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


CFP: Looking into the Upside Down: Investigating Stranger Things


One Day Symposium at the School of Media and Communication, University
of Leeds

Confirmed Keynote Speakers:

Professor Matt Hills, University of Huddersfield

Dr Sorcha Ní Fhlainn, Manchester Metropolitan University


Friday 14th December, 2018


Heavily inspired by science fiction, horror and ‘coming of age’
narratives from the 1980s, Netflix’s /Stranger Things /(2016-)//follows
the supernatural adventures of four young teenage boys; Mike (Finn
Wolfhard), Will (Noah Schnapp), Lucas (Caleb McLaughlin) and Dustin
(Gaten Matarazzo). The boys come across a girl with telekinetic powers,
named Eleven (Millie Bobby Brown), who has escaped from the government
run Hawkins Laboratory. They reveal the dark intentions of the lab, its
scientists and the existence of an alternative dimension of monsters
they nickname the Upside Down. The show is one of Netflix’s most
successful ventures into original programming and has garnered both
popular and critical acclaim. This conference seeks to explore /Stranger
Things/’//wider significance within the canon of cult television. Cult
narratives are often associated with “empathetic audience identification
with subversive characters” (Kinkade and Katovich 1992: 194),
“trans-genericism” (Ross and Stein 2008: 8), and the inclusion of what
Hills has termed a “hyper-diegesis” or “a vast and detailed narrative
space, only a fraction of which is ever directly seen or encountered
within the text” (2002: 137).

Kevin J. Whetmore Jr.’s recently published edited collection primarily
focuses on /Stranger Things/’ first season and covers such topics as
contextualisation, gender and intertextuality but largely omits a
consideration of the show’s position as a cult television narrative
(2018). /Stranger Things/ excessively references cult media texts and by
doing so, has developed a cult fan following through its use of a vast
“intertextual network” (Jenkins 1992: 40). This is also evidenced
through the show’s extensive foray into merchandising, presence at
fan-based conferences such as Comic-Con and Paleyfest and its recent
invitation to be a part of the immersive ‘Halloween Horror Nights’
experience at Universal Studios theme parks.

/Stranger Things/also exemplifies a recent trend of 1980s nostalgia
within popular cult media products. The narrative of the show mirrors
that of J.J. Abrams’ ode to Spielberg in /Super 8/ (2011), shares many
similarities with Stephen King’s /It/ (1986; Carranza, 2018) and both
/Stranger Things /and the Marvel franchise release /Guardians of the
Galaxy /(2014) boast soundtracks of 1970s/1980s pop and rock hits.
Butler has suggested that /Stranger Things/’//depiction of this decade
reveals “the terrifying similarities between the 1980s and now; speaking
to the present as much as the past” (2017: 196).

This conference aims to bring together scholars working on /Stranger
Things/with a view to publishing an edited volume as part of I.B.
Tauris/Bloomsbury’s ‘Investigating Cult Television’ series in late 2019.
Paper topics (for 20-minute presentations) might include but are not
limited to:-

·The mediation of 1980s nostalgia

·Contextuality – Reaganism/Trumpism

·The rise of popular cult narratives in the 1980s

·Postmodern entertainment, complex serial narratives and cult television

·Representations of gender, adolescence, family and/or authority

·Cult characters and their followings (Barb, Bob Newby, Eleven, Steve
Harrington)__

·Generic hybridity in /Stranger Things/ and other similar cult films and
TV.__

·Music within /Stranger Things/ and its promotional material__

·Trans-medial narratives/online fan engagement__

·Fan experience (merchandise/theme park attractions)__

Please submit proposals of around 300 words, along with a short
biographical note (100 words) to Dr Tracey Mollet
(T.L.Mollet@leeds.ac.uk <mailto:T.L.Mollet@leeds.ac.uk>) by Friday
14th September 2018.


Applicants will be notified of the outcome by Friday 21st September 2018.
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CFP: Mapping Spaces, Sounding Places: Geographies of Sound in Audiovisual Media




Sound design, film music and music editing in general exert a primary function in conveying senses of space and place in audiovisual media. Strategies for connoting space and place in film sound and music vary with cinematic practices across history and according to transnational patterns of negotiation between global and local modes of production. At the same time audiovisual communication, when rich in local connotations, allows insights into specific socio-historical contexts and the documentation of human geographies.

This conference aims to bring together scholars interested in mapping geographies of music and sound practices in audiovisual media (e.g. film, television, video games, interactive art). We invite fresh perspectives on film music and sound that are willing to embrace aspects ranging from individual approaches to space and place to collective geographies, also considering industrial trends and intermedia connections. Cultural, ethnographic, historical, analytical, data-driven and aesthetic approaches are welcome, as well as research on industrial and commercial practices.

Invited speakers:


David J. Bodenhamer, Professor of History and Director of the Polis Center (Indiana University – Purdue University Indianapolis, USA)

Kevin J. Donnelly, Professor of Film and Film Music (University of Southampton, UK)

The conference will also be comprised of a roundtable aiming at gathering artistic and practice-based research projects. The roundtable will be curated by Miriam De Rosa(Senior Lecturer, School of Media and Performing Arts, Coventry University, UK) and will tackle topics such as sound art and placemaking, mapping and navigating space through sound/aural artistic practice, audiovisual media and acousmatic music, VR, AR, interactive screen and sound media.

We encourage papers addressing research questions that may include:

- how places, locations and environments are sonically represented in audiovisual media and characterized by specific musical genres, timbres, vocal inflections, soundscapes etc.;
- how scripts, treatments, screenplays etc., as well as musical drafts and other textual sources of filmmaking, pre-determine or affect the soundscape of films, television series and video games;
- how sound and music concur to define the boundaries between real, simulated and virtual spaces in films, television series and video games, and how ideas of reality and simulation are linked to the notions of immediacy and authenticity;
- how spatial configurations of sound formats in the audiovisual domain impact the audience’s experience of virtual and fictional spaces;
- how sites devoted to audiovisual consumption (e.g. movie theaters, public and private venues, mobile settings etc.) affect strategies of sound organization in audiovisual media (attention may be called to the architecture of screening venues or the viewers/listeners’ relation to the presentation space);

- how the mapping of archives, sound documents and oral histories sheds light on local audiovisual practices in connection with global trends as well as with contiguous media practices (e.g. phonography/discography, radio, new media etc.);
- how the study of sound in audiovisual communication can offer descriptors for the complex representation of space (e.g. in the “thick mapping” or in the emerging field of Qualitative Spatial Representation) or receive input from the latter, for instance by linking specific locations to cultural connotations, production facilities, social systems etc.

We invite proposals for individual papers, pre-constituted panels and poster presentations. Please submit an abstract of no more than 300 words (plus a 200 words presentation for panel proposals) and a short biography (max. 250 words) to geographiesofsound2019@gmail.com



Conference date and venue: 19-22 March 2019
Department of Musicology and Cultural Heritage, University of Pavia (Cremona)

Abstract proposal due by 10 September 2018 Notification of acceptance: by 31 October 2018

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CFP: 40 Years of Alien



40 years of Alien

An academic symposium hosted by

The Centre for Film, Television and Screen Studies

Bangor University, UK

Friday 24 May 2019

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


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


We also hope to include contributions from Colin Arthur and Roger
Dicken, both of whom worked on the make-up and special effects for the film.


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

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

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



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CFP: Humanities Special Issue Media Feminisms



Humanities Journal Special Edition: Media Feminisms / Feminism’s Media:
(Re)Framing Media Feminist Theory

The aim of this special edition of the Humanities is to (re)evaluate,
(re)articulate and/or (re)introduce broad feminist viewpoints in
contemporary media theory – with both ‘media’ and ‘theory’ broadly and
interdisciplinarily conceptualised.

Whilst the meticulous contemporary work in feminist media studies
reflects a wide variety of theoretical viewpoints and makes use of an
even wider variety of methodological tools, it is the editors’ view that
the compulsory anchoring of contemporary feminist theory to existing
socio-economic, political and, most importantly, disciplinary
constraints prevents us from freeing up critical work in the field to
address the challenges that are yet to come.

Therefore, we invite colleagues working in media, literature,
philosophy, politics, history, sociology, gender studies and related
fields, to submit imaginative proposals that would articulate broad
theoretical positions capable of framing feminism(s) and feminist media
theory in the twenty-first century – or, indeed, question the very need
for such ‘framing’. We also invite work that produces critical research
through practice.

Though we do not wish to limit the scope of contributions, we envision
submissions broaching feminism through the following themes: 
- Class consciousness Representation
- New materialisms Policy and/or the political economy of the media
- Aesthetics Visualisation
- Mobilities
- Sexuality
- Transnationalism
- Race and/or ethnonationalism
- Age: discrimination and/or intergenerational activism

Abstracts should not exceed 400 words, and they should articulate a
clear theoretical framework and proposed bibliography (the latter not
included in the abstract word-limit).

Completed contributions should not exceed 10,000 words (including notes
and bibliography). For in-text referencing and bibliography please see
the journal’s preferred style here:
http://www.mdpi.com/journal/humanities/instructions

Deadlines: Abstracts: 31 January 2019Completed essays (those accepted): 30 June 2019

Please email your abstracts to: MediaFeminisms@brighton.ac.uk FAO: the
guest editors: 
Dr Theodore Koulouris (School of Media, University of
Brighton)
Dr Patricia Prieto Blanco (School of Media, University of Brighton)
Dr Olu Jenzen (School of Media, University of Brighton)

See also the journal’s dedicated webpage:
http://www.mdpi.com/journal/humanities/special_issues/media_feminism NB.
The editors guarantee that there are no APCs payable by the authors.

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CFP: New approaches to silent film historiography: technology, spectatorship and the archive


NEW APPROACHES TO SILENT FILM HISTORIOGRAPHY: TECHNOLOGY, SPECTATORSHIP AND THE ARCHIVE

University of Leeds (UK)

18th - 19th September 2018

Keynote Speakers:

Dr Lawrence Napper (King’s College London). Title: History, lies and the digital archive.

Kieron Webb _(British Film Institute). Title: The Open Road to the Pleasure Garden: silent film restoration in the digital intermediate age

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
*

Submission Requirements:
Send 200-300 word abstracts with three key words on topics related to
the conference’s focus to* silentfilmhist@gmail.com*

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

Deadline for Submission: 10th August 2018
Contact Person/Email: Laurence Carr: silentfilmhist@gmail.com
<mailto:Carr/silentfilmhist@gmail.com>

BOOK ANNOUNCEMENT: We are delighted to announce that we plan to
publish a selection of the best papers in an edited collection and are
currently seeking a publisher. Please submit an abstract for the
conference if you would like to be considered for both the event and the
edited collection.

FREE TO ATTEND

SMALL PGR TRAVEL BURSARIES AVAILABLE (LIMITED NUMBER)


Useful Links:

* Our 2018 silent film conference website:
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/


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._

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Film as Film Today: On the Criticism and Theory of V. F. Perkins - Symposium



General registration is now open for limited places at the two-day
symposium 
Film as Film Today: On the Criticism and Theory of V. F. Perkins
<https://warwick.ac.uk/fac/arts/film/news/eventsarchive/filmasfilmtoday/>

which is taking place at the University of Warwick on the 4th and 5th of September 2018.

The keynote speakers are Adrian Martin, Laura Mulvey, and George Toles;
a full provisional programme for the two days can be found here
<https://warwick.ac.uk/fac/arts/film/news/eventsarchive/filmasfilmtoday/film_as_film_today_2018_draft_programme.pdf>.

Victor Perkins (1936-2016) was a foundational figure in the history of
British film education, a pioneering theorist of the medium, and among
the most insightful and eloquent writers on the art of film. His
historical significance for the fields of film criticism and film study
is uncontested. However, while Perkins’ work – particularly the seminal
/Film as Film/ (1972) – still influences certain strands of scholarship,
his contemporary relevance for critics, theorists, and students is
presently underappreciated. This symposium is dedicated to revaluating
Perkins’ critical methods and arguments by exploring their continued
utility for those studying film, television, audiovisual media, and
aesthetics today.

**

You can register for the symposium here
<https://warwick.ac.uk/fac/arts/film/news/eventsarchive/filmasfilmtoday/register/>.
The registration fee is £55 for unsalaried/pensioned delegates and £105
for salaried. The deadline for registration is *24th August*, but –
since numbers must remain limited – we do encourage you to register
sooner if possible.

Once you have registered, you will be directed to another page
<https://kxregistration.warwick.ac.uk/Registration/Welcome.aspx?e=962044035344B3FA4A8892F49DE93B06>,
where you can book on-campus accommodation and/or attendance at the
conference dinner. The deadline for booking either accommodation or
dinner is *12th August.*

There are single rooms available on campus for the 3 and/or 4 September,
costing £75 for one night or £135 for two nights, breakfast
included.Spaces on the night before the symposium (Monday) are limited,
so do book ASAP to be guaranteed a campus room. If you miss out on
on-campus rooms (and/or you also require accommodation for the Wednesday
night), please see the list of hotels in the vicinity here
<https://warwick.ac.uk/fac/arts/film/news/eventsarchive/filmasfilmtoday/accommodation_in_coventry_and_kenilworth.pdf>,
or search via UK hotel sites.

The conference dinner will take place on campus on Tuesday 4^th
September (in the Chancellor's Suite at Rootes Social
<https://www.google.co.uk/maps/place/Rootes+Social+Building,+6+University+Rd,+Coventry+CV4+7EZ/data=!4m2!3m1!1s0x48774acf5a75268f:0xcc8ba84c8fc1e5c4?sa=X&ved=0ahUKEwjk2PfN2OXbAhWK1hQKHWfjD10Q8gEIJzAA>);
it will be a 3 course set menu and costs £45.30.

The symposium takes place on the main University of Warwick
<https://warwick.ac.uk/> campus, in the Humanities building. You can
find the Humanities building on Google Maps here
<https://www.google.com/maps/place/Humanities+Building,+Coventry+CV4+7AL/@52.3819264,-1.5628642,17z/data=!3m1!4b1!4m5!3m4!1s0x48774ac55cf28001:0x545d30dd59d1b230!8m2!3d52.3818773!4d-1.5607596>;
see also an interactive campus map here
<https://warwick.ac.uk/about/visiting/maps/interactive/>. Registration
on the Tuesday will be at the Humanities Porter’s Lodge, 10.30-11am. The
final day’s programme on the Wednesday will finish at 6.30pm.

We anticipate that this symposium will play a key role in reassessing
the value and relevance of Perkins’ work for film criticism and theory
today, and defining its continued impact in the future. Confirmed
speakers include: John Gibbs; Andrew Klevan; Adrian Martin (keynote);
Laura Mulvey (keynote); Murray Pomerance; Douglas Pye; Robert B. Ray;
William Rothman; Sarah Street; and George Toles (keynote).


If you have any further questions, please do be in touch at
VFPerkinsconference@warwick.ac.uk
<mailto:VFPerkinsconference@warwick.ac.uk>.

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CfP: International Conference of Film and Media Studies "From Spectacle to Entertainment"



From Spectacle to Entertainment:
Cinema, Media and Modes of Engagement from Modernity to the Present

XXIV International Film Studies Conference
Roma Tre University – Department of Philosophy, Communication and
Performing Arts
Rome, November 22-23, 2018

Confirmed Keynote Speakers:
Thomas Elsaesser (The University of Amsterdam), Tom Gunning (The
University of Chicago)

DEADLINE: September 2, 2018
Over the course of the twentieth century, film style and consumption has
been investigated in relation to both live performance practices and
pre-cinematic visual devices. In particular, film scholars have
focused on the ways cinema has re-mediated elements of the nineteenth
century culture of spectacle; how film has complemented these elements
with technological innovations; how it has relocated them within new
visual regimes; and how cinema has represented an essential point of
conjunction between the developments of popular entertainment and the
dynamics of modernity.

The notion of attraction, for example, has allowed the debate in film
studies to outline different modes of negotiation between spectacular
and narrative regimes, between spectators and modes of
representation, and between popular and bourgeois culture. Overall,
cinema has contributed enormously to the configuration of modern
subjectivity. At the same time, theoretical investigation has also dealt
with the relationship between film spectatorship and metamorphoses in
modern subjectivity. Notions such as that of visual pleasure, for
example, have remapped the discussion of cinematic spectacle onto issues
ofengagement, subjectivity and corporeality, as well as cultural,
political and economical dynamics.

Recently, the discipline of media studies seems inclined to move beyond
the notion of spectacle and towards the study of the entertainment
practices pervading the present mediascape. Many scholars
have reflected, for example, on technological transformations: on their
connections to trans-media storytelling; on the way they shape the
imaginaries of globalization; and on their influence on the politics and
practices of creative industries. Crucial to the analysis of current
Hollywood trends is, for example, the notion of total entertainment, as
it accounts for both the expansive environments of entertainment created
by global media conglomerates and the new immersive modes of engagement.

How can the scholarship on film as spectacle – and in particular its
historical, theoretical, and methodological heritage – help us today in
understanding our post-cinematic, post-media culture? How is the complex
nexus of technologies, visual regimes, cultures of spectacle and forms
of subjectivity rearticulated in current entertainment practices? The
XXIV International Film Studies Conference at Roma Tre focuses on these
issues in relation to the more established areas of debate – early
cinema, ‘classical’, and post-classical Hollywood – as well as in
connection to different modes, devices, historical and geographical
scenarios.

The conference considers film as a crucial point of convergence between
late nineteenth century spectacular culture and contemporary
entertainment practices, but the areas of investigation are evidently
not limited to cinema. Below are some topics and issues that participant
could address from a historical and/or theoretical perspective, as well
as starting from specific case studies:

• The notions of ‘spectacle’ and ‘entertainment’
• Spectacle and modern urban subjectivity
• The relationships between devices, screens and forms of subjectivity
• Archaeologies of immersivity: panoramic formats, 3D, stereophonic
sound, etc.
• Melodrama as a narrative and spectacular regime
• The functions of epic and fantasy, and their exploitation
• Post-classical cinema, new blockbusters and cross-media storytelling
• Modes of the spectacular in everyday spaces (shopping malls,
department stores, theme parks, urban screens, etc.)
• The scenic space, from cinema to immersive media: the role of image
and sound
• The migration of cinematic imaginaries and narrative modes in new
media contexts
• From pleasure to play: new emotional regimes and gamification
• Stardom as spectacular practice
• Live performance and post-digital scenarios

The proposals are to be sent to the following email address:
roma3conference@uniroma3.it
Please include a title, an abstract (max. 250 words), 3-5 keywords, a
short biography, and contact information for the author(s).

Abstract deadline: September 2, 2018. Notification of acceptance:
September 7, 2018.

Presentations will be 20 minutes long. Languages of the conference are
English and Italian.

Organizers: Enrico Carocci, Ilaria De Pascalis, Veronica Pravadelli
(Department of Philosophy, Communication and Performing Arts – Roma Tre
University)

Conference fee (speakers): 40,00 EUR

*Website: <http://roma3conference.wixsite.com/filmmediaspectacle>*
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CfE: Avant-garde and Popular Forms between Music and Visual Media. Cinema & Cie Spring 2019



Avant-garde and Popular forms between Music and Visual Media.
Intermedial and Transhistorical investigations
Cinema&Cie International Film Studies Journal.
Special issue n. 33,
Spring 2019
edited by Simone Dotto, Francois Muillot, Maria Teresa Soldani.

deadline for submission: September 15, 2018
In 1987, Simon Frith and Howard Horne’s/Art into Pop/questioned the rise
of British Post-War popular music within the context of art schools,
employing cross-terms such as “rock bohemians” and “pop situationists”.
The authors focused on the 1970s and the aftermath of punk, finding a
close relation between popular music forms and art forms in the contexts
of several British cities as well as in New York City. More recently,
Simon Reynolds traced the genealogy of an “artistic bias” in popular
music back to the post-punk period of the late 1970s, when “art ideas
affected actual musical practices” (2009: 365) due to the influence of
not musically trained artists coming from the NYC experimental scene
such as Yoko Ono and Brian Eno.

So far, scholarly investigations on the intersections between popular
music and culture and avant-garde arts have been mostly limited to the
social cultural milieu of only two decades (1960s/1970s) and two
countries (U.S.A./U.K.). Essay such as Bernard Gendron’s/Between
Montmartre and the Mudd Club/(2002) and Sytze Seenstra’s/We are the
noise between the stations/(2003) constitute two notable exceptions
through their reframing of the American punk scene and of David Byrne’s
work through a diachronical comparison with French modernism and
conceptual romanticism, respectively. They do not only reassess the
collapse of hierarchical distinction between the social function played
by high arts and mass culture with the advent of late
modernity/postmodernity, but also take into serious consideration the
relationships between different media domains.

Drawing on a similar methodological approach, this special issue
of/Cinéma&Cie/aims to address the context made up of works of art in
music, film and video by tracing the ongoing exchange between
avant-garde and popular forms from trans-historical and intermedial
perspectives. We are interested, for instance, in how art groups as the
No Wave in NYC between 1970s and 1980s represented a ‘turn’ in cinema,
media, and performing arts through their connection to the East Village
art scene and by working contemporaneously with several media and art
forms. Mainly inspired by fellow musicians, No Wave created mixed
media-productions blending performance, music, film, and video. Its
originality stemmed out its concern with the presence of the TV in daily
life, the rise of the videoclip form, the codes of film genres, and the
symbols of pop/rock disseminated in mass media that functioned as a
fertile common ground of popular culture. Such independent art projects
have transformed traditional forms of film, TV format, and music into
performative acts taking the form of fictional films, TV shows, or
pop-rock songs.

We invite theoretical comparisons as well as analyses of case studies
that challenge the limits of such strategies, forms, and contents shared
by avant-garde and popular form. In other words, this special issue aims
to analyze recurring “motifs” among aesthetic formats, artistic
practices, production strategies, cultural uses, and theoretical
understandings of visual and sound media that took place in different
times and within different cultural contexts. How is this relation
between avant-garde and popular forms articulated today in past and
present cinema, popular music, and video examples? Which case studies
make such a relation emblematic?

Article proposals may involve (but are not limited to) the following topics:

– examples of intersections of avant-garde and popular music and visual
media aesthetics in the 1970s/80s/90s period;

– the relation between avant-garde and popular forms in specific fiction
films or videoclips;

– the influence of avant-garde music within fiction films and, vice
versa, the presence of popular music genres within avant-garde films,
using distinct case studies;

– analyses of production strategies blending both traditional and
disruptive strategies, avant-garde and popular forms, experimental and
established forms (e.g. the song, the fictional film, the videoclip).
These analyses could specify the nature of such a relation (e.g. is it a
dialectic, a tribute to, a critique?) and the aims of such strategies;

– the hidden and intervolved relations between avant-garde and popular
media artistic practices: in which ways do they inform each other? Is it
a reciprocal relationship?

– tools and strategies adopted in the audiovisual storytelling to
represent or self-represent avant-garde musicians (e.g. how does a
documentary visual form articulate the representation of an avant-garde
phenomenon? In such audiovisual works, which is the relation between
avant-garde musicians and a codified documentary storytelling?);

– the uses and misuses of specific technologies and media to map
possible continuities and similitaries between avant-garde and popular
cultural contexts;

– the historical and theoretical tension between live and mediated
performance in avant-garde and popular contexts, plus their implications
on the actual preservation and historicization of the artworks (e.g. are
our documental mediated sources limiting or affecting our historical
awareness of these artistic phenomena in any sense?);

– the convergence between popular music and video (e.g. videoclip,
mono-channel video) and their interaction in “performative” contexts
(e.g. multi-channels installations, live visuals), as well as how these
case studies are influenced by avant-garde forms and practices;

– how this relation may be revisited and articulated today in the
post-medial panorama.

*Submission details*

Please send your abstract (300–500 words in English + bibliographical
references) and a short biographical note to submissions@cinemaetcie.net
<mailto:submissions@cinemaetcie.net> by*September 15, 2018*.

All notifications of acceptance will be emailed no later than *September
30, 2018*. If accepted, 5,000/6,000-word essays will then be required
for peer review by *December 1, 2018*.

For further information, please
visit:http://www.cinemaetcie.net/2018/07/16/cfe33/
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call for articles: Cinematograph for industries and in companies (1890 - 1970)


Cinematograph for industries and in companies (1890-1970): history,
players, uses and configurations

This special issue of /Cahiers d’histoire du Cnam/ looks at gathering
contributions on industrial and business uses of cinema, from
strategical choices such as widening the activities of firms (Antoine
Lumière and sons’ “Society for photographic plates and papers”/Société
de plaques et papiers photographiques), and industrializing sound
recording (Pathé brothers company in the 1890s) or optical and
photographic materials (L. Gaumont company in 1895), to transformations
brought by the generalization of television then video in the 1970s. It
aims at exploring ways in which industry and companies have used the
cinematograph, as well as modes of organization and production this uses
have generated.

Scholars studying from the perspective of cultural history, history of
technology, history of economy, media and communication (non-exhaustive
list) are welcome. Although the call is mostly rooted in French history,
international perspectives are very welcome as well.

Proposals should be submitted until October 22nd to
chcnam_cinema@gmail.com <mailto:chcnam_cinema@gmail.com>. Full articles
are expected by January 19th, 2019. The issue is set to be released in
Fall 2019.

Two formats are accepted:

* Long article: 45,000 to 75,000 characters (as a priority)
* Short articles: 25,000 to 45,000 characters (state of the art of a
question, for instance).


Full rationale and practical details are accessible from this
page :

http://technique-societe.cnam.fr/le-cinematographe-pour-l-industrie-et-dans-les-entreprises-1890-1970--1016663.kjsp

/Cahiers d'histoire du Cnam /is an interdisciplinary open access French
online journal (prints are available too). This will be the second
bilingual issue released.
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CfP: International Journal of Performance Arts and Digital Media



The International Journal of Performance Arts & Digital Media (IJPADM)
is welcoming submissions to our next Open Issue.

Please visit our Open Call
<http://explore.tandfonline.com/cfp/ah/rpdm-journal-performance-arts-digital-media>


Combining the disciplines of technology and art, the /International
Journal of Performance Arts and Digital Media/
<https://tandfonline.com/toc/rpdm20/current> welcomes your latest research.

We welcome submissions of scholarly papers on theatre, dance, music,
live art, computer science, or a convergence of these disciplines,
covering topics such as:

* cultural mediatization
* distributed non-linear performance
* virtual/physical bodies
* interactive performative installation
* realtime music performance interfaces
* and more

Your research will encourage debate and cross-disciplinary exchange
across a broad range of approaches and serve as a forum for critical
scholarship, innovative practice, and creative pedagogy.

The journal is open to a range of contributions, such as traditional
research articles, documents relevant to practice-as-research outputs,
interviews with practitioners, and reviews of books and live events.
We’d like to see a diversity of voices being expressed through this
journal, and would particularly welcome practice-as-research and other
unconventional contributions that experiment with content and form,
while maintaining a rigorous enquiry into their disciplinary frameworks.

For detailed instructions on how to submit to the /International Journal
of Performance Arts and Digital Media (IJPADM)/, please visit our Author
Instructions Site.
<https://tandfonline.com/action/authorSubmission?journalCode=rpdm20&page=instructions>

For any questions please do not hesitate to contact me at:
m.chatzi@lsbu.ac.uk <mailto:m.chatzi@lsbu.ac.uk>
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Lecturer/Senior Lecturer: Film & Media Production Craft Skills - Liverpool John Moores



Liverpool John Moores University are looking to recruit a practitioner
with production skills and a research profile to teach in the Film and
Media departments.

Deadline 5th August
https://jobs.ljmu.ac.uk/vacancy/lecturer-or-senior-lecturer-in-film-and-media-production-craft-skills-358844.html

The Liverpool Screen School 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 on 0151 231 4770, email: s.haynes@ljmu.ac.uk
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CFP: Spectator (Small Media and Everyday Life: Digital Media Beyond Big Data)



Small Media and Everyday Life: Digital Media Beyond Big Data

Volume 38.2 and Fall 2019


Contemporary discussions on digital media and its effects often tend to
focus on “big data” as the primary locus of conversation. Such
discussions tend to range from the uncritical embracement of the
possibilities of big data in areas such as the advertising and
entertainment industries, to doomsday scenarios of surveillance and
privacy risks under the increasing interconnections between corporate
and state structures. This focus on big data structures often tends to
overlook the numerous smaller changes that have taken place in social
and communication practices with the advent of digital media. Such
changes involve the emergence of “smaller” media forms that integrate
themselves into practices of everyday life through routinized usage and
habit. One caveat here: “smaller” media is not a judgment on the scale
of the media, or their structural complexity, but rather serves as a
pointer to the forms of their adoption and adaptations that elude the
“big” sweep of corporate and state structures. While such media may
indeed be produced by corporations and conglomerations, they may be used
in unintended and even subversive ways by their target audiences.

This issue of /Spectator/ dedicates itself to such forms of adaptations,
repurposing and habit that run counter to the utilitarian motivations
behind the production and distribution of media forms. How have digital
media affected our contemporary conversation styles, both online and
offline? In what ways has the integration of network communication
devices in everyday life changed our experience of urban spaces? How
have online shopping portals and apps changed our practices as
consumers? What is the impact of new media on contemporary forms of
religiosity and faith-practices? What changes in film and televisual
media consumption have taken place with the emergence of both legal
streaming options, and underground access through torrent-sites and
illegal streaming? This issue is also interested in works that look
media practices beyond the West, especially those that diverge from
seemingly “normative” uses of media through re-assemblage and tactical
usage. Works that interrogate digital media forms through an integration
of theory and practice are also encouraged.

Deadline for Submission: November 27, 2018
Spectator is a biannual publication and submissions that address the
above topics in the following areas are now invited for submission.
Possible topics include, but need not be limited to:

* Social media, cellphones and conversation style

* Navigation Apps and everyday life in the city

*“Binge watching” and the new spectator/cinephile.

*Dating Apps and digital intimacy

*Sexting, Camsites and digital-smut

*Digital Media and the organization of protests

*Social media and virtual communities

*Habit, routine and the new-media ecology

*Digital Media, Space and Temporality

*Surveillance and self-tracking practices

*Digital technology and health

*Smart technology, domesticity and the “connected home”

Include your contact information:

* Name
* Address
* Phone
* E-mail

Manuscripts to be considered for publication should be sent to:

Anirban K. Baishya, Issue Editor

The Bryan Singer Division of Cinema & Media Studies

School of Cinematic Arts, Room 320

University of Southern California

Los Angeles, CA 90089-2211

Email: baishya@usc.edu <mailto:baishya@usc.edu>

Submissions should be e-mailed directly to the issue editor. Manuscripts
should include the title of the contribution and the name(s) of authors.
As well as the postal address, e-mail address, and phone numbers for
author who will work with the editor on any revisions. All pages should
be numbered consecutively. Contributions should not be more than 5,000
words. Please include a brief abstract for publicity. Authors should
also include a brief biographic entry.

Articles submitted to the Spectator should not be under consideration by
any other journal.

Book Reviews may vary in length from 300 to 1,000 words. Please include
title of book, retail price and ISBN at the beginning of the review.

Forum or Additional Section contributions can include works on new
archival or research facilities or methods as well as other relevant
works related to the field.

*Electronic Submissions and Formatting.* Authors should send copies of
their work via e-mail as electronic attachments. Please keep backup
files. Files should be Microsoft Word in PC or Mac format, depending on
the editor's preference. Endnotes should conform to the Chicago Manual
of Style.

Upon acceptance, a format guideline will be forwarded to all
contributors as to image and text requirements.

*Current Board for Spectator*

**

Founding Editor Marsha Kinder

Managing EditorWilliam Whittington

Issue EditorAnirban K. Baishya

ContributorsTBD

**

*Subscription Information*

Individual issues cost $10.00. Institutional rate for US and Canada is
$30.00 USD. All others $40.00 USD. Please contact the subscription
editor for bulk discounts. To order a subscription, please send *$15.00*
*for the current volume year to:

University of Southern California

School of Cinematic Arts

Cinema & Media Studies

SCA, Room 320

Los Angeles, CA90089-2211

Attn: Spectator Subscription

Tel:(213) 740-3334

Fax:(213) 740-9471

*If you subscribe now, you will receive one back issue free (based on
availability).For additional back issues, contact subscription manager
and include $12.00 per issue.

Email: Spectator@cinema.usc.edu <mailto:Spectator@cinema.usc.edu>

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CFP: Reminiscing/Reinventing Art History Department Graduate Symposium SAIC



Reminiscing/Reinventing
Department of Art History, Theory, and Criticism Graduate Symposium
School of the Art Institute of Chicago
37 S. Wabash Ave., Chicago, IL 60603

Friday, October 26, 2018


Keynote Speaker: Katharina Niemeyer, Professor of Media Theory at the
Media School (École des médias) Faculty of communication, University of
Québec in Montréal (UQAM).
School of the Art Institute of Chicago’s Department of Art History,
Theory, and Criticism invites graduate students and artists to submit
proposals for 15-20-minute presentations for consideration for its
graduate symposium, “Reminiscing/Reinventing”.

This symposium coincides with the exhibition, Recipes for Madeleines, at
SAIC’s SITE Gallery. The exhibition brings together artists of various
disciplines whose works critically engage the relationship between
nostalgia and media. Although nostalgia as a psychological, social and
political phenomenon has existed for centuries, the current emergence of
nostalgic aesthetics starts to constitute nostalgia as a contemporary
condition, a side-effect of technological advancement and political
uneasiness.
This symposium therefore serves as an occasion to open up a discussion
around our contemporary experiences of remembering, the aesthetics of
which is heavily mediated by the technological apparatus that record and
manifest the past. Russian-American critic, media artist and novelist
Svetlana Boym sees nostalgia as a kind of “defense mechanism in a time
of accelerated rhythms of life and historical upheavals,” a process of
working through and coping with the irreconcilable ideal and reality. We
hope to use the opportunity of this symposium to reflect upon the role
of media not only as platforms for reimagining the past, but also as
ways of working through history for the present. 
Possible Topics Include:

- Media and nostalgia
- The philosophy of memory and remembrance
- Restorative and reflective nostalgias in mediated experiences
- Analog vs. digital
- Archives and (re)collections
- Media archeology
- Television, live news, and broadcast - Emerging and obsolete
technologies - Retro gameplay (e.g. video game console emulator)
- The sense of loss due to displacement, diaspora, and immigration
- The revival of vintage aesthetics and styles (in visual cultures,
fashion, and music)
- Performance and its documentation and reenactment
- Palimpsest, layers, etc.
- Conservation vs. restoration - Preservation of time-based and
web-based art

We seek proposals for traditional academic papers, performance lectures,
or presentations in other experimental formats. Artists whose practices
critically engage new and old media are especially encouraged to apply.
We welcome proposals from various fields, including media studies, film
studies, art history, cultural studies, performance studies, etc.
Experimental and interdisciplinary essays will be warmly considered.

Please submit all proposal materials and any questions to
reminiscing.reinventing2018@gmail.com by August 15, 2018. Applicants
will be notified by August 31, 2018.

Please include the required proposal materials in a single PDF document:
1) Full name, contact information, and institutional affiliation
2) An abstract (or artwork description) of 300 words
3) A short bio of 250 words
4) A curriculum vitae
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CFP: Audiences, Cultures, Histories


Call for papers: /Participations/, Special Section on Audiences,
Cultures, Histories

/Participations/is the pre-eminent peer-reviewed journal dedicated to
audience studies, including all forms of audiencing. It is published
on-line, two issues a year. Each issue includes one or more Themed
Sections focused on a particular topic, and edited by a special editor.
This is a call for papers for a section on Audiences, Cultures,
Histories. The purpose of this themed section is to explore histories of
audiencing, and hopefully reveal something new about the conjunctions of
audiences, cultures and histories.

We are happy to receive a wide range of contributions related to essays
on audience and reception researches. We welcome all kinds of standard
essays (empirical, critical, conceptual and theoretical), as well as
translations or important ‘lost’ or unavailable pieces of work
(providing the author resolves any rights issues). In the interest of
revealing new approaches, we welcome _any and all_ submissions
consistent with the section title.

Topically the section is open to a wide range of proposals. This
includes any situation in which a group of people act as audiences,
short of everyday social interaction. It includes any times from ancient
history to quite recent history, including digital media, and any places
around the world from hunter-gatherers to nation-states. It may also
include histories of discourse about audiences from moral panics to
implied audiences in marketing and government policies.

In addition, proposals may be comparative, e.g. between histories of
different media, or between countries or cultures. Historiographic
submissions may address past progress or limitations and propose new
directions, frameworks, approaches, methods, topics). Critical or
conceptual work in either a history or a historiography, for example,
might explore where and how to draw the topical line between audiencing
and social interaction more generally.

Submit proposals between 300 to 500 words by email to Richard Butsch,
Professor Emeritus, Rider University, butsch@rider.edu
<mailto:butsch@rider.edu>. The email should introduce yourself, describe
your qualifications to produce the proposed paper and your current stage
in this project, with an abbreviated /curriculum vitae/ and the abstract
as attachments. _If you are uncertain_ whether your topic fits the
section, before you submit a proposal, you may email me at
butsch@rider.edu <mailto:butsch@rider.edu>.

After your proposal is accepted, you should anticipate that you will
have four months to prepare and submit your paper. Within six weeks of
its submission, you will receive a decision and any recommendations for
revision. The paper in its final form will be resubmitted in two months,
which will be reviewed and confirmation given within a month. The time
of actual publication will depend upon the time necessary to accumulate
sufficient proposals and paper of satisfactory quality.
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Calls for Proposals: The Oxford Handbook of Children's Film

Edited by Noel Brown (Liverpool Hope University, UK)

Deadlines
• Abstracts (400 words): 31 July 2018
• First Drafts (8,000 to 10,000 words): 31 May 2019

I am seeking proposals for chapters for possible inclusion in the
forthcoming Oxford Handbook of Children’s Film, under contract with
Oxford University Press. Oxford Handbooks are intended to offer
authoritative and up-to-date surveys of original research in a
particular subject area, with essays giving critical examinations of the
progress and direction of debates, as well as a foundation for future
research.

In recent years, the study of films for children has emerged as a
vibrant and diverse field of critical enquiry. This volume in the Oxford
Handbook series will reflect both the plurality of the format and the
methodological diversity evident in current and recent scholarship, and
serve as an authoritative introduction to children’s film. It will
address themes, issues and topics from across the international history
of children’s cinema from the early twentieth century to the present,
aiming to reveal larger patterns, continuities and changes in the form,
and reflect the ways in which children’s film content and reception have
been shaped by major socio-historical events.

The Handbook will be interdisciplinary in scope and I am open to
contributions from across a range of theoretical or methodological
approaches, including film studies, children’s literary and cultural
studies, children’s education, cultural history, and animation studies.
Although I envisage that many of the chapters will focus on
feature-length fiction films, I am receptive to proposals that seek to
examine shorts and non-fiction films.

Possible topics might include (but are not limited to):

• The genre and form of children’s film
• Historical changes and continuities
• Early traditions of children’s cinema
• The relationship between children’s cinema and the state
• Children’s propaganda films
• Children’s film and national identity
• Children’s film programming
• The boundaries of children’s cinema
• Performance and stardom
• Racial/sexual politics
• Fandom and/or paratexts
• Children’s film and transmedia
• Family audiences
• Adaptation
• The reception of children’s film among young people
• Adults’ relationships with children’s film

Please send abstracts of 300–400 words, and a biography of 50–80 words,
to Noel Brown at brownn@hope.ac.uk by 31 July 2018. Please give the
subject header as ‘Oxford Handbook proposal’. Notifications of
acceptance will be sent no later than 31 August 2018. Chapters of 8,000
to 10,000 words will be due by 31 May 2019.
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História da Cultura em Portugal no século XX: Industrialização, massificação, mediações
O Instituto de História Contemporânea (NOVA FCSH), organiza, em Fevereiro de 2019, um Congresso sobre História da Cultura em Portugal no Século XX, aberto à apresentação de comunicações nos temas representados pelos painéis e tópicos sugeridos na proposta de programa, visando recensear recentes pesquisas e estimular a abertura do campo a novas áreas de investigação.

Os painéis temáticos e os tópicos orientadores sugeridos, sem esgotar a amplitude de áreas de abordagem deste Congresso, dão todavia conta do enquadramento interdisciplinar que deve nortear a compreensão da cultura e da sociedade de massas, no pressuposto, antes de mais, de que a história cultural se inscreve no quadro social; e de que, por isso, se aclara no contexto geral de transformações económicas, tecnológicas, políticas e ideológicas precisas.

Desta forma, o Congresso constitui igualmente uma oportunidade para repensar o papel da cultura ao longo do século XX, e em particular a viragem cultural nas ciências sociais e humanas no último meio século, através de três cortes transversais que procuram romper com as hierarquias tradicionais do campo cultural: entre cultura portuguesa e cultura em Portugal, levando em consideração todos os objectos culturais em circulação na sociedade portuguesa, tanto nacionais como estrangeiros; entre cultura popular e cultura erudita, convidando abordagens aos pontos de contacto e cruzamento, bem como à formação de culturas híbridas; entre produção e consumo, abrindo decididamente a história cultural à criatividade dos públicos e ao momentos de recepção.

A contribuição do congresso desdobra-se em dois aspetos gerais que lhe conferem um caráter duplamente unificador: 1 − reunir trabalhos recentes, autónomos e inovadores em áreas disciplinares de pesquisa no domínio dos objetos culturais, dos seus agentes e dos públicos, discursos e seus imaginários, meios e lugares de sociabilidade; 2 − criar na sua transversalidade uma perspetiva de conjunto como horizonte epistemológico que lhes confere nexo, em torno de uma problemática contemporânea de central importância para a compreensão de fenómenos como a Cultura de Massas, a Cultura Popular e as Indústrias Culturais.

Comissão científica:
Ana Teresa Peixinho (CEIS20 – Universidade de Coimbra)
Carla Baptista (CIC.Digital – NOVA FCSH)
Daniel Melo (CHAM – Centro de Humanidades; NOVA FCSH)
Joana Cunha Leal (IHA – NOVA FCSH)
Luís Augusto Costa Dias (IHC – NOVA FCSH)
Luís Trindade (IHC – NOVA FCSH)
Manuel Deniz-Silva (INET-md – NOVA FCSH)
Irene Vaquinhas (CHSC – Universidade de Coimbra)

Comissão organizadora:
Luís Augusto Costa Dias (IHC – NOVA FCSH)
Luís Trindade (IHC – NOVA FCSH)

Linhas temáticas para a chamada de comunicações:
PAINEL 1
CULTURA NA CIDADE
− Mobilidades demográficas e progressos urbanos
− Meios sociais e socioprofissionais
− Cenário urbano e cenário de espetáculo
− Vivências culturais e espaços mundanos

PAINEL 2
APRENDIZAGENS, CRIAÇÃO E SABERES
− Escolarização, autodidatismo, literacia
− Intelectuais e funções intelectuais
− Artes, letras, saberes e massificação
− Da mulher leitora à «mulher de letras»

PAINEL 3
OS PAPÉIS E OS SEUS AGENTES
− Os impressos e os seus agentes
− O jornal e o jornalismo modernos
− Livros, editores, coleções
− Papéis e publicidade: dos cartazes aos mupis

PAINEL 4
A CIRCULAÇÃO DE IMAGENS E SONS
– As imagens em movimento e a música gravada
– Histórias da rádio e da televisão
– Apropriações das imagens e dos sons
– A industrialização da cultura

PAINEL 5
PERFORMANCE E O CORPO
– As artes do espectáculo
– Histórias da dança e da performance
– Cultura e sexualidade: emancipação e submissão do corpo
– Culturas juvenis

PAINEL 5
REPENSAR A QUESTÃO NACIONAL
– O povo e a cultura de massa
– Crítica(s) do(s) Cânone(s)
– Americanização, europeização e globalização
– Imperialismo, colonialismo e o pós-colonial

Normas de submissão de comunicações e entrega de textos:
Até dia 31 de Julho, envio para o seguinte email culturaportugal@fcsh.unl.pt de:
a. Resumo com um máximo de 500 palavras & Abstract;
b. Cinco palavras-chave;
c. Título em Português e Inglês;
d. Línguas de trabalho: português, inglês, francês e espanhol
e. Resumo do CV do(s) autor(es);
f. Filiação institucional e email de contacto do(s) autor(es).

Dia 31 de Outubro: comunicação da aceitação da comunicação.
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CfP: Edited Collection on 'Video Games and Italy'



Please find below a CfP in Italian and English for a forthcoming volume
in Italian.


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

[ITALIAN]

Volume di studi su ‘Il videogioco in Italia’

A cura di Marco Benoît Carbone e Riccardo Fassone

Storicamente mercato di consumo e importazione più che di produzione e
esportazione di videogiochi e media digitali, l’Italia ha espresso una
storia del videogioco caratterizzata da alterne vicende produttive.

Caratterizzato da tensioni tra un carattere globale/transnazionale della
produzione e del consumo del medium e una dimensione locale variamente
implicata in dinamiche di importazione, esportazione e localizzazione di
maestranze e soluzioni tecnologiche e di design, il contesto italiano è
caratterizzato da un arcipelago complesso e spesso frammentario di
professionalità, pubblici e commentatori, nonché di realtà industriali,
istituzionali e di ricerca e sviluppo.

Con questo CfP si invitano studiose e ricercatori a inviare proposte per
un volume di studi dal taglio multidisciplinare sulla produzione e il
consumo dei videogiochi in Italia, la sua storia e ricezione pubblica e
le rappresentazioni del nostro paese in questo medium.


Il volume di studio sarà pubblicato da un autorevole editore italiano
con il sostegno di importanti istituzioni e vi hanno già aderito
affermati ricercatori di vari ambiti disciplinari.

Il presente CfP si prefigge di incoraggiare e valutare ulteriori
proposte in grado di estendere ed arricchire la dimensione storica e di
ricerca empirica e teorica del volume, moltiplicare le prospettive
disciplinari (dall’economia alla sociologia, dalla storia dei media a
quella dello spettacolo e dello sport, dall’analisi visuale e culturale
agli studi culturali e di genere) e diversificare le voci interessate al
dibattito sul videogioco in Italia.


Siamo particolarmente interessati a contributi sulle seguenti aree di
ricerca, applicate a un contesto storico che va dalle origini del medium
al presente:


–– Aspetti relativi alla produzione dei videogiochi in Italia dal punto
di vista industriale e economico, attraverso i quali inquadrare il
consumo del medium in dinamiche transnazionali più ampie in precisi
momenti storici;

–– Aspetti tecnici, tecnologici e artistico-creativi relativi alla
produzione dei giochi in Italia, in particolare dal punto di vista del
rapporto tra piattaforme di sviluppo e la formulazione dei prodotti in
diversi contesti temporali e geografici e nel rapporto con pratiche
artistiche e altri media e ambiti creativi;


–– Aspetti di circolazione transnazionale del videogioco tra l’Italia e
altri paesi in Europa e nel mondo, con particolare interesse per
dinamiche di professionalizzazione, produzione e consumo e politiche di
promozione, importazione e localizzazione;

––Aspetti di rappresentazione, produzione, consumo e ricezione dei
generi e delle identità sessuali (con particolare interesse per parità
di diritti nelle industrie, femminismo e temi LGBTQIA) e etniche;


––Aspetti di rappresentazione relativi alla 'italianità' e al patrimonio
artistico, storico e paesaggistico dell’Italia nei videogiochi prodotti
e recepiti nel contesto nazionale e extra-nazionale.

Le proposte accettate completeranno un volume di sicuro interesse per
l’area in espansione e affermazione degli studi sul gioco in Italia in
diversi settori accademici e di dibattito pubblico sul mezzo nel nostro
paese.


Il volume sarà pubblicato da Mimesis e patrocinato da AESVI
(Associazione Editori Sviluppatori Videogiochi Italiani) e sarà
distribuito nella prima metà del 2019.


Le proposte saranno ricevute sotto forma di abstract di 500/1000 parole
(esclusa bibliografia e nota bio-bibliografica della/e autrice/i) o di
paper completi.


Si prega di inviare le proposte congiuntamente a:

Marco B. Carbone – uclccar@ucl.ac.uk <mailto:uclccar@ucl.ac.uk>

Riccardo Fassone – riccardo.fassone@unito.it
<mailto:riccardo.fassone@unito.it>


Data di scadenza per l’invio delle proposte: 25 luglio 2018.
Data di consegna dei paper finali: Ottobre 2018.

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

[ENGLISH]


Call for Papers

Edited volume (Italian) – “Il videogioco in Italia” (‘Video games and
Italy’)

Edited by Marco Benoît Carbone and Riccardo Fassone


Italy's role in the global economy of video games has historically been
that of a secondary market, where distribution and import mattered more
than production and export. The presence of video games in Italy has
been characterised by tensions between the global/transnational
trajectories of production and consumption and the specificity of local
dynamics of the market, and it can be read as a complex and often
contradictory series of relations between professionals, consumers,
audiences, critics, and companies involved in production, distribution,
support, research, localisation, and development.


With this call for papers, we are encouraging Italian and international
scholars and researchers to contribute to an edited volume on video
games and Italy informed by a multidisciplinary approach. The edited
collection will be devoted to the study of the production and
consumption, history, and reception of video games in Italy, as well as
the representations of this country in games.


The volume is under contract with Italian publisher Mimesis and is
supported by AESVI, Italy's association of video game developers and
publishers. A number of accomplished scholars have already agreed to
participate with a chapter. However, we are interested in broadening the
scope and inclusivity of the volume and possibly opening to
underrepresented voices in Italian academia.


This CFP aims to encourage proposals with a potential to enrich the
historical, empirical, and theoretical scope of the book, expanding its
disciplinary reach with contributions in fields ranging from economics
to sociology, from media history to the history of sports, and from
visual and cultural analysis to gender and cultural studies. We are
particularly interested in submissions that tackle the following areas,
within a broad historical scope:


–– The production of video games in Italy from an industrial and
economic standpoint, especially in relation to wider transnational
dynamics in specific historical contexts and other national markets;

––Technical, technological, and artistic/creative aspects of video game
production in Italy, particularly in regards to the relation between
technical platforms (game engines, middleware) and local/supra-local
video game development;

––The transnational distribution of Italian video games outside Italy,
with a specific interest in processes of professionalisation,
production, consumptions, and strategies of promotion, import, and
localisation.

––The representations, production, consumption, and reception of genders
and sexual identities, especially in regards to fair treatment within
the industry, feminism, and LGBTQIA issues, and ethnicities, especially
concerning to the notion of “Italianness” in video games.

––The representation of Italy's artistic, historical, and natural
heritage, and the country's purported national identity in video games
produced in Italy and abroad.

Accepted proposals will be included in a book that will contribute to
the lively debate on Italian video games within academia and public
discourses.


Proposals will be in the form of 500/1000 words abstracts (excluding
references and author's bio). We will accept proposals in English and
Italian. The final volume will be published in Italian.

Please send your proposal to:


Marco B. Carbone – uclccar@ucl.ac.uk <mailto:uclccar@ucl.ac.uk>

Riccardo Fassone – riccardo.fassone@unito.it
<mailto:riccardo.fassone@unito.it>


Deadline for proposals: July 25, 2018
Deadline for papers: October 2018
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CFP for Cine-Excess XII: I Know What You Starred in Last Summer: Global Perspectives on Cult Performance


The 12th International Conference and Festival on Global Cult Film Traditions
Birmingham City University Presents:

Cine Excess XII
I Know What You Starred in Last Summer: Global Perspectives on Cult
Performance 8th-10th November 2018
Birmingham City University (and related screening venues) 

Confirmed 
Guests of Honour:
Victoria Price (Author of Vincent Price: A Daughter’s Biography)
-Victoria Price will be receiving a posthumous Cine-Excess Lifetime
Achievement Award on behalf of her late father on the 50th anniversary
of Witchfinder General Pete Walker (Director of Frightmare and House
of the Long Shadows)
-Pete Walker will be receiving a Cine-Excess Lifetime Achievement Award
for his contribution to the development of British cult cinema traditions

Over the last 12 years, the Cine-Excess International Film Conference
and Festival has brought together leading scholars with global cult
filmmakers and industry figures for an annual event that combines a
themed academic conference with director interviews and UK theatrical
premieres of upcoming film releases. Previous guests of honour
attending Cine-Excess have included Catherine Breillat (Romance, Sex is
Comedy), John Landis (An American Werewolf in London, The Blues
Brothers), Roger Corman (The Masque of the Red Death, The Wild Angels),
Stuart Gordon (Re-Animator, King of the Ants), Brian Yuzna (Society, The
Dentist), Dario Argento (Deep Red, Suspiria) Joe Dante (The Howling,
Gremlins), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave
(Blow Up, The Devils), Ruggero Deodato (Cannibal Holocaust, House on the
Edge of the Park) Enzo G. Castellari (Keoma, The Inglorious Bast***s),
Sergio Martino (Torso, All the Colours of the Dark), Jeff Lieberman
(Squirm, Blue Sunshine) and Pat Mills (Action Magazine, 2000 AD).

Cine-Excess XII is hosted by Birmingham City University and will
feature a three day academic conference alongside visiting international
filmmakers and a season of related UK premieres and retrospectives
taking place at screening venues across the region. For its 12th annual
edition, Cine Excess focuses on global traditions of cult performance,
as exercised through a wide range of international case-studies and
methodological approaches. By exploring established and new approaches
to cult film performativity, the conference will consider how renditions
of bodily display are mediated through a wide range of film genres. 

These examinations will include how Hong Kong martial arts formats
become embodied through the performances of their male and female stars,
as well as contemplating how iconic enactments, such as that of Boris
Karloff in James Whale’s Frankenstein (1931) have reverberated
intertextually since their inception. In addition to exploring the
importance of gendered performance in the production and reception of
disreputable film genres, other areas of conference analysis will
consider how cult performers such as Gary Oldman nuance their roles
through looks, expressions and gestures, or how performing cult bodies
are rendered compelling in the way that they disappear, only to return
endlessly (such as Michael Myers’ vanishing at the end of Halloween). 

The conference will also take account of the importance of collaboration
between cult directors and iconic stars, dissecting the off-kilter
performances, deviant personalities and anomalous bodies found in the
works of directors that range from David Lynch to Lars von Trier. In
addition, Cine-Excess XII will also seek to analyse the status and
reception of cult stars across differing global territories, as well as
assessing how stardom can either be dismantled or confirmed through
B-movie participation. Also central to certain forms of cult appeal, and
compounding physical presence, is the performer’s voice, extending from
the lyrical mellifluous tones of Morgan Freeman to the disquieting,
sinister and uniquely compelling voice of Vincent Price. In this vein,
we are pleased to welcome author Victoria Price, who will be accepting a
posthumous Cine-Excess Lifetime Achievement in recognition of her late
father’s career, and to coincide with the 50th anniversary of his
influential performance in the 1968 classic Witchfinder General. Also
appearing as a guest with Victoria Price will be the legendary British
horror director Pete Walker, who not only directed Vincent Price in the
1983 film House of the Long Shadows, but was also responsible for a
range of prominent and controversial British shockers that included The
Flesh and Blood Show (1972), Frightmare (1974) and House of Whipcord
(1974). 

In order to explore the central conference themes further,
Cine-Excess XII will examine the importance of cult performativity
across a wide range of genres, formats, national traditions and modes of
critical interpretation. Proposals are now invited for papers that
assess the centrality of the cult performer within these differing
contexts. However, we would particularly welcome contributions focusing
on the following areas:

· Theatres of Blood: Vincent Price In and Out of Cult
· The Flesh and Blood Show: Perverse Performances in the Films
of Pete Walker · Folk Females: Gendered Performances of
Witchcraft and the Supernatural
· 1968 and the Cult Image: Cinematic Performances in an Age of
Revolution
· Screen Queens: Classic and Contemporary Cult Female Icons ·
Witchfinder General at 50: Bleak Images of Vincent Price’s Star
Persona · Actor, Auteur, Icon: Cult Stars as Directors
· Cult Pairings: Filmmaker and Star Collaborations at Cinema’s
Margins · Divas and Dark Avengers: Critical Reinterpretations of
Eurotrash Performers · Queer Scenes: LGBT Interpretations of
Celebrated Performers · The Men and Women From Hong Kong: Asian
Action Stars in Social Context
· Lost and Found Fan Objects: New Audience Studies Perspectives
on Global Cult Icons
· Creativity Masked: Cult Performance Behind Make-Up · On the B
List: Mainstream Stars Reborn Through Bad Movie Appearances
· Bigger Than Bond: Cult Renditions of the Superspy · Weird
World Icons: The Transnational Appeal of Global Cult Performers
· Immortal Icons: Ageing Performers, Dead Stars and their
Enduring Cult Appeal
· Big in Japan: Cult Performers Incorporated into Other National
Traditions · Small Segment Scares: New Perspectives on the
Portmanteau Performance · Cult Stardom Perspectives: New
Methodological Approaches to Cult Film Symbols · Illicit Stars:
Historical and Contemporary Erotic Film Icons Reappraised · Trashing the
Screen Test: Cult Performativity within the Vendetta Film Cycle
Please send a 300-word abstract and a short (one page) C.V. by Friday
7th September 2018 to:
Professor Xavier Mendik
Birmingham City University
xavier.mendik@bcu.ac.uk Dr Fran Pheasant-Kelly
University of Wolverhampton
F.E.Pheasant-kelly@wlv.ac.uk 

A final listing of accepted  presentations will be released on Monday 17th September 2018. 
 Delegate fees for Cine-Excess XII are £100/£60 (concessions). This includes
entrance to the conference, related Cine-Excess screenings and industry
panels. A selection of conference papers from the event are scheduled
to be published in the Cine-Excess e-Journal. For further information
and regular updates on the event (including information on guests,
keynotes and screenings) please visit www.cine-excess.co.uk

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CFP edited collection - ReFocus: The Films of Rachid Bouchareb


ReFocus: The Films of Rachid Bouchareb

Rachid Bouchareb was born in Paris in 1953 to Algerian parents and
became one of France’s first French filmmakers of North African descent.
While his career now spans over thirty years and his diverse films have
garnered both mainstream and critical success, including three Oscar
nominations, there exists no book-length study (in French or English) on
Bouchareb’s body of work. The director’s films are remarkably varied in
their themes, formal elements, and narrative settings, from Senegal,
England, Vietnam, and Algeria, to France, Belgium, Turkey, and the
United States. While diverse in many ways, Bouchareb’s films are also
linked by certain key concerns: the mixing of cultures, engagement with
contemporary political issues and debates, immigration, and identity,
among others. The director achieved national and international
recognition for Indigènes/Days of Glory (2006) and Hors-la-loi/Outside
the Law (2010), which both examine France’s colonial ties to North
Africa, yet Bouchareb’s cinematic corpus extends well beyond this
framework, and the full range of it has not been considered at length.
In addition, Bouchareb’s work as a producer is an important yet often
overlooked part of his career that merits critical attention.


We invite abstracts (~300 words) for essays on the work and career of
Rachid Bouchareb to be published as part of an edited volume in the
Edinburgh University Press ReFocus series (series editors are Robert
Singer, Ph.D. and Gary D. Rhodes, Ph.D.). The volume seeks to highlight
connections between Bouchareb’s films, with a special emphasis on his
lesser-known and understudied films (such as his shorts and
made-for-television films), to explore key influences on his output,
consider theoretical approaches to his work, and shed new light on
well-known films like Indigènes and Hors-la-loi.

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

-Cinematic aesthetics and influences, including genres (road movies,
film noir, spaghetti westerns, war films, gangster movies) and the work
of other directors (such as Martin Scorsese and Sergio Leone)
-Interest in the United States: American landscapes, spaces, and
cultures; American cinema
-Mapping Bouchareb: theoretical approaches and critical frameworks
-Transcultural/cross-cultural elements (American/African American
cultures, others)
-Women and gender dynamics and/or female centered films
-Political engagement (in his films and with regard to his career more
broadly)
-Use of space(s): cities/urban spaces, francophone and other spaces
-Water in Bouchareb’s work
-Use of the same actors/actresses in different films; relationship with
his actors (such as Jamel Debbouze, Sami Bouajila, Roschdy Zem);
collaborations with co-writers and co-producers (Jean Bréhat)
-Work as a producer (feature films, television)
-Projects outside of feature films and téléfilms, such as his
collaborations with historian Pascal Blanchard (Frères d’armes – 50
short films made to be diffused on television)
-Your Suggested Topic/Area of Interest

Essays that focus on films other than Indigènes and Hors-la-loi are
particularly welcome.

Essays included in this refereed volume will be approximately 7,000
words referenced in Chicago endnote style.
The deadline for abstracts (~300 words) is September 1.

Please send abstracts and a short bio as a single attachment to both volume editors,
Leslie Kealhofer-Kemp and Michael Gott: lkealhofer@uri.edu and
gottml@ucmail.uc.edu. The essays would be due by May 1, 2019.

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CFP: Media Fields Journal #14: At the Edge




At the Edge Media Fields Journal University of California, Santa Barbara 

Submission Deadline: September 28, 2018

While researching the Hells Angels in the 1960s, Hunter S. Thompson
wrote “The edge…there is no honest way to explain it because the only
people who know where it is are the ones who have gone over.” Conceiving
of the edge as both a site of orientation and a sharp drop-off, Thompson
gestures towards its dual denotations: as “the line where an object
begins or ends” and “the cutting side of a blade.” Thus, the edge can
act both as a form of speculative orientation that provides boundaries
or points of entry, and as a threshold that offers the possibility of
“going over.”

As contemporary media scholarship continues to think through the
proliferation of internet and screen cultures, their edges remain
crucial to a comprehensive understanding. Scholars such as Adrian
Mackenzie, Lisa Parks, and Mel Hogan have explored media technologies at
or beyond their edges, asking how edge environments or experiences might
alter their ‘typical’ use. Edward S. Casey writes that edges supply “a
species of boundaries, that is, porous edges that take in as well as
give out—in contrast to borders, which act to delimit institutions and
concrete practices in the life-world.” Casey’s provocation suggests that
studying media at the fringes or peripheries of society necessitates a
discussion of the edges that construct their marginality. Additionally,
edges establish relationalities between entities through their capacity
to connect the nodes of distributed networks and complex systems. In
this way, exploring media technologies and practices ‘at the edge’ can
help locate imagined horizons and connections that inform the boundaries
of identity, community, and globality.

Explicit academic engagement with the edge has thus far been situated in
sociology, wherein ‘edgework’ came to be known as the study of
risk-taking within recreational contexts. Stephen Lyng describes in the
introduction to Edgework how leisure practices centered around risk are
paradoxically treated as a form of individuality and resistance to a
neoliberal society that itself demands economic and social precarity
more and more often. Despite this paradox (or perhaps because of it),
both individual and systemic risk—living on the edge—can be viewed as a
means of exploring broad cultural spaces and their boundaries, such as
those between safety and precarity, inclusion and exclusion, and life
and death.

The edge as a heuristic thus brings together scholarly work on
mediatized practices and spaces by examining exactly how their
boundaries actively (re)imagine and (de)construct the dimensions of
their existence. In consideration of the utility of the edge to rethink
conceptualizations of spaces and boundaries, this issue of Media Fields
Journal explores what happens ‘at the edge.’ We invite consideration of
sites, works, practices, and systems via the constitution of the edge
and its role as a permeable, although perhaps invisible, entity. We
welcome work that attempts to locate edges, and/or engages with the
(potentially traumatic) experience of having ‘gone over.’ We further
welcome attention to the sociological methodology of ‘edgework’ and how
it might productively extend to media studies, perhaps involving
industry norms of precarity and the never-ending quest for production on
‘the cutting edge.’

Dimensions of media ‘at the edge’ might include (but are not limited
to): 
 • Cinematic/Televisual Concerns: Elimination of the visual/sonic
edge via wider screens, surround sound, 3-D enhancement, etc.;
consumption of the image in edge spaces; representations of ‘going over
the edge.’ 
• Computational Concerns: Edges and nodes; edges as active
and mediating sites; the edges of interfaces or platforms such as the
Samsung Galaxy Edge or Microsoft Edge; imagined digital spaces and
boundaries. 
• Environmental Concerns: Edges of communities, societies,
and/or shared identities; mediating territorial edges; ecological
impacts of edgeless or wireless media; media in edge environments such
as data centers, server farms, media waste, etc.; edges of technological
reach and possibility. 
• Experiential Concerns: Immersive media: virtual
reality, augmented reality, and the quest for ‘edgelessness;’
risk-taking individuals and practices as a cultural tradition or
rebellion; technologies that mediate risk experiences; sexual practices
of ‘edging.’ 
• Industrial Concerns: Precarity of media labor and
innovation practices; economic motivations to produce on ‘the cutting
edge;’ speculative horizons of media.

For any inquiries, please contact issue co-editors Jeremy Moore
(jmoore@umail.ucsb.edu) and Nicole Strobel (nstrobel@umail.ucsb.edu).
Email submissions to submissions@mediafieldsjournal.org 
For more information and submission guidelines, please visit
http://www.mediafieldsjournal.org

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CFP: NEW APPROACHES TO SILENT FILM HISTORIOGRAPHY: TECHNOLOGY, SPECTATORSHIP AND THE ARCHIVE
NEW APPROACHES TO SILENT FILM HISTORIOGRAPHY: TECHNOLOGY,
SPECTATORSHIP AND THE ARCHIVE

University of Leeds (UK)


18th - 19^th September 2018


Keynote Speakers:

Dr Lawrence Napper_(King’s College London). 

Title: History, lies and the digital archive.
Kieron Webb (British Film Institute).
Title: The Open Road to the Pleasure Garden: silent film restoration in the digital intermediate age

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
*

_Submission Requirements_

*
*

Send 200-300 word abstracts with three key words on topics related to
the conference’s focus to*silentfilmhist@gmail.com*


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

*
*

Deadline for Submission: 10th August 2018


Contact Person/Email: Laurence Carr/silentfilmhist@gmail.com
<mailto:Carr/silentfilmhist@gmail.com>


BOOK ANNOUNCEMENT: We are delighted to announce that we plan to
publish a selection of the best papers in an edited collection and are
currently seeking a publisher. Please submit an abstract for the
conference if you would like to be considered for both the event and the
edited collection.

FREE TO ATTEND


SMALL PGR TRAVEL BURSARIES AVAILABLE (LIMITED NUMBER)

Useful Links:

* Our 2018 silent film conference website:
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/__


_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._

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CFP: 21th Century's New Dystopian Imaginary. From George Orwell to Black Mirror. From Big Brother to Big Data.





21th Century’s New Dystopian Imaginary. From George Orwell to Black
Mirror. From Big Brother to Big Data.

The Scientific Committee has decided to expand the deadline: Abstracts
and synopses must be submitted - both in English and in the original
language of the selected works, until July, 20, at 6:00 p.m., to the
email pddemocracy2018@labcom.ubi.pt
<mailto:pddemocracy2018@labcom.ubi.pt>. Author's acceptance notification
will be announced by the end of July. Non-selected proposals will not
receive any notification. Further thrilling and dystopian details here:
http://labcom-ifp.ubi.pt/files/pddemocracy/en.php


<https://www.facebook.com/photo.php?fbid=10214447672599870&set=a.1670942207668.2091269.1060744443&type=3>
A Comissão Científica decidiu prorrogar o prazo: os sumários, sinopses e
descrições dos trabalhos candidatos devem ser apresentados tanto em
Inglês como na língua original em que forem submetidas as propostas, até
às 18 horas do dia 20 de Julho, para o email
pddemocracy2018@labcom.ubi.pt <mailto:pddemocracy2018@labcom.ubi.pt>.
Após o processo de revisão cega por pares, serão seleccionados 45
comunicações e trabalhos a distribuir equitativamente por cada uma das
sessões temáticas da conferência. Os autores com comunicação aceite
serão notificados até ao final de Julho.
Saber mais,muito mais aqui:http://labcom-ifp.ubi.pt/files/pddemocracy/
<https://l.facebook.com/l.php?u=http%3A%2F%2Flabcom-ifp.ubi.pt%2Ffiles%2Fpddemocracy%2F&h=AT2i17u24vHnShLBcaPop87kuE0-qAryguMmis8GrUlnRNaPT7WNCLwXzY_n0YGk6tRLnGi4u4KlUOMmljxyuGfs4gfbHj4SHcaIawPLnMOcwz98OzC3_ejuWlM590vLFO_E95EI-M6cix377F0elvSHJxmb5eNrYA>
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CFP: Edited Collection: Starring Tom Cruise


Tom Cruise is one of the most successful Hollywood film stars of the
last 35 years, with a cumulative worldwide box office of nearly $8
billion dollars. His star image moves across genres and forms, is
product and franchise, and is also connected to ‘serious’ cinema through
his work with auteurs. His private life has warranted a great deal of
attention whether it be through his connection to scientology, his
numerous failed marriages, or the ‘queer space’ he is placed within
through fan work and gossip mongering. Cruise is an action hero and
romantic lead and yet finds himself in homoerotic and homosocial
relationships which unsettle and undermine these heterosexual scripts.
Cruise is also an authentic star, who does his own stunts even as his
aging body wanes, and who brings this embodied verisimilitude to the
roles he takes on. When a film stars Tom Cruise a series of unruly
forces are set in train, which this edited collection intends to assess.

/Starring Tom Cruise/is looking for chapters of 6,000 to 8,000 words in
length to consider the following themes and issues:

* The Cruise star vehicle
* The Cruise franchise
* Gender and sexuality
* Cruise and masculinity
* Queer space
* Desire
* The Cruise performance
* Cruise against ‘type’
* Fandom
* The Cruise monomyth
* American exceptionalism
* Age and masculinity
* Whiteness
* Marketing and promotions
* Specific film textual analysis
* Religion and faith
* Postmodern Cruise
* Cruise and parody
* The Cruise confession
* The Cruise interview
* The Cruise Marriage
* Authenticity and simulacra
* Hollywood and Cruise
* Star, genre, authorship
* Action
* Style
* Transnational Cruise

The edited collection will contain 12-16 chapters, and a publisher has
shown provisional interest in publishing the volume.

In the first instance could you forward 150-200 word abstracts plus
short bibliography to Sean Redmond for Friday 3rd August, 2018:
s.redmond@deakin.edu.au <mailto:s.redmond@deakin.edu.au>

Subsequent writing deadlines will be for 2019.
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12-month 0.5 SL post in Film Studies at UWE Bristol


Senior Lecturer in Film Studies - Ref:1727433 UWE Bristol, Frenchay Campus
Salary: H - £19,416 - £24,574 (0.5 FTE)
Fixed term

Closing date: 12 Jul 2018
UWE Bristol is an ambitious university. Together, our people are working
hard to advance knowledge, inspire people and transform futures. We are
looking for people with the skills and ambition to help us achieve those
aims.
The Department of Arts and Cultural Industries offers a range of
undergraduate programmes in the Arts and Humanities, including the
highly regarded BA(Hons) Film Studies award. We seek to appoint a new
colleague on a part-time (0.5 FTE), fixed-term basis from September 2018
- August 2019 to cover undergraduate teaching.
The main responsibilities will be to lead three undergraduate modules:
Film Style and Meaning (Level 1), Professional Writing about Film (Level
2) and Adaptation: Screenwriting and Narrative Form (Level 2).
Additional responsibilities include supervising a small number of third
year projects, second marking assignments on other modules, and acting
as a personal tutor for a specific group of students. Aside from
teaching, you will also be responsible for the academic development and
wellbeing of students.
Applicants must have an academic background in Film Studies (preferrably
including PhD completion) and some relevant teaching experience.
Detailed knowledge of debates around film criticism, film style, film
narrative and adaptation is essential. Our curriculum embraces a diverse
range of film forms and practices: applicants must be willing and able
to teach non-mainstream, non-western and non-white texts alongside
dominant forms of cinema, in ways that will encourage and inspire
students to widen their horizons. You will also need high level writing
skills and the ability to help students develop their own writing in
different forms, including explaining issues with grammar, punctuation
and expression; a working knowledge of screenplay layout and technique
is desirable, sufficient to introducing second year students to
screenwriting as part of an adaptation project in Semester 2.
Professional experience of film criticism or screenwriting is desirable
but not essential. Experience of teaching and/or marking audiovisual
essays is also desirable, along with PowerPoint and Premiere Pro AV skills.
You can expect to join a supportive and welcoming team and you will be
offered mentoring and assistance in developing teaching materials and
your practice.
This post is based at our lively Frenchay campus where we have invested
in the latest facilities and resources to give our students access to
everything they need to succeed – with £300m being spent on new
state-of-the-art learning spaces and accommodation between now and 2020
to enhance our offer even further. Frenchay campus is within close
proximity to excellent motorway links and within walking distance of two
train stations, making UWE Frenchay Campus the ideal place to work for
those wishing to commute to Bristol.
In addition to progressive pay rates, UWE Bristol offers a wide range of
staff benefits including: • a generous holiday allowance of 35
Days • up to 12.5 bank holiday/closure days per year in addition;
• flexible working; • excellent defined benefit pension
schemes; • option to participate in the cycle to work scheme; •
family friendly policies; • onsite nursery at our Frenchay Campus;
• option to purchase childcare vouchers.
Please see the attached full job description and information for
applicants for the role.
For an informal discussion or if you have any queries, please contact
Mark Bould on 0117 32 84440 or email Mark.Bould@uwe.ac.uk
UWE is committed to supporting and promoting equality and diversity to
create an inclusive working environment. We believe this can be achieved
through attracting, developing, and retaining a diverse range of staff
from many different backgrounds who share our ambition to be a
university recognised for the success and impact of our
practice-oriented programmes; our strong industry networks and our
inclusive global outlook.
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CFPs Journal of Italian Cinema & Media Studies



The Journal of Italian Cinema & Media Studies
<https://www.intellectbooks.co.uk/journals/view-Journal,id=215/>/
invites papers highlighting global intersections and artistic
interconnections: Italian Cinema & Media across times and spaces.

Click here
<https://www.intellectbooks.co.uk/weblog/view-Weblog,name=News/>for the
full CFP

The /JICMS/ is an English-language forum for theoretical, methodological
and critical debate on Italian film and media production, reception and
consumption. It provides a platform for dialogue between academics,
filmmakers, cinema and media professionals. This peer-reviewed journal
invites submissions of scholarly articles relating to the artistic
features, cultural themes, international influence and history of
Italian film and media. Furthermore, the journal intends to revive a
critical discussion on the /auteurs/, revisit the historiography of
Italian cinema and celebrate the dynamic role played by new directors.
The journal includes a book and film review section as well as notes on
Italian film festivals abroad and international conference reports.

We invite proposals for single papers, pre-constituted panels and
roundtables that identify intersections and artistic interconnections
shaping contemporary Italian cinema and media productions in a global world.


Possible topics include, but are not limited to:

- The contemporaneity of Italian auteurs

- Environmentalism and Italian film

- Rhizomatic approaches to Italian film history

- Transnationality in Italian film

- Representations and constructions of identities from the perspectives
of gender, ethnicity and nationalism

- Migrant and refugee filmmaking

- Mobilities within and between diasporas

- Glocal Italy: production and representation of localism, regionalism
and globalisation

- The new Italian documentary

- Italian sound studies

- Future directions for Italian film studies

- LGBTQ cinema

- Fellini for the New Millennium

- Productions and series in the field of literature (Ferrante’s cycle,
Ammaniti’s first series, a sequel of The

Young Pope)

- Historical and contemporary approaches to film remakes in Italy

- Regional film commissions

- Foreign productions in Italy

- Italian productions abroad

- Italian remakes of non-Italian films

- Foreign remakes of Italian films

- Unmade Italian silent films

- Abandoned or halted studio projects

- Abandoned Italian adaptations and screenplays

- Production, distribution and Italian film festivals

- (New) avant-garde, experimental and independent Italian film and
digital video

- Italian cinematic intertextuality

- Italian digital cinema

- Virtual reality in Italian cinema

- Post-cinema

- Animation

- New perspectives on the history/archaeology of Italian cinema and
other media

- The aesthetics of Italian cinema and other media technologies

- Infotainment: newspapers, magazines, radio and television news, all
news channels, online information

outlets, social media

- Emotainment: popular press, reality television, factual programming
and talent shows, branding and

advertising, online videos and spaces

- Politainment: electoral campaigns, spin doctoring, leadership
building, political and public communication

practices, talk shows, online engagement

- Edutainment: Radio and television shows, podcasts

- Media products and transmedia/transnational practices

- Hybridity and media borders

- Television and web seriality

- Electronic games across platforms and genres as well as ludic and
serious online environments

- Old, new and residual media

Second International Conference
The American University of Rome
14-15 June 2019

Deadline for submissions: 30 September 2018
Abstracts for consideration should be submitted to the conference
organizer Flavia Laviosa at flaviosa@wellesley.edu
<mailto:flaviosa@wellesley.edu>
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