* Misuses of cinema

Expected plenary speakers (TBC) include:

* Stella Bruzzi (Warwick University)
* Allison De Fren (Occidental College, LA)
* Jason Mittell (Middlebury College, VT)
* Claire Perkins (Monash University, Melbourne)
* Haidee Wasson (Concordia University, Montréal)

Abstracts for individual papers and for pre-constituted panels (of up to three speakers) are welcomed on any of the conference themes.**For papers, please submit an abstract of 150-200 words and a bio of 50 words for each presenter. For panel proposals please submit a proposal for a panel comprising 3 speakers (3 x 20 min papers). Please provide a descriptive title for the panel, abstracts of 150-200 words each and a bio of 50 words for each presenter.

*Please submit your proposals to: Arts-MFJ-UsesOfCinema@monash.edu <mailto:Arts-MFJ-UsesOfCinema@monash.edu>. The conference convenors are: Constantine Verevis and Deane Williams (Monash University). *

(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP for Philosophy of Photography

The editors of “Philosophy of Photography” invite contributions to a landmark issue anticipating ten years of the journal’s publication. 


In the autumn of 2018 we will publish POP9.2, marking the last volume of the journal to be numbered in single figures. Philosophy of Photography was launched in 2010 in answer to the need for a rigorous forum for the examination of intellectual, political and cultural issues arising from photography. Through the work of our many contributors, the support of our subscribers and the efforts of an expanding editorial team we believe we have achieved this. But as we approach a second decade, the future of Philosophy of Photography must be to make use of this platform to imagine and to interrogate the urgent questions that face anyone attempting to understand the visual forms of the contemporary world. So, to celebrate the end of our first decade and to anticipate our second we invite the following:


** Articles (between 6-8000 words) on any aspect of image culture, but especially the intersection between images and contemporary questions of politics and science.

** Shorter, discursive essays or commentaries (2000-4000) focusing either on themes of contemporary importance or on topics neglected by mainstream photography scholarship.

** We are also interested in receiving contributions (between 2-3000 words) to our Encyclopaedia section, which offers a space to unpack and to interrogate a specific idea, term, technology or process across the production and reception of historical, contemporary and emerging photographic operations.

*For inclusion in the autumn issue (POP9.2) the full text of submissions should reach us by no later than August 10th, 2018*


*Philosophy of Photography has sought to expand understanding of the ways images work and has done so in contexts ranging from biology to nuclear physics and from surveillance to conceptual art. In the process we have published many things that would not normally feature in the pages of an academic journal nor in the mainstream photography press. We welcome inquiries from researchers and practitioners who seek to explore any aspect of photography from a theoretical standpoint. We invite submissions that attempt to re-think the character and place of visuality in all of its mechanical, existential and biological dimensions.*


*Much has changed in the last decade. New questions have emerged and existing challenges have mutated. How, for instance, are we to understand, analyse and resist cynical modes of populism and the threat of alt-right politics on visualizations of the present? What are the contemporary roles of imaging in a climate of persistent military conflict and the massive population displacements this produces? What is to be made of the increasing penetration of social media into everyday life and the intensification of efforts to capitalize on this phenomenon? How to respond to demands for the renewal of critically oriented philosophical analyses of such issues and to counter-currents such as the emergence of ‘new materialisms’? What forms of imagination are needed in order to understand the compounded relationships that pertain between these and further questions of technology and culture, political and theoretical possibility? This call for papers asks for contributions to Philosophy of Photography that set out to explore the significance and respond to the urgency of such markers of the volatile present.*


*Philosophy of Photography is an international peer-reviewed journal published six monthly in the spring and autumn. It is a forum of theoretical and critical debate arising from the historical, political, cultural, scientific and critical matrix of ideas, practices and techniques that constitute photography as a multifaceted and changing form. Since its inception, the conjunction of ‘philosophy’ and ‘photography’ in the journal’s title has sought to provoke serious reflection on existing and emergent discourses and the ways these might engage with each other.*


*The journal publishes articles, reviews, conference reports, occasional symposia on key topics and critical analyses of technical developments.*

*We consider proposals for contributions in the form of photographic works (contact Pat Naldi in the first instance).*


*Prospective guest editors with ideas for special sections or themed issues are invited to approach the editorial group with their proposal.*


*Prospective book, exhibition and conference reviewers should contact Josefine Wikstrom, the reviews editor.*


*Submissions can be made through the journal’s webpage or by emailing the editors: https://www.intellectbooks.co.uk/journals/view-Journal,id=186/*


*Details of the journal’s house style and other submission requirements can be downloaded here: https://www.intellectbooks.co.uk/journals/view-Journal,id=186/view,page=2/*


*Editors*

*Andrew FisherDaniel Rubinstein*

*Goldsmiths, University of London, UKCentral Saint Martins, UK*

*E-mail: a.t.fisher@gold.ac.uk <mailto:a.t.fisher@gold.ac.uk>E-mail: d.rubinstein@csm.arts.ac.uk <mailto:d.rubinstein@csm.arts.ac.uk>*



*Associate Editors*

*Bernd BehrPat Naldi*

*Camberwell College of Arts, UKCentral Saint Martins, UK*

*E-mail: b.behr@camberwell.arts.ac.uk <mailto:b.behr@camberwell.arts.ac.uk> E-mail: pat@patnaldi.co.uk <mailto:pat@patnaldi.co.uk>*


*Reviews Editor*

*Josefine Wikström, DOCH, Sweden*

*E-mail: josefine.wikstrom@uniarts.se <mailto:josefine.wikstrom@uniarts.se>*

(info actualizada em ~~~ItemPubShortDate~~~)

------------



Summer School "Multidisciplinary Game Research - Between Theory and Practice"

Where: Utrecht University (Drift 25, 3512 BR Utrecht, The Netherlands),

When: 20-24th August, 2018 (Start: Monday 20th August, 9am | End: Friday 24th August, 5pm).

Overview
This summer course provides a multidisciplinary perspective on games and play in contemporary culture, combining current research trajectories in game analysis and design with insights into the socially transformative potential of applied games in particular.
The program comprises workshops by senior researchers from the Center for the Study of Digital Games and Play (Utrecht University/UU), the departments for “Media and Culture Studies” and “Information and Computing Sciences” (UU), the Copernicus Institute of Sustainable Development (UU), and the Professorship for Interactive Digital Narrative (University of Arts Utrecht/HKU). All workshops will combine lecture segments and critical discussions with hands-on experimental applications and group exercises.

Tracks
Games play an increasingly important role in areas like education, healthcare, safety, urban planning, sustainability, the creative industries, entertainment and other cultural, technological as well as socio-economic sectors. To address this complexity, the summer school is divided into two interrelated tracks, which combine perspectives on games from the humanities, the computer sciences and the social sciences.

The first track covers state-of-the art approaches in Game Analysis and Design. Apart from formally investigating the design and rhetoric of individual games, this track also includes practice-based approaches such as experimental game-making and Let’s Play videos to capture the impact that games have on the players. Participants will create and modify their own design experiments, combining audio-visual design, writing and gameplay to explore how games can craft stories and convey persuasive messages.

The second track focuses on Applied Games, specifically with regard to education, health and social change. These workshops will discuss and illustrate using case studies how games are used in formal learning and professional training contexts, how they can raise awareness of important social issues such as climate change and political radicalization, as well as how they can stimulate physical and mental health, especially if played with the body rather than a controller. Participants will learn to use and evaluate applied games, using sample applications developed at Utrecht University as case studies.

Target Audience
The summer school is aimed at students (from ambitious BA and MA/MSc students to PhD candidates) and industry professionals, who are interested in the analysis, design and social benefits of (computer) games and play in contemporary society. It offers students an innovative platform, combining theoretical and practical approaches to develop a multidisciplinary understanding of games as a software technology, a form of cultural expression, and a social phenomenon.

COURSE LEADER: Assoc Prof. Dr. Stefan Werning (s.werning@uu.nl) PERIOD: 20-08-2018 to 24-08-2018
CREDITS: 1,5 ECTS credits + certificate of attendance
COURSE FEE: € 300 (Course fee + course materials), Housing: € 200 (through Utrecht Summer School)

MORE INFORMATION: https://www.uu.nl/en/events/summer-school-multidisciplinary-game-research-between-theory-and-practice
APPLY ONLINE AT: https://www.utrechtsummerschool.nl/courses/science/multidisciplinary-game-research
(info actualizada em ~~~ItemPubShortDate~~~)

------------



LJMU seeks - Lecturer or Senior Lecturer in Film and Media: Production Craft Skills


The Liverpool Screen School, at Liverpool John Moores University, seeks a highly motivated individual to work across the Media Production and Film Studies departments, with expertise and experience in Film / Media production.

You will be an experienced filmmaker / media producer with the skills to lead and deliver film/media practice and production-based modules. You will teach; cinematography, lighting, sound and post production. Experience of film/media making is essential with an emphasis on storytelling.

The Liverpool Screen School, part of LJMU's Faculty of Arts, Professional and Social Studies, offers undergraduate programmes in Creative Writing, Drama, Film Studies, Journalism and Media Production, together with postgraduate courses in Documentary, International Journalism, Writing and Screenwriting. The Film Studies and Media Production departments are expanding and this post holder will work across both teams to deliver on undergraduate (BA (Hons) Film Studies and BA (Hons) Media Production) and postgraduate (MA Documentary) courses.

The Screen school is developing its strategic priorities in research, postgraduate provision internationalisation, public engagement and enterprise activity. Reporting to the Programme Leader, you will contribute to these developments, whilst also undertaking teaching and administrative duties across the Media Production and Film Studies portfolio. Current areas of industry practice / research interests in the department include: Television Drama, Factual Entertainment, Documentary, Interactive media, new approaches to narrative, 360 filming, participatory culture and multiplatform.

Liverpool, the most filmed in city in the UK outside of London, is an excellent base to make and teach media, with media city in Salford nearby. The city boasts a vibrant culture and LJMU is proud of its many connections with local media and arts organisations, including The Everyman and Playhouse, The Unity Theatre, The Royal Court Theatre, The Liverpool Philharmonic, The Liverpool Tate, Lime Pictures, Liverpool Film Office, ITV and the BBC.

Informal enquiries may be made to Sarah Haynes, Head of Media Production at the Liverpool Screen School 0151 231 4770 (s.haynes@ljmu.ac.uk<mailto:s.haynes@ljmu.ac.uk>)

Closing date: 26th April 2018

More informtaion and a link to the application process can be found at:
https://jobs.ljmu.ac.uk/vacancy/lecturer-or-senior-lecturer-in-film-and-media-production-craft-skills-333094.html
(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: SACOMM 2018, University of Johannesburg, 12-14 September

Theme: “Communication at a Crossroads”

Deadline for abstract submissions: 30 April 2018


A crossroads is a site where roads intersect. It is a point of crisis, a turning point, and a point of alternative configurations, convergence plus divergence, meeting and departure, unity and disunity. Metaphorically, it is a point of flux and change, a critical juncture at which a life-changing decision must be made. The crossroads is a superposition of varied, multiple, different – sometimes conflicting – tendencies, impulses and trajectories, and there is little certainty about the future. At a crossroads movement is channelled, controlled, regulated, or freed: we can stand still or go forward, get lost or find endless possibilities, be trapped by inaction, insincerity and passivity or find freedom. At a crossroads we can be transfixed to the past and its aftermaths, or we sincerely take the future on. We may be misled, be manipulated into going in particular directions, or we may use the crossroads to affirm our independence and agency, forge alliances, and build new, transformative, ethical, just futures.


The student movement for free, quality decolonised education that started in 2015, followed by persistent calls for decolonisation of the university and transformation of research and teaching, has heightened the crises and tensions within traditional disciplines. Centres cannot hold, and typical business-as-usual attitudes to epistemic injustice are no longer tenable. The discipline of communication, like many others that have been caught up in these crises and tensions, is at an epistemic and disciplinary crossroads of its own, one that calls for a “communication turn” and for bold, new, difficult, innovative, boundary-crossing, boundary-smashing, critical, frank and courageous conversations in communication.

This conference calls for presentations, papers, posters and panels in communication, media, journalism, film, television, and cultural studies that interrogate the notion of “communication at a crossroads” and the “communication turn” in a variety of ways. The intention is to take stock of the current flux within these fields, as well as map possible futures. Our context is Southern Africa, Africa, and the global south. Suggested topics include, but are not limited to, the following:


* Communication at a crossroads
* Decolonisation and epistemic struggles
* Dare we decolonise communication?
* The “communication turn”
* Film/Television at a crossroads
* Journalism at a crossroads
* Public relations at a crossroads
* Corporate communication at a crossroads
* Development communication at a crossroads
* Communication, advocacy and activism at a crossroads
* Visual culture, media and communication
* New media, new mediatisations, and their practices
* Whither social media?
* Communication, social media and social movements in Africa
* Whither cultural studies?
* Communication industries at a crossroads

*KEYNOTE SPEAKER*

The confirmed Keynote Speaker for SACOMM 2018, Johannesburg, is Prof. Francis Nyamnjoh, University of Cape Town.



*ABSTRACT CATEGORIES
Category 1: Full 20 minute conference paper presentations.
Category 2: Panel discussion sessions and/or roundtable/workshop proposals


*ABSTRACT SUBMISSIONS

All abstracts must be submitted on the correct abstract submission form. Submissions which are not submitted on the correct form will not be accepted. Incomplete submissions will not be accepted.

The Abstract Submission form can be downloaded in MSWord format at http://sacomm.org.za/call-for-papers/

All abstract submissions should be addressed to the SACOMM Conference Organiser, Collen Chambwera, at sacomm2018@uj.ac.za <mailto:sacomm2018@uj.ac.za>. Please note that you may submit more than one abstract, but no more than two. In case you submit two abstracts, please make sure that they belong in different streams.

Submission deadline: 30 April 2018.

*SCHEDULE
*Deadline for electronic submission of all abstracts for peer review and other proposals: Monday 30 April 2018. The conference organisers will notify authors about the status of their contributions via e-mail by end of May 2018.


*CONFERENCE REGISTRATION
*A call for registration with further details about the conference will be released in June.

Conference theme: The conference theme gives an indication of the topic of discussions during plenary sessions at the SACOMM annual conference. Individual abstract submissions are not strictly required to adhere to the conference theme.



*CONFERENCE FEES

Academics: R 3400

Students/emerging scholars/independent scholars: R 1000*


Included in conference fees:

* Full access to all conference sessions and activities;
* Gala dinner on Thursday 13 September;
* Lunch and coffee breaks from Wednesday 12 September to Friday 14
September;
* Conference programme.


*SACOMM STREAMS

SACOMM has six different streams. Please indicate which stream your abstract submission should be allocated to on your abstract submission form.

The SACOMM streams are:

* Media Studies and Journalism
* Corporate Communication
* Screen Studies
* Communication Studies
* Communication education and curriculum development (CECD)
* Communications advocacy and activism (CAA)
(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: Cinema Comparat/ive Cinema 13 - The Corpse as a Figure



http://www.ocec.eu/cinemacomparative/


THE CORPSE AS A FIGURE: THE AESTHETICS AND POLITICS OF DEAD BODIES IN THE HISTORY OF CINEMA

French film theorist Jean-Baptiste Thoret has argued that the most obvious precedent of gore in cinema is the assassination of JFK. The president’s lifeless body, moving forward inside his convertible, would become a foundational image of the new American cinema. This issue of 'Cinema Comparat/ive Cinema' will address the representation of corpses in the history of cinema. We take the hypothesis that no piece regarding death is arbitrary, since the ultimate fears surrounding death are based in the era in which it is created — for instance, Frankenstein in the era of scientific progress, or zombies in the era of AIDS, are the expression of different fears accompanying different kinds of corpses. In this way, we will consider the historical construction of a society’s collective feeling about dead bodies, represented in its popular works. The intention of this proposal is to contribute to an anthropological approach of both national cinemas and their genres, based on the cinematographic representation with which each era, and each mode of filmmaking, has worked with the figure of the corpse.

The motif of the corpse and its representation in cinema is perhaps most crucial in those productions from countries in the throes of wars or dictatorships, or in transitional phases — while those fiction corpses evoke the real ones, questions of representation in relation to the corpse may also help to revise inherited ways of narrating historical crises.

From these hypotheses we wish to ask ourselves such questions as: Are there any common patterns in the different filmic expressions of corpses? Is the representation of the central corpse in 'Rope' or 'The Trouble with Harry' by Hitchcock qualitatively distinct from the one in 'Three Songs of Lenin' by Dziga Vertov, for instance? How has every canon or cinematographic movement interpreted this motif? Is there any kind of classical/modern divide in cinema regarding the representation of corpses? Is there any specific poetics in cinema for the casualties of wars or dictatorships? Is there any direct relationship between the most popular corpses in history and the imaginary in cinema that follows them? Are the corpses of Kennedy, Lenin, Evita Perón, Aldo Moro, Franco, Che Guevara or Laura Palmer the promoters of significant and unique treatments in cinema?

Those interested can send their proposals to an extent of 500 words to comparativecinema@upf.edu along with 2 central images for the research, a list of five bibliographical sources and a short biography of 100 words. Deadline: April 10th, 2018.


-----------------------


EL CADÁVER COMO FIGURA: ESTÉTICA Y POLÍTICA DEL CUERPO MUERTO EN LA HISTORIA DEL CINE

El teórico de cine francés Jean-Baptiste Thoret considera que el antecedente más claro del “gore” cinematográfico americano es el asesinato del presidente Kennedy. Ese cuerpo sin vida, avanzando en el coche descapotable, se convertiría, según Thoret, en una imagen pregnante del nuevo cine americano. El presente número de 'Cinema Comparat/ive Cinema' se propone abordar la figuración de los cadáveres en la historia del cine. Tomando como hipótesis de base que ninguna obra que trata la muerte es arbitraria, ya que establece las causas últimas de su miedo en la época que vive (el Frankestein de la era de los avances científicos, o las epidemias zombies de la era del sida, por ejemplo, tematizan temores diferentes sobre cadáveres muy particulares y complejos). En este sentido, nos proponemos reflexionar sobre la construcción histórica del sentimiento de una sociedad ante los cuerpos muertos, expresada desde sus obras populares: la intención de esta propuesta es contribuir a una antropología de los diversos cines nacionales y sus géneros, a partir de la representación cinematográfica con la que cada época, canon y autores, se han hecho cargo de sus cadáveres.

El motivo del cadáver y su tratamiento cinematográfico merece, además, una atención especial en las cinematografías de países en épocas de guerra o dictadura (o en la transición de las mismas), ya que a través de esta representación tan sensible se puede revisar el tratamiento concreto de los cadáveres reales de la Historia, a la vez que el imaginario folklórico heredado y su particular reconfiguración social.

A partir de estos postulados deseamos plantearnos interrogantes como los siguientes: ¿existen patrones comunes de expresión fílmica del cadáver? ¿La figuración de los cadáveres en 'La soga' o 'Pero...¿quién mató a Harry?' de Hitchcock es paradigmáticamente opuesta a la de 'Tres cantos para Lenin' de Dziga Vertov, por ejemplo? ¿Cómo cada canon o movimiento cinematográfico ha asumido este motivo? ¿Hay un clasicismo y una modernidad en el tratamiento cinematográfico de los cadáveres? ¿Hay una poética fílmica específica para los cuerpos caídos en las guerras y las dictaduras? ¿Hay una relación directa entre los cadáveres más populares de la historia y el imaginario cinematográfico que les sucede? ¿Los cadáveres de Kennedy, Lenin, Evita Perón, Aldo Moro, Franco, el Che Guevara o Laura Palmer son propulsores de tratamientos cinematográficos significativos y particulares?

Aquellos interesados pueden enviar propuestas de 500 palabras a comparativecinema@upf.edu junto con dos imágenes de partida, una lista de cinco fuentes bibliográficas y una breve biografía de 100 palabras. Fecha límite: 10 de abril de 2018.


---------------------


EL CADÀVER COM A FIGURA: ESTÈTICA I POLÍTICA DEL COS MORT EN LA HISTÒRIA DEL CINEMA

El teòric de cinema francès Jean-Baptiste Thoret considera que l'antecedent més clar del "gore" cinematogràfic americà és l'assassinat del president Kennedy. Aquest cos sense vida, avançant en el cotxe descapotable, es convertiria, segons Thoret, en una imatge pregnant del nou cinema americà. El present número de 'Cinema Comparat/ive Cinema' es proposa abordar la figuració dels cadàvers en la història del cinema. Prenent com a hipòtesi de base que cap obra que tracta la mort és arbitrària, ja que estableix les causes últimes de la seva por en l'època que viu (el Frankestein de l'era dels avanços científics, o les epidèmies zombies de l'era de la sida, per exemple, tematitzen temors diferents sobre cadàvers molt particulars i complexos). En aquest sentit, ens proposem reflexionar sobre la construcció històrica del sentiment d'una societat davant els cossos morts, expressada des de les seves obres populars: la intenció d'aquesta proposta és contribuir a una antropologia dels diversos cinemes nacionals i els seus gèneres, a partir de la representació cinematogràfica amb la qual cada època, cànon i autors, s'han fet càrrec dels seus cadàvers.

El motiu del cadàver i el seu tractament cinematogràfic mereix, a més, una atenció especial en les cinematografies de països en èpoques de guerra o dictadura (o en la transició de les mateixes), ja que a través d'aquesta representació tan sensible es pot revisar el tractament concret dels cadàvers reals de la Història, alhora que l'imaginari folklòric heretat i la seva particular reconfiguració social.

A partir d'aquests postulats desitgem plantejar-nos interrogants com els següents: existeixen patrons comuns d'expressió fílmica del cadàver? La figuració dels cadàvers a 'La Soga' o 'Pero...¿Quién mató a Harry?' de Hitchcock és paradigmàticament oposada a la de 'Tres cantos para Lenin' de Dziga Vertov, per exemple? Com cada cànon o moviment cinematogràfic ha assumit aquest motiu? Hi ha un classicisme i una modernitat en el tractament cinematogràfic dels cadàvers? Hi ha una poètica fílmica específica per als cossos caiguts en les guerres i les dictadures? Hi ha una relació directa entre els cadàvers més populars de la història i l'imaginari cinematogràfic que els succeeix? Els cadàvers de Kennedy, Lenin, Evita Perón, Aldo Moro, Franco, el Che Guevara o Laura Palmer són propulsors de tractaments cinematogràfics significatius i particulars?

Aquells interessats poden enviar propostes de 500 paraules a comparativecinema@upf.edu juntament amb dues imatges de partida, una llista de cinc fonts bibliogràfiques i una breu biografia de 100 paraules. Data límit: 10 d'abril de 2018.
(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: Cinema and populism (Cinema e Storia journal)



«Cinema e Storia. Rivista di studi interdisciplinari» — n. 1/2019

Cinema and populism. Shared forms, images, and genealogies

edited by Valerio Coladonato & Andrea Sangiovanni

Is it possible to investigate “populism” through cinema? What relationships can be established between cinema — as an apparatus that produces widespread images and narratives — and those political phenomena that can be described through the concept of populism? The issue 1/2019 of the journal «Cinema e Storia» will be dedicated to the analysis of these exchanges from an international perspective. The category of populism is slippery and contradictory, both in common parlance and in its historiographic application: here we will adopt an extensive definition, partly borrowed from political sciences. We will understand as “populist” those political phenomena characterized by at least three elements: the imagination of a uniform “people” which acts as the moral custodian of sovereignty; the construction of a charismatic leader; and contempt towards politics and/or a presumed corrupt elite. Given its paramount role in the representation of the masses and the orchestration of affect around “extraordinary” individuals in the XXth century (e.g. through the creation of the star system), cinema can provide tools for the analysis of populisms. This is also demonstrated by some recent works that have applied categories derived from film studies to the analysis of the communication and performance style of a political leader, or to highlight the overlaps between the notions of “people” and “audience” in media populisms.

It is therefore possible to investigate the multiple ways in which cinema has contributed to the changing relationship (and disintermediation) between people and leader — either by reducing distances or by prefiguring ruptures between the two. Another possibility lies in analyzing how political passions and conflicts are represented in populist contexts through cinematic influences. Given that the consensus of populist movements depends on a binary split of the social field, opposing the people and a corrupt elite and obscuring all intermediary positions, what narrative formulas and symbolic elements facilitate the construction of such imagery?

Taking into account the already mentioned ambiguity and indeterminateness of the concept of populism, contributors will be invited to refer to how this notion has been theorized in political sciences, highlighting both its efficacy and its limits in relation to their case studies. It will be necessary to distinguish populism from other categories and historical forms of political action (such as fascism). The evolution of discourses on populism — both as an analytical category and in its polemic use in political debates and film criticism — will also be taken into account. Moreover, aspects intersecting with similar debates can be discussed: for instance, the relationship between political cinema and the category of “popular,” as well as discourses on the “popular” vocation of cinema (also in contrast to the language and cultural legitimacy of other communication forms).

The articles can either focus on single films and directors, or they can broaden their perspective to the processes of construction and circulation of the filmic imagery in a specific context.

Proposals can address one or more of the following topics (this list is not exclusive):

- representational strategies of power in a given historical conjuncture which presents the traits of populism;

- the relationship between charismatic forms of government and the populist imaginary (e.g. the permeability between the star system and political communication);

- exchanges between populist movements and the fields of film production and distribution;

- the representation of relevant historical figures in populist contexts;

- conceptual oppositions in critical discourses (e.g. the definition of some directors or cinematographic movements as populist or neopopulist);

- discourses on film audiences in relation to the idea of the “people”, and their political implications;

- the hegemonic gender models in populist communication and their relationship to the star system.


Deadlines & Guidelines

To propose an article please send an abstract and short biographical note to the address redazione@cinemaestoria.it <mailto:redazione@cinemaestoria.it> by April 10, 2018.

Abstracts must be between 200 and 250 words, and may be presented in English or Italian, although completed articles must be in Italian - proofreading will be guaranteed by “Cinema e Storia” editorial board.

The proposal should include: five key-words, names of author(s), institution(s) and contact details (email, telephone), together with a short bio for each author.

If the proposal is accepted, the author/s will be asked to send the complete article to the same e-mail address by July 31, 2018. Contributions will be sent to two independent reviewers in a double-blind peer review process prior to the final publication decision. Authors may be requested to change or improve their articles if suggested by reviewers.

Articles should be between 4,000-5,000 words in length (no more than 35,000 characters, spaces and notes included), but shorter articles will be also considered.

For info, please send an email to:

valerio.coladonato@gmail.com <mailto:valerio.coladonato@gmail.com> and/or asangiovanni@unite.it <mailto:asangiovanni@unite.it>
(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: International Conference "Research in Film and History: New Approaches, Debates and Projects"


November 29-30, 2018, Bremen

Host institution: University of Bremen, ZeMKI, Centre for Media, Communication and Information Research
Organizer: Winfried Pauleit, Delia González de Reufels, Rasmus Greiner

The interpretation of political and contemporary historical events is and will increasingly continue to be carried out via audio-visual media. The same goes for the production of historical memory. Media communicate and at times even create historical knowledge while film shapes our notion and comprehension of history. Film furthermore not only showcases historical themes or sheds light on the biographies of historical figures, but also conveys historical understanding and consensus in audio-visual form. In this way, film shapes our images of the world and influences our perception. It also increasingly competes with and adds to established historiography. The Bremen Conference will explore new approaches, debates and projects at the intersection between the disciplines of film studies and history.

Film and media such as documentaries, feature films, home movies, TV shows and internet platforms are continuously infringing on what used to be foremost the field of academically trained historians: the narration of history. But historians’ monopoly on conveying the past seems to have vanished. Documentaries, feature films and home movies certainly narrate history in aesthetically different ways and according to their own established traditions and modes – while TV shows and internet platforms make concessions to ratings and the economic interests of big data. Nevertheless, films and audio-visual formats provide us with narratives of the past and capture the attention as much as the imagination of (broad) audiences. And they establish a certain consensus on what it was (and is) like to live in a certain period of time. Films may choose to focus on master narratives of national histories, or on the contrary, dedicate themselves to micro history, which was established in the 1970s. Historians began to adopt a smaller scale of observation to concentrate on a smaller field of historical analysis: an individual, a social group, a village, a town or a neighbourhood. Furthermore, film scholars coined the term New Film History (Elsaesser 1986), indicating that aesthetically oriented film history could expand to include economics, the history of technology, sociology, contemporary history, and so on. These changes in historiography and film studies have laid the foundations for a significant approach between the academic writing of history, on the one hand, and the filmic narration of history, on the other. This conference is especially interested in the results of these approaches and in what films and audio-visual formats mean to the different ways of understanding a historical past in an actual present tense.
While historians and film scholars have more often than not shied away from specific genres such as the historical epic à la Hollywood because of its aesthetics and anachronistic interpretations of the past (Sobchack 1990), cinema itself has nevertheless been read as a site of historical consciousness. As such, film scholars have pointed out, film is able to present new historical depictions of events and to make the sensibilities of early periods not only accessible but palpable (Kappelhoff 2008). More recently, film’s ability to shape and keep alive cultural memory by the sedimentation, migration and recurrence of past events, objects and identities has also been stressed (Elsaesser 2014). Historians, in turn, have assessed the power of media (and in particular the power of images), and developed the field of “visual history,” which is now established as a new realm of research (Paul 2012). Furthermore, the discipline has begun to discuss historical films which construct a “world of the past on screen” as a specific “mode of historical thought” (Rosenstone 2013) and to consider their potential as other forms of history writing. This is a logical continuation of earlier works which have located a new form of historiography in the medium of film itself (Rosenstone 1995) and proposed a multimedia form of historiography. This represents a possible paradigm shift away from the dominance of writing and towards the inclusion of images and sounds, which is also the result of entirely new possibilities of image and audio-visual media research (Paul 2012). It is not surprising that comprehensive archives have been established which serve a double purpose: they preserve audio-visual material and hope to stimulate corresponding historical research. The Visual History Archive of the Shoah Foundation is a case in point and an impressive example of how the study of recent history profits from this expansion of historical research.

The Bremen Conference seeks to explore a point of intersection between the disciplines of film studies and history, paying particular attention to new approaches to this interdisciplinary field. Again, significant changes in historiography have produced important impulses for the mutual approach between film studies and history. Hayden White’s reading of the narrative character of history, which structures data in a targeted fashion (1987, 1991), and the linguistic turn have enabled a new understanding of film as a medium. Acknowledging the key role that watching and experiencing film and media images has played in the construction of historical events (Sobchack 1996) has led historians to pay careful attention for example to the filming of the Eichmann trial in Jerusalem (Lindeperg 2018). The conference also focuses on debates about how films generate history and historical knowledge visually and auditively and on how they model historical memory and resonate with personal experiences. Finally, we would also like to discuss new projects which address these questions either in research or film making.
Abstracts are invited on topics related, but not limited to:

• Contemporary history and media
• Historiography and audio-vision
• Audio history
• Archives and cultural memory
• Education and outreach
• Interactive documentary

Possible themes for panels which are related to the research interests note above are furthermore:
• Liberation Footage of the camps after WWII and digital repository
• Societal change and social movements in film
• Latin American dictatorship and trauma in film and media

Confirmed speakers: Erica Carter (King`s College London), and Thomas Elsaesser (Columbia University New York) presenting his film DIE SONNENINSEL, D 2017

If you would like to participate with a short presentation (20 min.), please submit an abstract (max. 1 page in English) and a CV by May 1st 2018 or panel of three to four contributions. Abstracts for papers and panels which address any of the above topics and choose an interdisciplinary and/ or film-theory approach are welcome. A small travel allowance (we pay the hotel for up to two nights) may be granted but funds are limited. Accepted papers will be invited for publication in the first issue of Research in Film and History (coming soon).

Please send your submissions to conference organizers Delia González de Reufels, Rasmus Greiner and Winfried Pauleit to the following address: film-history[at]uni-bremen.de

Accepted participants will be informed by May 11th 2018.

Download the Call for Papers here: http://www.zemki.uni-bremen.de/fileadmin/redak_zemki/dateien/Tagungen/various/CfP_ZeMKI_2018.pdf

Conference website: http://www.zemki.uni-bremen.de/en/events/conferences/research-in-film-and-history-new-approaches-debates-and-projects.html
(info actualizada em ~~~ItemPubShortDate~~~)

------------



Call for Book Reviewers: Synoptique upcoming 7.2 issue



I am writing on behalf of the editorial board for Synoptique: An Online Journal of Film and Moving Image Studies, based out of the Mel Hoppenheim School of Cinema at Concordia University in Montréal. We are currently looking for book reviewers for an upcoming journal issue, which is expected to be published by September this year.

​The list of selected books include:


- Apprich, Clemens. 2017./
​​
Technotopia: A Media Genealogy of Net Culture/. Lanham:

Rowman & Littlefield.
- Gillespie, Michael B. 2016. /
​​
Film Blackness: American Cinema and the Idea of Black

//Film/. Durham: Duke University Press.
- Glick, Joshua. 2018. /
​​
Los Angeles Documentary and the Production of History,
​ ​
//1958-1977/. Berkeley: University of California Press.
- Grieveson, Lee. 2017. /
​​
Cinema and the Wealth of Nations: Media, Capital, and the

//Liberal World System/. Berkeley: University of California Press.
- Juhasz, Alexandra, and Yvonne Welbon, eds. 2018. /
​​
Sisters in the Life: A History of

//Our African American Lesbian Media-Making/. Durham: Duke University Press.
- Lewis, Tania, Fran Martin, and Wanning Sun. 2016. /
​​
Telemodernities: Television and

//Transforming Lives in Asia/. Durham: Duke University Press.
- Milner, Ryan M. 2016. /
​​
The World Made Meme: Public Conversations and
​ P
//articipatory Media/. Cambridge: The MIT Press.
- Neves, Joshua, and Bhaskar Sarkar, eds. 2017./
​​
Asian Video Cultures: In the

//Penumbra of the Global/. Durham: Duke University Press.
- Peters, Benjamin. 2017. /
​​
How Not to Network a Nation: The Uneasy History of the

//Soviet Internet./Cambridge: The MIT Press.
- Ruberg, Bonnie, and Adrienne Shaw, eds. 2017./
​​
Queer Game Studies/. Minneapolis:
​ ​
University of Minnesota Press.
- Zahlten, Alexander. 2017. T/
​​
he End of Japanese Cinema: Industrial Genres, National

//Times, and Media Ecologies/. Durham: Duke University Press.*

*
*
*
*If you are interested in writing a review for any titles, please send us a declaration of interests and a short bio by April 15th.We will send out the final confirmation to selected reviewers shortly after and proceed to request a copy from the publishers. *
*
*
If you have other questions, please feel free to contact us.

Best regards,

Giuseppe Fidotta <giuseppe.fidotta@GMAIL.COM>

(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP "Writing Space with Moving Images: Exhibition, Museum and Urban Itineraries" / Cinergie



We are pleased to announce the deadline extension of the the call for papers "Writing Space with Moving Images: Exhibition, Museum and Urban Itineraries" of the Journal Cinergie.

Deadline extended:CFP "Cinergie. Il Cinema e le altre Arti", "Writing Space with Moving Images: Exhibition, Museum and Urban Itineraries"
New Deadline: 15 April

Call for papers – Writing Space with Moving Images: Exhibition, Museum and Urban Itineraries
https://cinergie.unibo.it/announcement/view/272

Edited by Francesco Federici (Università Iuav di Venezia), Elisa Mandelli (Link Campus University)

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

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

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

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

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

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

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

Submission Details and Journal Deadlines

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

Please send an abstract and a short biographical note to mandelli.elisa@gmail.com <mailto:mandelli.elisa@gmail.com> and francesco.federici@iuav.it <mailto:francesco.federici@iuav.it> by April 15, 2018. Abstracts should be from 300 to 500 words of length (either in English or Italian).

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

References

S. Arcagni, Oltre il cinema: metropoli e media, Turin, Kaplan, 2010.
Id., Screen city, Rome, Bulzoni, 2012.
E. Balsom, Exhibiting Cinema in Contemporary Art, Amsterdam, Amsterdam University Press, 2013. R. Bellour, “D’un autre cinéma”, Trafic, n. 34, summer 2000, pp. 5-21.
G. Bruno, Atlante delle emozioni: in viaggio tra arte, architettura e cinema, Milan, Bruno Mondadori, 2006.
F. Casetti, “The Relocation of Cinema”, NECSUS: European Journal of Media Studies, n. 2, autumn 2012, http://www.necsus-ejms.org/the-relocation-of-cinema/.
M. Colleoni, F. Guerisoli, La città attraente: luoghi urbani e arte contemporanea, Milan, EGEA, 2014.
M. Connolly, The Place of Artist Cinema: Site, Space and Screen, Bristol-Chicago, Intellect, 2009.
M. De Rosa, Cinema e postmedia. I territori del filmico nel contemporaneo, Milan, postmedia books, 2013.
P. Dubois, “Un ‘effet cinéma’ dans l’art contemporain”, Cinéma&Cie: International Film Studies Journal, n. 8, autumn 2006, pp. 15-26.
P. Dubois, E. Biserna, e P. Brown (a cura di), Cinema, Architecture, Dispositif, Udine, Campanotto Editore, 2011.
F. Federici, Cinema esposto. Arte contemporanea, museo, immagini in movimento, Udine, Forum, 2017.
S. McQuire, The Media City. Media, Architecture and Urban Space, London, SAGE, 2008.
E. Mandelli, Esporre la memoria. Le immagini in movimento nel museo contemporaneo, Udine, Forum, 2017.
G. Ravesi, La città delle immagini: cinema, video, architettura e arti visive, Soveria Mannelli, Rubbettino, 2011.
J.-C. Royoux, “Pour un cinéma d’exposition. Retour sur quelques jalons historiques”, Omnibus, n. 20, april 1997.
J.-C. Royoux, “Cinéma d’exposition : l’espacement de la durée”, Art Press, n. 262, november 2000, pp. 36-41.
P. Virilio, “Dal media building alla città globale: i nuovi campi d’azione dell’architettura e dell’urbanistica contemporanea”, Crossing, n. 1, december 2000, pp. 5-15.

Submission of proposals: April 15, 2018
Submission of full articles: June 30, 2018
Publication: December 2018






Call for papers – Scrivere lo spazio con le immagini in movimento: percorsi espositivi, museali e urbani / Cinergie. Il Cinema e le altre Arti
https://cinergie.unibo.it/announcement/view/272


A cura di Francesco Federici (Università Iuav di Venezia), Elisa Mandelli (Link Campus University)

La pervasività delle immagini in movimento negli spazi espositivi è una delle cifre più caratteristiche del panorama artistico e mediale contemporaneo e si manifesta in forme che vengono continuamente ridefinite dall’uso e dalla ricerca artistica. Molto è stato scritto in una prospettiva estetica sul cosiddetto effetto cinema nell’arte contemporanea (l’effet cinéma di cui parla Dubois 2006), sulla rilocazione (Casetti 2012) del cinema nel museo, e su quell’insieme di fenomeni che sono stati di volta in volta identificati come “cinema d’esposizione” (Royoux 1997, 2000), “altro cinema” (Bellour 2000), “cinema d’artista” (nell’accezione, ad esempio, che ne dà Connolly 2009), othered cinema (Balsom 2013). Inoltre, un numero crescente di ricerche si va in tempi recenti interrogando sulle forme di penetrazione delle immagini in movimento negli spazi del quotidiano, dagli scenari urbani ai contesti privati (De Rosa 2013, Ravesi 2011).

Su questa seconda linea, che si distanzia da un’analisi dei fenomeni artistici in senso stretto, restano tuttavia ancora numerosi snodi da indagare, data la complessità e la pervasività di queste forme nella cultura visiva contemporanea. In particolare, non si è ancora adeguatamente preso in considerazione il ruolo delle immagini in movimento nella progettazione degli spazi espositivi, qui intesi come percorsi museali dedicati al cinema, dal punto di vista storico, estetico o tecnologico (si pensi alle mostre proposte dalla Cinémathèque française o al Museo del cinema di Torino), ma anche allestimenti permanenti o temporanei di musei come quelli di storia, della scienza e della tecnologia, archeologici o etnografici (si pensi ai musei curati da Studio Azzurro). Ad essi si aggiungono le fiere e le grandi esposizioni, oltre che le presentazioni commerciali in vetrine e spazi promozionali, che sfruttano a vario titolo le immagini in movimento. Ancora, necessitano di essere più diffusamente investigati i progetti che escono dallo spazio museale per entrare nel tessuto urbano, in particolare i percorsi che si intersecano con le trame architettoniche delle città, come avviene in occasione di festival (come la Screen City Biennal o il Façade Festivals), i percorsi di videomapping o ibridazioni con l’arte, come nel caso di Doug Aitken a New York con Sleepwalkers (2007) o a Roma con Frontier (2009).

Le forme di scrittura dei percorsi museografici sono influenzate da sempre più sofisticate tecniche di exhibition design, che possono andare dall’uso di dispositivi video alle nuove forme di realtà aumentata e virtuale, come ben mostrato da alcune accurate realizzazioni museografiche in contesti sempre più vari. La scrittura dello spazio come vuole essere analizzata in questo speciale è da intendersi come il processo di costruzione di un percorso insieme fisico e cognitivo, che struttura sia la spazialità che la temporalità di fruizione.

In che modo le immagini in movimento contribuiscono a delineare la fisionomia degli spazi in cui sono installate? Come si strutturano le forme di ricezione spettatoriale? In quali forme gli exhibit sono integrati tra loro e con le immagini in movimento, a costruire il percorso museografico? Come sono state utilizzate le immagini in movimento nelle varie tipologie di spazi espositivi e di presentazione nel corso del XX secolo? Quali sono i supporti utilizzati e come si può costruire una loro storia? Qual è il ruolo dell’exhibition designer e come lavora con le immagini in movimento? Qual è infine il ruolo delle nuove tecnologie e in particolare delle forme digitali in questi contesti?

Questo speciale vuole esplorare l’uso delle immagini in movimento come supporto museografico e di presentazione, in una prospettiva che si distanzia dalle istituzioni dell’arte contemporanea per interessarsi a tutte le forme di scrittura dello spazio espositivo attraverso il cinema, il video e altri dispositivi legati alle immagini in movimento, concentrandosi sui contesti museali, commerciali e fieristici, architettonici e urbani, anche con un approccio storico.

Di seguito sono elencate alcune delle linee di indagine, non esclusive, che possono essere seguite:

- Forme di exhibition design – design dell’allestimento
- Il ruolo dell’exhibition designer o del visual designer
- Forme di progettazione dello spazio con le immagini in movimento
- Le immagini in movimento nelle mostre (permanenti o temporanee) dedicate al cinema
- Le immagini in movimento negli allestimenti (permanenti o temporanei) dei musei (storici, della scienza e della tecnologia, archeologici, etnografici)
- Le immagini in movimento nelle presentazioni fieristiche o commerciali
- Percorsi museografici urbani legati all’uso delle immagini in movimento
- Forme di ricezione spettatoriale
- Analisi dei dispostivi di supporto museografico (schermi, proiezioni, realtà virtuale, realtà aumentata)
- L’esposizione delle immagini in movimento al di fuori dei contesti artistici a partire dall’inizio del XX Secolo

Scadenze e istruzioni

A un numero limitato di contributi di ampio respiro (indicativamente 30mila battute), sarà affiancato un numero interventi che si concentrerà su analisi di caso (indicativamente 20mila battute).

Si richiede l’invio di un abstract di 300-500 parole (insieme a una breve biografia del proponente) entro il 15 aprile a mandelli.elisa@gmail.com <mailto:mandelli.elisa@gmail.com> e francesco.federici@iuav.it <mailto:francesco.federici@iuav.it>.

Gli articoli selezionati – in italiano o in inglese – dovranno pervenire entro il 30 giugno e saranno sottoposti a double blind peer review. Il numero 14 di Cinergie sarà pubblicato nel mese di dicembre 2018.

Riferimenti bibliografici:

S. Arcagni, Oltre il cinema: metropoli e media, Turin, Kaplan, 2010.
Id., Screen city, Rome, Bulzoni, 2012.
E. Balsom, Exhibiting Cinema in Contemporary Art, Amsterdam, Amsterdam University Press, 2013. R. Bellour, “D’un autre cinéma”, Trafic, n. 34, summer 2000, pp. 5-21.
G. Bruno, Atlante delle emozioni: in viaggio tra arte, architettura e cinema, Milan, Bruno Mondadori, 2006.
F. Casetti, “The Relocation of Cinema”, NECSUS: European Journal of Media Studies, n. 2, autumn 2012, http://www.necsus-ejms.org/the-relocation-of-cinema/.
M. Colleoni, F. Guerisoli, La città attraente: luoghi urbani e arte contemporanea, Milan, EGEA, 2014.
M. Connolly, The Place of Artist Cinema: Site, Space and Screen, Bristol-Chicago, Intellect, 2009.
M. De Rosa, Cinema e postmedia. I territori del filmico nel contemporaneo, Milan, postmedia books, 2013.
P. Dubois, “Un ‘effet cinéma’ dans l’art contemporain”, Cinéma&Cie: International Film Studies Journal, n. 8, autumn 2006, pp. 15-26.
P. Dubois, E. Biserna, e P. Brown (a cura di), Cinema, Architecture, Dispositif, Udine, Campanotto Editore, 2011.
F. Federici, Cinema esposto. Arte contemporanea, museo, immagini in movimento, Udine, Forum, 2017.
S. McQuire, The Media City. Media, Architecture and Urban Space, London, SAGE, 2008.
E. Mandelli, Esporre la memoria. Le immagini in movimento nel museo contemporaneo, Udine, Forum, 2017.
G. Ravesi, La città delle immagini: cinema, video, architettura e arti visive, Soveria Mannelli, Rubbettino, 2011.
J.-C. Royoux, “Pour un cinéma d’exposition. Retour sur quelques jalons historiques”, Omnibus, n. 20, april 1997.
J.-C. Royoux, “Cinéma d’exposition : l’espacement de la durée”, Art Press, n. 262, november 2000, pp. 36-41.
P. Virilio, “Dal media building alla città globale: i nuovi campi d’azione dell’architettura e dell’urbanistica contemporanea”, Crossing, n. 1, december 2000, pp. 5-15.
(info actualizada em ~~~ItemPubShortDate~~~)

------------



XIX Seminário de Pesquisa do Programa de Pós-Graduação em Estudos Literários; IV Seminário Internacional de Estudos Literários; IV Workshop do Grupo de Pesquisas em Dramaturgia e Cinema
O cinema é chamado de “sétima arte” porque surgiu depois das seis que o antecederam na história das artes: música, teatro, pintura, escultura, arquitetura e literatura. Ao longo de toda a sua evolução desde o final do século XIX, o cinema, pelo esforço dos seus fautores (realizadores, teóricos e críticos), não tem feito senão variados exercícios com a finalidade de libertar-se da tutela das outras artes – sobretudo da literatura e do teatro –, propondo-se como linguagem específica que, podendo embora beneficiar-se de todas as outras linguagens artísticas (como, aliás, também ocorre com o teatro), é capaz de sugerir sentidos com formas próprias, alcançadas com exclusividade pelo dispositivo técnico que gera a arte cinematográfica. A técnica que permite o close-up, por exemplo, oferece ao espectador de cinema o privilégio de ver as imagens (de rostos, objetos etc.) com detalhes que ao espectador de teatro não é dado visualizar.
Para refletir sobre essas especificidades, concentramos o XIX Seminário de Pesquisa do Programa de Pós-Graduação em Estudos Literários, o IV Seminário Internacional de Estudos Literários e o IV Workshop do Grupo de Pesquisas em Dramaturgia e Cinema numa proposta única: confrontar diferentes exercícios de análise fílmica e suscitar, pelo intercâmbio de perspectivas diversas, discussões sobre o cinema enquanto linguagem específica que articula, com os seus meios próprios, outras linguagens artísticas como a da literatura, a do teatro, a da pintura, a da música, a da arquitetura etc.

Destaque especial é dado ao cinema de Manoel de Oliveira (1908/2015), objeto de pesquisa de vários dos integrantes do GPDC, que propõem um ciclo oliveiriano de filmes para estimular o debate sobre o cinema e seus duplos. O evento ocorrerá entre os dias 18 e 22 de junho nas dependências da Faculdade de Ciências e Letras da UNESP, câmpus Araraquara. É desejável que os trabalhos propostos tenham conexão com o tema proposto. Todas as submissões serão avaliadas pela comissão científica do evento.
Como é obrigatória a apresentação de comunicação aos alunos veteranos do PPGELI, esse público poderá submeter, excepcionalmente, à avaliação da comissão científica trabalhos que contemplem resultados parciais de seus projetos de pesquisa em desenvolvimento no Programa.
Destacamos que todos os resumos devem ser enviados conforme as normas de formatação até o dia 11/04/2018, impreterivelmente.
O resumo do trabalho deve ser apresentado na seguinte formatação: TÍTULO, em maiúsculas, caixa alta e centralizado; Nome do Autor, na segunda linha após o título, alinhado à direita e seguido, entre parênteses, pela sigla da instituição a que esteja vinculado, curso de pós e da agência financiadora da bolsa (IES/MouD/BOLSA); na terceira linha deve ser informado o e-mail para contato; e, na quarta linha após o título, o Nome do Orientador, também alinhado à direita, com a sigla da instituição entre parênteses; depois dessas informações 3 palavras-chave, duas linhas após o nome do autor ou orientador. O texto do resumo terá início na segunda linha após as palavras-chave deverá conter, no mínimo, 300 e, no máximo, 400 palavras, sem recuo de parágrafo, com alinhamento justificado, em fonte Times New Roman 12, espaço simples. O resumo NÃO deve conter citações ou referências. As propostas serão avaliadas pelo Comitê Científico do evento e os autores dos trabalhos aprovados receberão, no endereço de e-mail informado, aviso de aceite. Os resumos aprovados serão publicados no Caderno de Resumos (com ISBN) do evento e os textos completos serão entregues para publicação nos Trabalhos Completos (com ISBN) durante a realização do Seminário. Os resumos deverão ser enviados para o e-mail seminariodepesquisappgel@gmail.com, em arquivo no formato Word, impreterivelmente até o dia 11/04/2018.
A resposta, caso a proposta de comunicação seja aprovada, será enviada a partir do dia 11/05/2018.

(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: Beasts of the Sky



Beasts of the Sky: Strange Sightings in the Stratosphere

30 June 2018

Deadline: Friday 13 April 2018

Proposals are invited for an interdisciplinary symposium at St Mary’s University, Twickenham, to explore representations of creatures of the sky and air, within the context of popular culture. The one-day conference is on Saturday 30 June 2018.

Keynote Lecture: Dr Chris Pallant, Canterbury Christ Church University.

Taking place in the drawing room of Horace Walpole’s Gothic mansion in Strawberry Hill, this symposium will discuss the sky as space, as well as the creatures associated with it, whether monstrous or mundane, in popular culture. The sky is a privileged locale in popular genres, from science fiction, horror and dystopian film; in animation as well as live action; to natural history programming on television.

Sometimes the sky is linked to the archaic, in myth and with prehistoric airborne creatures; at other times it is the site for our projections of the future, extra-terrestrial or otherwise. In both cases, our representations invariably mediate social and cultural anxieties that are current, even if projected into the distant past or far future. In documentary and natural history, the earth’s flying creatures are seen to be imperilled by global warming and the anthropocene. In popular genres of cinema and in animation, airborne creatures provide opportunities for bravura displays of spectacle.

We therefore welcome submission of abstracts on any related topic in film, media and cultural studies. Submissions from perspectives on popular genre cinema, transnational screen media, animation, fandom and audiences will be particularly encouraged. The symposium organisers will compile selected papers with a view to publishing an edited collection, following interest from an academic publisher.

The conference day will close with a book launch for the first publication from our conference series: /Beasts of the Deep: Sea Creatures and Popular Culture/ (2018), John Libbey Publishing.

Topics for presentations might address, but are not limited to:

·Science fiction cinema and history: from 1950s Cold War paranoia to post-9/11 alien invasions (Sánchez-Escalonilla, 2010)

·UFO spotting and found footage films: UFOs in media and their related conspiracies

·Ecocritical approaches to global warming in popular culture

·Telefantasy: cult television from /Star Trek/ and /The X-Files/ to /Game of Thrones/

·Dragons, wyverns and harpies: sky-borne monsters in popular culture

·Celestial horrors: H.P. Lovecraft, Philip K. Dick and science fiction

·Fears of nuclear annihilation in film and television: /The War Game/ (1965), /Threads/ (1984), /Testament/ (1983)

·First contact in cinema: /Close Encounters of the Third Kind/ (1977), /Arrival/ (2016), etc

·The sky and space in rock music: The Byrds’ ‘Eight Miles High’ and ‘Hey Mr Spaceman’; Jimi Hendrix’s ‘Third Stone from the Sun’, ‘Up from the Skies’

·Afrofuturism: from Sun Ra and John Coltrane to Drexciya, Janelle Monaé and Flying Lotus

·Flying, floating and airborne creatures in animation

·The sky as the site of ‘animetism’ and ‘open compositing’ in anime (Lamarre, 2009)

·Bats, vampires and Gothic skies

·Digital games and floating space

·The sky in PSB: /Walking with Dinosaurs/, /Walking with Beasts/, etc

Submit a maximum 500-word abstract by Friday 13 April 2018 to:

Dr Jon Hackett and Dr Seán Harrington at beastsoftheplace@gmail.com <mailto:beastsoftheplace@gmail.com>

For directions to St Mary’s and further information on our ‘Beasts’ conference series, please see our website:

https://beastsoftheplace.wixsite.com/skies
(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: Self-Representation and representation of Muslim women in digital media and on-screen


MeCCSA - Race, Ethnicity and Postcolonial Network

Self-Representation and representation of Muslim women in digital media and on-screen

Thursday 24th May 2018 - University of East London, Stratford Campus

The Race, Ethnicity and Postcolonial Network invites proposals for a one-day conference to explore the self-representation and representation of Muslim women in digital media and on-screen.


From media debate on hijabs in schools, to the recent viral Twitter hashtag, #MosqueMeToo highlight a chasm between society’s perceptions of Muslim women and the lived experience of Muslim women.



In literature, essay collections such as The Things I would Tell You (Mahfouz, 2017) and the upcoming Sabeena Akhtar anthology, Cut From the Same Cloth, highlight a rise in the mainstream self-representation of Muslim women. Indeed, social media platforms such as Instagram and YouTube are producing a host of influencers, some garnering in excess of hundreds of thousands of followers worldwide and securing coveted brand affiliations.
At the same time that self-representation is on the rise with its attendant problems about speaking for all Muslim women, mainstream representation is still rolling out the same old tropes. Television programmes such as My Week as a Muslim (Channel 4, 2017) have been accused of cultural insensitivity, and others such as Extremely British Muslims (Channel 4, 2017) and The Truth About Muslim Marriage (Channel 4, 2017) have evoked mixed reactions in terms of the intention behind the shows versus the resulting effect on the collective social imagination. In wider society, Tell Mama’s most recent annual report highlighted that the greatest impact of anti-Muslim violence continues to be directed towards visible Muslim women (Tell Mama, 2017).

Proposals for 15-minute papers or presentations are invited which focus on representation and self-representation of Muslim women in, but are not limited to, the following areas:

- The representation of Muslim women across media platforms and the press
- Social media self-representation platforms - Representation in film and television (Britain, Hollywood and beyond)
- Social media brand affiliations - Social impact of self-/representation

We welcome proposals from independent researchers, archivists, postgraduate students, academics, and broadcast professionals. We are happy to receive papers submitted together, but reserve the right to organise panels as we think best. Please use the following format for proposals, on one side of an A4 document:

• Name, contact details.
• Title of paper or presentation
• 250-word summary or abstract
• 100-word biography

Send proposals as a Word doc or PDF attachment by email to:

Gurvinder Aujla-Sidhu, gaujla-sidhu@dmu.ac.uk

Naida Redgrave, n.redgrave@uel.ac.uk

Deadline: April 20th 2018
Details of Keynote Speakers and ticketing information will be published in due course.

(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: Conference on Media, Culture and Society, Buenos Aires, Argentina




We invite submissions to the conference “Contemporary Developments on Media, Culture and Society: Argentina and Latin America.” The conference, organized by The Center for the Study of Media and Society in Argentina (MESO), will take place on Friday, October 19, 2018, at Universidad de San Andrés in Buenos Aires, Argentina.


This will be the fourth annual conference organized by MESO on the interactions between media, culture and society. For more information about previous events, please visit http://meso.com.ar/en/events <https://urldefense.proofpoint.com/v2/url?u=http-3A__meso.com.ar_en_events&d=DwMFaQ&c=yHlS04HhBraes5BQ9ueu5zKhE7rtNXt_d012z2PA6ws&r=cmbVTdx53HOLnzIMRK4wqFJ5I3dZglAxPZnU5P5da-g&m=94xzSlalT6KjxSnXnJMY7AUCagzj9cOune0CcQ4HDg8&s=TG_BUJFIxQxWo9GBeSO4xmy5xspIQtU5n5-PQ6CJBjU&e=>. This fourth annual conference is sponsored by the Center for Global Culture and Communication at Northwestern University.


Submissions should contribute to ongoing conversations about media, culture, and society in empirical, theoretical or methodological ways. They might also broaden our knowledge about the relationship between media, culture, and society at the national and regional level. Articles may refer to different aspects of communication, media, and cultural goods and services in the areas of journalism, entertainment -cinema, theater, television, music, etc. - advertising and marketing, public relations, social media, and video games, among others.

Topics to be addressed include the following, among others:

·Transformations in content production.

·Change in the use of media.

·Innovation and technological change.

·Media sustainability and funding.

·Gender, race, ethnicity, and identity.

·State, government and civil society.

·Regulation and public policies.

·Political communication and electoral campaigns.

·Production, distribution and consumption of information on social media.

To make a submission:

* Send an extended abstract of the article, with a minimum length of
500 words and a maximum length of 1000 words (excluding title and
references). The document should also include the contact
information and brief (no more than 75 words) biography of each author.
* Abstracts should be sent without exception as an attached file, in
word format (.doc, .docx), and entitled "Last Name, Name - Medios y
Sociedad 2018".

The deadline for submission is April 15, 2018.

Abstracts should be
sent by email to mediosysociedad@udesa.edu.ar
<mailto:mediosysociedad@udesa.edu.ar>. The subject of the mail
should be "Last Name, Name – Medios y Sociedad 2018".

A selection committee will evaluate the abstracts and the results will be notified to the authors on May 15, 2018.

Please write to mediosysociedad@udesa.edu.ar <mailto:mediosysociedad@udesa.edu.ar> if you have any questions and/or need any further information.

(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: Film Criticism Special Issue on Film & Merchandise



FilmCriticism - Special Issue on Film&Merchandise

Guest editors: Dr. Elizabeth Affuso (Pitzer College) and Dr. Avi Santo (Old Dominion University)

Despite Jane Gaines’ (1989) recognition that the cinema screen and the department store display window have long participated in providing audiences with spectacles of consumption that steered shoppers toward one another’s venues, there is surprisingly little work that critically interrogatesfilm-relatedmerchandise.Only recently have scholars started to take this area of study seriously. For example, media industry scholars have begun to pay attention to the creative, legal, and managerial contestations among licensors, manufacturers, and retailers, contending thatmerchandiseis not simply an afterthought of media production, distribution, acquisition, and circulation, but also an area where industry lore about differentiated franchises and consumers are affirmed and challenged.Others contend that the meaningsmerchandiseaccrue are constituted through their use as much as by how they are positioned for consumers. On the fan studies front, scholars have become interested in object-oriented fandom as well as ‘fan-trepreneurs’ who sell ‘fan-mademerchandise’ through crafting and customization sites like Etsy. These works have explored the commoditization of fandom, but they have also sought to understand what fan communities ‘do’ withmerchandiseand how fan-based economies operate. There has also been a tendency to explore howmerchandiseinterpellates particular gendered and age-based identities, with fashion and toy-basedmerchandisereceiving the bulk of attention, but scholarship on the intersections ofmerchandisewith race, sexuality, and religion remains scarce as does work investigating the waysfilm-inspired products have entered into daily routines as household items and other lifestyle categories.

For this special issue of/FilmCriticism,/ we are seeking essays that take a variety of approaches to the intersections offilm, television, andmerchandisethat open up new avenues of inquiry to studying the topic.

Possible topics include (but are not limited to):

-Industrial, consumer and fan sense-making practices when it comes tomerchandise(i.e., their imagined appeal to various constituencies, their “authenticity”)
-Films aboutmerchandiseand/or product integration withinfilms (/The LEGO Movie/, /Toy Story/, /The Devil Wears Prada/)
-When manufacturers become entertainment companies (Hasbro, Mattel, Sketchers)
-Industry lore, trade rituals, and their impact on merchandising
-Filmmerchandisebeyond toys and fashion (including everyday household and luxury items)
-Merchandising beyond the franchise/tentpole/blockbusters
-Branded educational, nutrition, health and hygienemerchandise(or the use of brandedmerchandisewithin schools, healthcare, and other service industries)
-Merchandiseand transmedia storytelling
-Packaging and product design
-Race andmerchandise(merchandisefeaturing diverse racial groups or failing to do so;merchandisemarketed to diverse racial groups;merchandiseused by diverse consumer and fan groups)
-Merchandisebeyond child markets (including adultmerchandise)
-Merchandiseand the troubling of gender binaries
-Celebrity andmerchandise(or celebrity and lifestyle)
-DIYmerchandiseand the logics of customization/maker cultures (as well as anxieties over 3D printers and other DIY technologies)
-Merchandiseand performative consumption (or interactive consumption)
-Merchandiseand (commoditized) self-expression/group affiliation
-Fan-mademerchandise
-Ethnographies ofmerchandiseusage among fans or different consumer groups
-Fan consumer-activism
-Promotional giveaways and premiums

Essays should be a maximum of 7000 words including notes and references and use Chicago Manual of Style, 16th edition (http://www.chicagomanualofstyle.org/tools_citationguide.html<https://na01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.chicagomanualofstyle.org%2Ftools_citationguide.html&data=01%7C01%7CASanto%40odu.edu%7Cbc1db2600f2946330a3508d545eb3958%7C48bf86e811a24b8a8cb368d8be2227f3%7C0&sdata=NdKPbJZqhpDEC1kdW1i8tP0n%2BvZcTN4iZh%2B%2FDHf4kIo%3D&reserved=0>). Please submit essays electronically as a Word document file to asanto@odu.edu <mailto:asanto@odu.edu>. Submissions should also include a cover page with: (a) all authors’ names, academic affiliations, and e-mail addresses; (b) author biography, no more than 70 words in length; and (c) an abstract of 150 words or fewer. Drafts should be submitted for review by May 1, 2018. You will receive acknowledgment of your submission within ten days. Works accepted for this special issue will be returned to contributors with reviewer feedback by July 1 and revised drafts will be due on September 1 for a November 2018 publication date.

(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: Philosophy of Photography (Laocoonte 5: Panorama)


Laocoonte invites paper submissions on the philosophy of photography for its monographic Panorama section ofvolume 5, 2018.

Papers may be written in Spanish, English, or Portuguese. The deadline for submissions is April 30, 2018.

Laocoonte is the journal of the Spanish Society for Aesthetics and Art Theory (Sociedad Española de Estética y Teoría de las Artes, SEyTA):

Since its inception photography has motivated numerous reflexions about the nature of images and about their artistic modes of production. Photography has engaged thinkers both as a medium and as a mechanism that raises fundamental questions. Besides critical concerns, investigations about photography also directly relate to the theory of knowledge, to the theory of the image, to aesthetics and the theory of art, to the philosophy of history, to ethics, and to many other philosophical areas.
The aesthetic analyses of the modes and means of the photographic image have always been influenced by the aesthetic understanding of contemporary images. Thus, theories have constructed the photographic image as a footprint, as a representation, or as a mechanism for preserving reality (which, in turn, helped to accelerate the liberation of painting from mimesis).

Laocoonte seeks new contributions to all of the aforementioned and other issues in the philosophy of photography.

Topics include but not limited to:

– Theories of the photographic mechanism
– The photographic act
– Photographic reception
– Photography and the theory of the image
– Memory and document
– Photography as a medium of conceptual or critical art
– Photography and suffering
– Amateur photography in the digital age
– Photographic genres
– Photography in the system of the arts

The Panorama section will include Spanish translations of papers by Diarmuid Costello and Robert Hopkins.

Submission deadline: April 30, 2018.

Papers may be written in Spanish, English, or Portuguese.

Please render your text completely anonymous, allowing for double-blind review.
The expected publication date of volume 5 of Laocoonte is December 15, 2018.

Papers must be submitted through the OJS platform of the journal:
https://ojs.uv.es/index.php/LAOCOONTE
The call on the SEyTA website: http://www.seyta.org/cfp-laocoonte-5-panorama-the-philosophy-of-photography/

Authors must clearly indicate (in a note to the editor through the OJS platform) that the submission is for the Panorama section on the philosophy of photography. Without this indication the submission would be considered for the Miscelánea section of the journal.
For further information please contact Zsolt Batori, the coordinator of the Panorama section on the philosophy of photography.

(info actualizada em ~~~ItemPubShortDate~~~)

------------



CFP: The creative contagion. Media, industries, storytelling, communities





The creative contagion

Media, industries, storytelling, communities



October 17-19, 2018

Panteion University, Athens (Greece)


Following the research in the field of cognitive anthropology, which considers that the brain is predisposed to accept certain ideas more than others, and thus to facilitate their contagion (Sterber, 1996), it seems that our institutions are well predisposed to appropriate the idea of creativity. Indeed, the notion of creativity has become, since the late 1990s, one of the key words of public policies and business strategies, and continues to spread. However, its implementation modalities often remain confusing and equivocal.

The main objective of this conference is to question, in a critical and international perspective, the dissemination of this rhetoric, the political issues and socio-economic models concerned and emerging in distinct fields: cultural industries, creative industries, but also in other industrial sectors, public institutions and associations.

The dynamics of change induced by digital technologies as well as the success of cultural industries’ models are at the origin of the injunctions for creativity in productive sectors beyond the strictly defined “cultural field” (Bouquillion, 2010). Thus, the reference to creativity, carrying many promises has infiltrated many working worlds: beyond the worlds of art, cultural and creative industries, it is increasingly present also in the field of media and other industrial sectors (Régimbeau, 2014). Creativity, most often associated with the world of culture, artistic works, talent and virtuosity, is no longer just the preserve of artists. New fields of predilection for creativity, would then constitute these industries of symbolic goods that would become the model to follow in order to innovate and access new markets (Bouquillion, Miège, Mœglin, 2013). However, the equivalence between cultural industries and creative industries is artificial and deserves clarification (Bouquillion, 2012). Creativity and innovation are solicited, coveted, demanded in contexts, trades and sectors of heterogeneous activities, from start-ups to large industrial companies, to public administration, cultural and associative worlds. Injunctions to creativity, however, harbor deep tensions in organizations and induce transformations in work, content and forms (Andonova et al., 2014). In this context, the aim is to shed light on the different forms of creativity in an expanded range of professional activities from the cultural and creative industries, and other areas studied in organizational communication. From then on, it is a question of identifying vivid questions that arise from the omnipresence of the creative reference in the workplace.

The creative dimension can arise in any work, yet we may ask ourselves what is it like to be creative in the worlds of culture, art and media (old and new) of businesses and institutions?

How can we define, characterize, observe and analyze this creative part of each activity? Does it contribute to /the/ /hypermodern and trans-aesthetic society/ (Lipovetsky, Serroy, 2013) dominated by imperatives of performance, urgency and aesthetic? Would this ‘creative contagion’ be a response to the "deconstruction of the world of work" (Boltanski, Chiapello, 1999) undertaken in the 1970s?

It is, indeed, this type of questioning that our conference wishes to examine, considering the notion of creation and that of creativity at the work field under a new prism, that of the close association of these two notions with contemporary imperatives in different areas of the productive, private and public sphere.

One of our hypotheses being that the notion of creativity as it is used and practiced today seems to offer a soothing answer to the postmodern citizen. It solves the "double bind" for individuals in postmodern Western societies by implying the compatibility of incompatibles, that is, creativity despite constraints, as well as practicing permanent shifts between the two. Through this conference, we want to question this main hypothesis in different environments.

Thus, a series of questions follows: with the arrival of digital tools, what are the evolutions of forms of creativity at the workplace? What kind of creative models are needed today? How can we give (or maintain) to work its creative dimension? How is the creative part of the work evaluated, recognized and rewarded in and out of the cultural field? On what mechanisms is creative contagion based? In what ways digital innovations transform the creative dimension of work? What kind of media representations of the world are generated by the use of creativity?


Five major themes are proposed, indicatively, to question the problematic of the conference.

*1 / The discourse on creativity*

This line of research aims at understanding the rhetoric(s) of creativity.

Is the notion of creativity accompanied by a particular esthetic? To speak about creativity entails to come to terms with the circulation of this notion, since there are different values, in different public spaces that influence the elaboration of the term. Which are the media spaces where these discourses are elaborated? How are they developed and to whom they refer to? How are they spreading? Which are the main obstacles associated with creativity?

For example, the emergence of a creative culture in time of crisis (economic, social, political or ecological) could be a great chance for a project to go ahead.Is this true? Do we conceptualize creativity the same way in diverse sectors? Can we compare Adida's slogan "/Here to create/" to Sony's range of camera lenses one "/Sony puts creativity in your hands/", or to the one issued by communities to promote a "/creative district/"?

*2 / The status and figure of the "creative" agent*

The creative skills and competences (authenticity, originality, freedom, improvisation, imagination) hitherto reserved for artists, are now associated with professionals from very different sectors of activity: communicators, architects, company executives, R & D researchers, journalists, computer scientists, etc. "Talent management" in business, HR technique in vogue, strongly reminds the rating of talent in the artistic field. On the other hand, new ways of organizing work through digital platforms and applications call for the mobilization of a "creative user": what is expected of him? Is he a consumer, customer, employee or author? How does the very act of consuming, using services and / or products take on a creative dimension?

*3 / Staging the work activity and creative marketing*

The creation of original and interactive content (videos, tutorials, blogs, web-series, etc.) profoundly transforms the way companies communicate. Indeed, the demands of consumers lead to revising marketing strategies to differentiate, rebuild trust, capture attention, etc., whether it's storytelling, branding, and more recently inbound marketing (Oliveri et al., 2017). In this respect, the aim is to create / produce media content that informs the products and their uses in order to capture the attention of the consumer. All these marketing tools are included in the managerial practices, as can be seen in the process of making look some employees as charismatic (see, for instance, the designers of Ikea), and especially business leaders. But also the use of the social web by the organizations appears as a major opportunity for the establishment of new forms of links with the consumers, and leads to an imperative of valorization of the company which is propagated to all the staff (Jammet, 2017). The valorization and the staging of products and organizations call upon creative methods that deserve to be questioned in a critical perspective.

*4 / Plurality of mediations and creativity*

The continuous diffusion of digital technologies has contributed to new ways of interaction, supported by the emergence of new media. The implicated actors are no longer restricted to media professionals, but expanded to all those who are involved into the communication process, by producing, translating, spreading, consuming knowledge, etc. If the tools and forms of mediations are evolved and multiplied, then the mediation activity should follow the same sweeping movement.

Therefore, creativity is widely used to develop new ways of capturing attention and even valuing that attention (Citton, 2014). For example, it can be used to design new services /via/ intermediate platforms, or even more, to format all the metrics and data produced by the traces left on the digital spaces (narration of the data).

The question that occurs is how activities and trade are evolved within the traditional media field? And beyond that, who are those new actors who invest in media activities in order to strengthen their existence in this new digital public space. What are they doing? Finally, can we confirm the hypothesis about an ongoing and increasingly complex interactivity between traditional media and new media?

*5 / Creativity, storytelling and the media*

The gradual development of a transmedia culture questions the articulations between factual narrative, reality, truth, play. What are the articulations that one could observe and conceptualize between intermedial narration of the world and promise of authenticity? Keeping in mind that, the blurring of the boundaries between truth / fiction / imaginary (Iser, 1993) has always existed, the injunction to participation, would rather erase the boundaries between producers and users, in favor of a more contested and more playful world apprehension? In the context of multiple levels of transmedia and/or synergistic storytelling (Jenkins, 2006) on various media platforms (old and new) what are the modalities of sense making?

The increasing level of daily intermedial practices shows that the world "as it is" is inextricably linked to the media world, forming a public sphere with various layers of intelligibility and this for any media /genre/: authentic, playful or fictitious. What new issues of intelligibility of the world do they appear in relation to a ‘creative’ storytelling using digital technologies?

The international conference *“The Creative Contagion. Media, industries, storytelling, communities”* is a continuation of the reflections carried out for several years on the theme of injunctions to creativity, since they are no longer reserved for the cultural and creative industries, but increasingly contaminate other traditional sectors. It is the fourth scientific event, organized as part of the CREA2S international “Creative Shift Studies” network on the creative turn: https://crea2s.hypotheses.org, after that of Montreal (Canada) in 2014, Nantes (France) in 2015 and Varna (Bulgaria) in 2017. Our objective is to continue the development of this international network and to deepen the scientific questions previously discussed. In addition, it involves questioning the "creative contagion" by specifying the analysis of the creative reference, on the one hand, to the media activities and, on the other hand, to the context of crisis (economic, political, social, ecological) which the European countries in particular are currently facing.

*Submission process**:*

Abstracts must be submitted electronically *no later than May 7^th , 2018* by using the following addresses:

vovou@panteion.gr <mailto:vovou@panteion.gr> et anne-france.kogan@univ-rennes2.fr <mailto:anne-france.kogan@univ-rennes2.fr>

__

The subject line of the email should be entitled: */"Athens Symposium Proposal 2018"/*

All abstracts will be peer reviewed, so the submitted abstract should be prepared for blind review.

Abstracts must be written in French or in English and they must include the following elements:

*First page :*

·Title of the communication

·abstract (15 lines maximum), 12 pt. Times New Roman font, single spaced

·5 key – words

·surname and first name of the author (s), institutional affiliation, telephone number, e-mail

**

*Following pages (anonymous) :*

* The text of the proposal (excluding the references) must range from
6000 to 8000 characters, including spaces, in Times New Roman,
character 12, single spacing. It must clearly describe: the subject
of the proposal and its adequacy with the main objective of the
conference, the problematic, the theoretical and methodological
frameworks used, the chosen field and the main results of the research.

·Bibliography -References

*Deadlines**:*

Deadline for abstracts submission



May 7th, 2018

Notification of decision for papers submitted by conference scientific committee



June 22th, 2018

Final conference program



September 2018

Conference



October 17-19, 2018

**

*Steering Committee:*

Ioanna VOVOU, CEISME, Panteion University, Athens

Yanita ANDONOVA, LabSIC, Université Paris 13

Anne-France KOGAN, PREFIcs, Université Rennes 2

*Organizing Committee**: *

Marie-France CHAMBAT- Houillon, CEISME, Université Paris III-Sorbonne Nouvelle

Matina PEPPA, Panteion University, Athens (Greece)

Yannis SCARPELOS, Panteion University, Athens (Greece)

Ioanna VOVOU, CEISME, Panteion University, Athens (Greece)

*Scientific Committee **:*

BAKOUNAKIS Nicolaos, Panteion University, Athens (Greece)

BALTZIS Alexis, Aristoteleion University of Thessaloniki (Grèce)

BANTIMAROUDIS Philemon, Aegean University (Grèce), Weaton College, Illinois (USA)

BOUILLON Jean-Luc, Préfics, Université Rennes 2 (France)

BOUQUILLION Philippe, LabSic, Université Paris 13 (France)

ConstantopoulouChristiana, Panteion University, Athens (Greece)

D’ALMEIDA Nicole, Université de la Sorbonne, Celsa (France)

DIMITROULIA Titika, Aristoteleion University of Thessaloniki/ENA (Greece)

DURAMPART Michel, I3M, Université de Toulon (France)

FOURMENTRAUX Jean-Paul, EHESS, Université Aix-Marseille (France)

GEORGE Eric, Université du Québec à Montréal (Canada)

GRASSI Carlo, IAUV, University of Venise (Italy)

JeantetAurélie, Laboratoire Travail et Mobilités, Université Paris 3 (France)

JOST François, CEISME, Université Paris III-Sorbonne Nouvelle (France)

KrastanovaKrassimira, University of Plovdiv (Bulgaria)

KRASTEVA Anna, New Bulgarian Universityof Sofia (Bulgaria)

LEGENDRE Bertrand, LabSic, Université Paris 13 (France)

LEANDROS Nikolaos, Vice-Rector Panteion University, Athens (Greece)

MEIMARIS Michael, Kapodistriakon University of Athens (Greece)

MoeglinPierre, LabSic, Université Paris 13 / Institut Universitaire de France

PAPIN Bernard, CEISME, Université Paris XI (France)

PASCHALIDES Grégoire, Aristoteleion University of Thessaloniki (Grèce)

PETIT Laurent, Gipic, Université Paris-Sorbonne (France)

PLEIOS Georges, Kapodistriakon University of Athens (Greece)

PoirierChristian, Centre Urbanisation Culture Société́, INRS (Canada)

PSILLA Marianna, Panteion University, Athens (Greece)

RAICHVARG Daniel, Cimeos, Université de Bourgogne (France)

RIGOU Myrto, Kapodistriakon University of Athens (Greece)

Savignac Emmanuelle, CERLIS, Université Paris 3 (France)

TremblayGaëtan, Gricis, Université du Québec à Montréal (Canada)

TSAKARESTOU Panayiota, Panteion University, Athens (Greece)

VACHER Béatrice, MICA, Ecole des Mines d’Alès
(info actualizada em ~~~ItemPubShortDate~~~)

------------



Call for book proposals in gender, sexuality, and media




Routledge Research in Gender, Sexuality, and Media
An established book series edited by Mary Celeste Kearney
https://www.routledge.com/Routledge-Research-in-Gender-Sexuality-and-Media/book-series/RRGSAM

The aim of this series is to publish original research in the areas of feminist and queer media studies, with a particular but not exclusive focus on gender and sexuality. In doing so, this series brings to the market cutting-edge critical work that refreshes, reshapes, and redirects scholarship in these related fields while contributing to a better global understanding of how gender and sexual politics operate within historical and current mediascapes.

Affirming the integrated, multiperspectival approach associated with Cultural Studies, the series publishes richly contextualized research that explores gender and sexual politics not only in media texts but also in the practices of media production and consumption. Media are defined broadly in this series, as the books within it expand beyond these fields' historical focus on film and television to engage with other forms of media, including video games, popular music, and digital media. Books in the series centering on current media culture also explore the complexly transmedial, convergent, and participatory nature of popular culture today. Gender is configured broadly in this series also, and a key contribution is a further complicating of how multiple, intersecting modes of identity impact media representation, as well as the creation, distribution, publicity, and consumption of mediated texts.

We welcome book proposals accompanied by at least one sample chapter.

For more information, please contact Mary Celeste Kearney at mckearney@nd.edu <mailto:mckearney@nd.edu>.


*PUBLISHED TITLES*

/Queercore: Queer Punk Media Subculture/
by Curran Nault
https://www.routledge.com/Queercore-Queer-Punk-Media-Subculture/Nault/p/book/9781138230606

/Lifestyle Media in American Culture: Gender, Class, and the Politics of Ordinariness/
by Maureen E. Ryan
https://www.routledge.com/Lifestyle-Media-in-American-Culture-Gender-Class-and-the-Politics-of/Ryan/p/book/9781138206465

/Emergent Feminisms: Complicating a Postfeminist Media Culture/
edited by Jessalynn Keller and Maureen E. Ryan
https://www.routledge.com/Emergent-Feminisms-Complicating-a-Postfeminist-Media-Culture/Keller-Ryan/p/book/9780815386612


*FORTHCOMING TITLES*

/Producing Queer Youth: The Paradox of Digital Media Empowerment/
by Lauren Berliner
https://www.routledge.com/Producing-Queer-Youth-The-Paradox-of-Digital-Media-Empowerment/Berliner/p/book/9780415790840

/Gender and Race in Postwar Variety Television: Colorful Performance /
by Meenasarani Linde Murugan
https://www.routledge.com/Gender-and-Race-in-Postwar-Variety-Television-Colorful-Performance/Murugan/p/book/9781138206502
(info actualizada em ~~~ItemPubShortDate~~~)

------------