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.
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CFP: Documentary/Philosophy International Conference

DOCUSOPHIA: Documentary/Philosophy International Conference

May 22-24, 2018

Conference Venue:
The Steve Tisch School of Film and Television, Tel Aviv University

The Tel Aviv Cinematheque

Organizing Committee: Dr. Shai Biderman, Dr. Shmulik Duvdevani and Dr. Ohad Landesman (Tel Aviv University, The Steve Tisch School of Film and Television)

There is a century-old tradition of defining documentary in philosophical terms. Yet, this tradition seems to miss the most intelligible (yet, conspicuously evasive) aspect of documentary praxis: its conceptual entanglement with philosophy itself. This entanglement is oddly mirrored in Carl Plantinga’s characterization of the documentary as an “asserted veridical representation,” or in John Grierson’s famous depiction of documentary as “a creative treatment of actuality.” Such characterizations install the most adamants relations film has with the highly charged philosophical concepts of truth, reality and the real. These relations are at the heart of the documentary practice, and are essential to any working definition of documentary cinema.

Indeed, how do we think of the notion of documentary and of specific documentary films in philosophical terms? how do documentaries deal with philosophical issues? A recently published anthology edited by David LaRocca titled The Philosophy of Documentary Film: Image, Sound, Fiction, Truth(2016) testifies to the ever-growing connections, both scholarly and in practice, between the two disciplines. Prominent filmmakers such as Errol Morris, Terrence Malick (in his 2016 IMAX documentary Voyage of Time) as well as films like What the Bleep Do We Know?andIs The Man Who Is Tall Happy?are exploring philosophical, theological, scientific and abstract questions in a unique and unprecedented way.

Thus, such an engagement is especially timely and topical because of the pressing need to reconfigure the philosophical outputs of documentary’s new horizons as a developing practice. Characterized by unprecedented theatrical success and accelerated aesthetic evolution, documentaries today have been breaking new grounds, entertaining arguments based on uncertainties and incompleteness by prioritizing elements of subjectivity, fiction, and drama. In this second film-philosophy conference—devoted to the entangled relations between documentary and philosophy—we wish to consider the significant makeover that documentary studies has gone through lately to fit these changes, and further explore the significant place that philosophy may hold within contemporary documentary studies.

Considering how fiction and fact have been recently intertwined in non-fiction subgenres (e.g., the mockumentary, the drama-documentary or the ‘hybrid film’), it becomes essential to redefine what we now mean when we say “documentary films”, and to assess the nature of their truth claims. Following its recent spread into new virtual and social platforms and increased venture into the realm of television, philosophizing about documentary must invite us to rethink what defines it as a practice, a genre, a medium or a filmic strategy, and how this definition is always dynamic. When subjective authorial voices are assertively flaunted in video diaries, essay-films and performative documentaries, a new set of philosophical questions that relate to performance, ethics and authorship is in need of reconsideration.

The conference will also coincide with the 20th installment of DocAviv, the Tel Aviv International Documentary Film Festival, which will take place between 17-26 on May 2018. DocAviv has carefully carved its niche today as one of the leading documentary festivals worldwide, and it is the only festival in Israel dedicated in its entirety to documentary films. We are excited to participate with DocAviv next year and happy that our conference attendees will also be able to enjoy such an important celebration of documentary cinema.

We aim to bring together in our conference leading and emerging scholars and filmmakers to investigate together such issues and enhance ongoing dialogues both within documentary studies and philosophy individually and also between these discourses. We welcome a range of papers that might be conceptual, theoretical or practice-as-research in orientation.

We are interested in papers, for example, in the following broad areas:

1. New takes on the ontology of the cinematic image in the digital age.

2. Video essays and philosophizing about film through film.

3. The meeting between philosophy and poetry in documentary films in
general and essay films in particular.

4. Documentary in the age of film-philosophy: specific films (analysis
and theory) and filmmakers (documentarians).

5. Documentary, theory and/v.s. praxis.

6. The real and reality through philosophy (Cavell, Plato, etc.).

7. Documentary and epistemology.

8. Documentary-as-objective (Noël Carroll) vs. the dismissal of such an
approach (Brian Winston).

9. Ethical issues in the age of crowd-sourced and social networks

10. Documentaries on philosophy and philosophers.

11. Imposters and frauds: the status of documentary truth in the 21st

12. Theological debates dealing with religious subjects and faith in

13. Philosophical provocations on the elusive fiction/non-fiction divide.

14. Philosophical inquiries into fraud and deception in mockumentaries.

15. Phenomenology and documentary (e.g., cinema verite, experiential

16. The philosophical premises and goals of ethnography in documentary


Please send an abstract (up to 300 words in length, including the research objectives, theoretical framework and methodology) and a brief biography (100 words maximum), by December 15th, 2017 to <>. Each proposal must include title, name(s), affiliation, institutional address and email addresses of the author(s). Notification of acceptance/rejection of abstracts will be sent by February 1st, 2018.

Travel and accommodation costs will be covered by participants.
For further enquiries, please contact the organizers directly: Dr. Ohad Landesman ( <>); Dr. Shai Biderman ( <>); or Dr. Shmulik Duvdevani (<>).
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Call for Papers: The representation of death in modern society

Funes. Journal of Narratives and Social Sciences

Directors: Stefano Bory, Gianfranco Pecchinenda (University Federico II, Naples, Italy)

Call for Papers: The representation of death in modern society

The experience of death represents one of those few things every society must face, no matter what historical period. It has been defined as the most marginal situation, as it sits at the borders of every symbolic system, of every structure of significance that a community can possess, since it is not concretely knowable.

Therefore, every group as well as every individual who must face the end of human life, the loss and the elaboration of grief, also must question himself about the sense and the meanings of death to be able to face such big event.

Every epoch has its own generally consolidated ways to deal with the weight of death, through symbols, prevailing ideas and individual and collective more or less spread strategies. Analysing this symbolic and experiential repertory, the ways in which death is represented and perceived, even resistance and innovative ways, means to decipher different aspects of whole societies.
Death and its representations highlight, under the surface, different social issues connected, from religious phenomena to the stratification that dominant meanings can sustain, from social conflicts to the characteristics of everyday life, etc.

Therefore, it is possible to assert that death must be considered as one of those fundamental indicators to study the collective behaviour and as one of the central themes to analyse the imagery of an epoch, since from the transformations of the way to represent death it is possible to identify many cultural changes.

Technologies – most of all media – have had a relevant impact on the sense that everyone attributes to death and to its experience. If, according to many scholars, death in modern society has been characterised by a firm connection with privatization and individualisation, typical connotations of modernity, to the extent that we can talk about the segregation of the dying and the removal of the phenomenon from the public sphere and the rational analysis, it can be said that the development of technologies, especially media, has made death a public event, accessible and visible to all, producing new ways of representation, rituality, commemoration and narration.

We speak about death, but consequently we also speak about its inescapable corollary: the idea of immortality that in our times finds its most common expression in the cult of youth, in the valorisation of the body, in the idea of health and in the dominant aesthetic models. That is to say, phenomena revailing the fear of the old age, the fear of illnesses and of the end disclosed by the inescapable process of biological degeneration of the body and of physical pain. Starting from these issues, the articles, that can have a theoretical profile or present the results of empirical investigations, will have to reflect on the different ways through which the theme of death is represented, narrated and avoided, or on the experience and the meanings that are elaborated.

The proposals could concern the following themes, not exclusively, considering differrent approaches:

* Death and modernity
* Narrative practices and death experience
* Media, technologies and death
* Visibility and segregation, public death and private death
* Meanings, symbols, ideas about death and dying
* The body of the dying person
* Strategies of immortality
* Rituality, elaboration of grief and commemoration

Luca Bifulco, Antonio Cavicchia Scalamonti, Gianfranco Pecchinenda, Alessandra Santoro

The abstract (max 500 words) can be written in Italian or in English and sent at the email addresses: <> <> <>
The e-mail has to contain:
Name, Surname, Institue of provenience and academic position of the author;
Provisional title of the article;
Indication in the email Subject line: “Call: The representation of death in modern society”

Abstract deadline: 30 November 2017Results announced: 15 December 2017
Paper deadline: 20 March 2018
Referees’ decision: 30 April 2018
Final papers: 5 June 2018
Publication: July 2018
Accepted languages
English or Italian

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NECSUS Spring 2018: Resolution
NECSUS Spring 2018_#Resolution

guest edited by Francesco Casetti (Yale University) and Antonio Somaini (Université Sorbonne Nouvelle Paris 3)

One of the striking features of contemporary visual culture is the presence of a double, contrasting tendency. On the one hand a drive towards higher and higher degrees of definition and resolution of digital images, cameras, and screens, and on the other the wide circulation of images in low definition and resolution, images that are blurred, grainy, pixelated, and degraded in different ways. The first tendency – the rush towards higher definition – is promoted by marketing and advertising and is often associated with a whole ideology that weaves together values such as mimetic precision, sensory enhancement, immersive participation, and technological progress. The second one – the persistence of low definition – is often linked to a search for authenticity and to a need to explore the various aesthetic, visual, and temporal effects produced by different tools of image degradation such as grainy filters, pixelization effects, and glitch that are increasingly accessible to a wider public. How can we explain such a double tendency, which can be detected throughout the different domains of contemporary photography, cinema, visual arts, television series, and social media? What are its cultural meanings and its aesthetic, economic, epistemological, and political implications? How do the different degrees of definition of the images circulating across contemporary visual culture contribute to define and organise the /media environments/ in which our personal and social experience takes place?

More than 50 years ago, in his /Understanding Media: The Extensions of Man/ (1964), Marshall McLuhan placed the distinction between high and low definition at the center of his media theory. By studying the technical specificities and the perceptual reception of the messages produced by different media, McLuhan formulated the crucial distinction between ‘hot media’ and ‘cool/cold media’, whose various implications are discussed throughout his entire book. The few details provided by the ‘mosaic mesh of light and dark spots’ that characterises the low definition of the television image, for example, were considered by McLuhan to be the reason that explained the high degree of audience perceptual and emotional involvement, as well as the emblem of ‘a passion for depth involvement in every aspect of experience’ that he saw emerging in various cultural domains such as literature, music, the visual arts, the press, fashion, design, and politics.

Even though the validity of many of McLuhan’s analyses cannot be simply transferred from the visual and media culture of the 1960s to the current visual and media landscape, we believe that his core intuition is still valid. The different, constantly changing degrees of definition that can be found in visual, sound, and audiovisual media do not have just a purely technological and perceptual dimension but also a wide variety of cultural, economic, and political implications. In her 2009 /e-flux/ essay ‘In Defense of the Poor Image’, the German artist and theorist Hito Steyerl made a crucial contribution in this direction by studying the way in which the circulation of low-definition, highly compressed still and moving images brings to the fore the existence of a sort of ‘/lumpenproletariat/ in the class society of appearances’ that is in deep contrast with the polished and impeccable visual material promoted by marketing and industrial logics.

We believe that it is now time to further develop these insights in order to understand the multiple aesthetic, economic, epistemological, and political implications of high and low definition within contemporary visual culture and contemporary media environments. Indeed, the question of resolution not only differentiates the ways in which digital images appear on the various screens with which we interact during our daily lives; it also contributes to define the different regimes of ‘distribution of sensible’ (Rancière) elicited by media, and consequently the configuration of space in which media operate. In other words, the varying degrees of resolution of images may affect not only our perception of them but also the way in which we locate them. Hence the profound impact of resolution degrees on the textures and structures of various media environments: from the screens of our smartphones, tablets, and laptop computers to those of home theater installations, from IMAX to D3D projections, from immersive video installations to different types of VR gear.

For this special section in NECSUS we call for contributions that analyse the current cultural meanings and the various aesthetic, economic, epistemological, and political implications of high and low definition and resolution in a wide variety of visual and audiovisual media. The proposals can deal with one or more of the following issues:

# what are the values currently associated with high and low definition and resolution?

# how do high and low definition and resolution affect the circulation of visual and audiovisual contents through contemporary visual culture?

# how do high and low definition and resolution affect our perception of the temporal status and the historicity of different visual and audiovisual contents?

# how do high and low definition contribute to defining the textures and structures of media environments? How do they influence our experience of media environments?

# what is the cultural role played by the different degrees of definition and resolution that characterise visual and audiovisual formats (.jpg, .tiff, .mp4, .gif, etc.), with their different forms of lossy or lossless compression?

# the analysis of interesting cases of high and/or low definition and resolution in contemporary photography, cinema, visual arts, television, and social media

# aesthetic practices based on the choice of exploring high and/or low definition and resolution

# economic implications of high and/or low definition and resolution

# the cultural meanings of the filters commonly used on social media (Instagram, etc.)

# the cultural meanings and the aesthetic, ethical, and political implications of pixelisation

# the cultural meanings of datamoshing, glitch effects, and other forms of image degradation

We look forward to receiving abstracts of 300 words, 3-5 bibliographic references, and a short biography of 100 words by 1 November 2017 at the following address: <>. On the basis of selected abstracts, writers will be invited to submit full manuscripts (5,000-7,000 words, revised abstract, 4-5 keywords) which will subsequently go through a double-blind peer review process.

NECSUS also accepts abstract submissions on a rolling basis throughout the year for a wide variety of articles on a number of themes related to media studies but not necessarily connected to a special section topic, in addition to proposals for festival, exhibition, and book reviews, as well as audiovisual essays. Please note that we do not accept full manuscripts for consideration without an invitation. Access our submission guidelines at
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Eisenstein Symposium Prato 21-22 June 2018
Eisenstein for the Twenty-first Century

21-22 June 2018, Monash University Prato Centre, Italy

Marking the 120th anniversary of Sergei Eisenstein’s birth, this international symposium will examine the legacy of the revolutionary Russian director and film theorist and his continuing relevance to contemporary screen studies. Over the last two decades, our understanding of Eisenstein’s oeuvre and aimshas been reshaped by publications and translations of his previously unpublished major theoretical writings (/Metod, /Musei Kino, 2002; /Notes for a General History of Cinema/, Amsterdam University Press, 2016; /The Primal Phenomenon: Art/, Potemkin Press, 2017), while critical engagement with his creative work has been expanded through exhibitions of his drawings and unfinished film projects. New archival research has demonstrated the extent of Eisenstein’s interdisciplinary work and his informal networks of collaborations with artists and scholars from around the world.

This symposium, supported by the Australian Research Council and the Arts Faculty and School of Media, Film and Journalism at Monash University, offers scholars a forum in which to assess and chart new directions for research on Eisenstein’s heritage in the light of the current theoretical challenges and technological advances in film studies.

The symposium program will include: a round-table with Naum Kleiman (Moscow); keynote papers by Professor Ian Christie (London), Professor Joan Neuberger (Austin), Professor Antonio Somaini (Paris); and an audio-visual presentation by Adrian Martin and Cristina Álvarez López (Vilassar de Mar).

We invite proposals for papers and audio-visual presentations that explore Eisenstein’s work from any of the following perspectives:

- New publications and translations of Eisenstein’s texts
- New perspectives on Eisenstein’s films

-Eisenstein and the visual arts
-Eisenstein, philosophy and politics
-Eisenstein’s writings and media archaeology
-Eisenstein’s legacy and new approaches to montage
-Eisenstein, cinema and the brain: affect, cognition, embodied perception
-Gender and sexuality in Eisenstein’s writings, films and drawings
-Einstein’s theory-and-practice and intermediality
-Eisenstein, new media and the rise of the audio-visual essay
-Mythologizing Eisenstein: Eisenstein as a subject of biopics
-Eisenstein’s circle: formal and informal networks of collaborations

Please send an abstract of 200-250 words with a brief biographical note (150 words) to the symposium convenor, Dr. Julia Vassilieva ( <>), by the 1st of January, 2018.

Prato is close to several of Europe’s most significant cities and esteemed institutions – thirty minutes from Florence and the European University Institute in Fiesole, one hour from Bologna – home to Europe’s oldest university, two hours from Rome, and three hours from Milan. La Fondazione Cineteca di Bologna traditionally runs “Il Cinema Ritrovato” festival in the last week of June. For more information on Monash University Prato Centre please see:

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CFP Feminism, Media and the 1990s: Commentary and Criticism, Feminist Media Studies

Commentary and Criticism Call for Papers

Feminism, Media and the 1990s

This issue of Commentary and Criticism invites essay contributions specifically on any topic related to feminism, media and the 1990s. We are particularly interested in submissions from beyond North America and the UK.

The Commentary and Criticism section of /Feminist Media Studies/ aims to publish brief (~1000 words), timely responses to current issues in feminist media culture, for an international readership. Submissions may pose a provocation, describe work in progress, or propose areas for future study. We will also consider book and event reviews, as well as contributions that depart from traditional academic formats. We encourage all submissions to strategically mobilize critique to also offer a productive contribution to both feminist politics and media studies. Submissions must go beyond mere description in order to be considered for publication in Commentary and Criticism.

Please submit contributions by 15th November 2017, via email to Susan Berridge ( and Laura Portwood-Stacer ( Questions and expressions of interest can also be addressed to Drs. Berridge and Portwood-Stacer in advance of the deadline.

Email submissions directly to Susan Berridge and Laura Portwood-Stacer, as submissions for Commentary and Criticism will not be correctly processed if submitted through the main /Feminist Media Studies/ site.

Please be sure to follow the /Feminist Media Studies/ style guide, which can be found at the following link:

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CFP: Workshop Film Distribution, Exhibition and Consumption In The Second World War

FILM DISTRIBUTION, EXHIBITION AND CONSUMPTION IN THE SECOND WORLD WAR. A Workshop on Data Collection and Analysis, Computational Methods and the Opportunities for Comparative Research.

Organized by DICIS and IMS
KU Leuven, Belgium, 15 and 16 May 2018

Within the specific time frame of the Second World War, this workshop invites researchers who examine the operations of distribution, exhibition and consumption of cinema in belligerent and neutral countries. Following in the footsteps of ‘Cinema and the Swastika: The International Expansion of Third Reich Cinema’ (Vande Winkel & Welch, 2007, 2011 revised) and inscribing itself into the field of ‘New Cinema History’ (Maltby, Biltereyst & Meers, 2011), this workshop brings together researchers who are compiling and analysing empirical data about wartime film distribution, exhibition, reception in or across specific cinemas, cities, regions or countries. The workshop, organised by the Institute for Media Studies (IMS) and the Scientific Research Network on Digital Cinema Studies (DICIS), strives to stimulate collaboration among scholars and to explore new methodologies and new types of interdisciplinary investigation, taking full advantage of the impact of digitalization on historical research (digital humanities).

The aim of this workshop is:
- To compare ongoing or recently completed research on film distribution, exhibition and consumption/reception during World War II.
- To share individual experiences about the use of digital tools and sources such as digitized newspapers and journals; online databases related to film such as IMDB or; tools such as Nvivo for analysing transcribed oral history interviews; geographic information software such as GIS, or specifically designed databases, as well as traditional analogue source materials (newspaper archives, film posters, wartime documents, diaries, reference works) to retrieve empirical data, identify the films mentioned in historical sources and reconstruct the circulation of those films.
- To compare and interrogate specific research questions and methodologies
- To present and discuss the pros and cons of existing databases and methods to analyse.
- To think about ways to make computational databases 'talk to each other' (through data modelling and harmonization), allowing direct comparative research.
- To stimulate collaboration among scholars within, as well as outside the discipline of film studies, and to explore new methodologies and new types of collaborative investigation, taking full advantage of the impact of digitalization on historical research.

Papers may discuss topics such as:
- Film distribution networks or practices (local, national, international)
- Film exhibition (local, national, international)
- Film censorship (local, national, international)
- Film consumption/reception (local, national, international)
- The ways in which the ideological visions of the wartime belligerents translated into different approaches to film policy
- The practical implementation of wartime film policies
- The ways in which new research on distribution, exhibition and reception can help us learn how audiences reacted to wartime films
- The challenges of gathering and validating the quantitative information needed to analyse such topics
- Formulating hypotheses about the circulation of films in societies dominated by economic constraints and political coercion (censorship, restricted access to the international film market and/or bans on films from particular countries).
- Digital and analogue tools and sources used for that purpose.
- The consideration of best practice in formulating research questions and employing comparative tools and methodologies from an international/comparative perspective

Confirmed Keynote: ‘Wartime Geopolitics at the Movies: The 'European Cinema' of the Nazi New Order in Global Perspective ' by Benjamin Martin (Department of History of Science and Ideas, Uppsala University), author of ‘The Nazi-Fascist New Order for European Culture’ (Harvard University Press, 2016).

Thunnis van Oort (CREATE, University of Amsterdam) and Roel Vande Winkel (KU Leuven) will present the results of their recently conducted joint research in the introductory paper 'Comparative Potential. The Cinema Context Data Model and World War II: A Comparative Case Study into Film Exhibition in German-occupied Amsterdam (Netherlands) and Antwerp (Belgium)'.

The workshop welcomes participants working on countries in the Axis sphere of influence (Germany, Italy, Japan and the countries they occupied or befriended) as well as contributions on the Allies (USA, UK, USSR) and their sphere of influence. Research on film distribution, exhibition and consumption in neutral countries (where films from both spheres of influence met and competed) is particularly welcomed.

- Proposals for papers and/or hands-on presentations are now invited. Every paper/presentation should offer a reflection on the sources and methodologies employed. Please send abstracts of 300-500 words and a short biography to by December 18 and address any queries to the same email.
- After the workshop, you may be invited to submit a revised version of your paper for consideration in a special issue or edited volume to be organized by members of the committee.

Scientific committee:
Roel Vande Winkel (DICIS - KU Leuven), Pavel Skopal (DICIS - Masarykova univerzita) and Thunnis van Oort
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CfP Film Journal - Actors Behind the Camera

DEADLINE for proposals: Dec. 1 <http://airmail.calendar/2017-12-01%2012:00:00%20GMT>, 2017

“Actors are cattle” was Hitchcock’s provocative judgement in the famous series of talks that the filmmaker gave to François Truffaut (Jeffries).Truly enough, during the heyday of Classical Hollywood, actors were under contract, like any other cog in the wheel of production of the studio system. The prevailing star system put an end to the “multitasking” norm of the beginning of the movie industry and, in this context, the instances of actors who turned directors (Charles Laughton, Robert Montgomery, Ida Lupino) were all the more remarkable.However, the break-up of the studio system and the advent of independent cinema brought about a new order where a new generation of actors (Dennis Hopper, Paul Newman or Robert Redford among others) had more opportunities to try their luck behind the camera. Since the 1970s, the list of actors-turned-directors has increased dramatically and seems to have become a significant trend in recent years. The list keeps growing exponentially, moving from old-timers like Warren Beatty, Robert de Niro, Al Pacino, Dustin Hoffman, Robert Duvall, Diane Keaton, Angelica Huston or Tommy Lee Jones, to include actors who are also known for their political commitment like Tim Robbins, George Clooney, Jodie Foster, and film stars like Tom Hanks, Sylvester Stallone, Mel Gibson, Kevin Costner, Sean Penn, Michael Keaton, Ed Harris, Kevin Spacey, Ben Affleck, Andy Garcia, Edward Norton, Ethan Hawke, Natalie Portman, Angelica Jolie, James Franco, Joseph Gordon-Lewitt. Nor is the trend confined to the American film industry, as testified by the films of actors Peter Mullan, Gary Oldman, Tim Roth, Alan Rickman, Paddy Considine or Vanessa Redgrave in the UK, Sarah Polley or Don McKellar in Canada, Russell Crowe in Australia.While there has been a renewed interest in actorial studies after studies on the star system and stars’ biographies (James Naremore, Jacqueline Nacache, Christian Viviani, Christophe Damour, among others), this phenomenon has yet to be investigated. This issue of Film Journal aims at exploring this largely unchartered territory.

What drives an actor behind the camera? Is it just another star’s fanciful whim or an unconscious desire to get even with directors – and prove Hitchcock’s assertion wrong? Do actors nurture the presumptuous belief that their experience will make them better equipped to stage direct other actors or do their films’ aesthetics give more leeway to actors’ performances? In the case of actors-turned-directors that are also in front of the camera, how can one film oneself? Does it testify to the fantasized ideal of immediacy which Jacqueline Nacache points out,[1] <> obliterating signs of acting itself so as to equate playing and being? Or, on the contrary, is it a way to foreground the thespian quality of the actors, relating their actorial work to the prestigious stage (Al Pacino comes to mind)?

From Charles Laughton’s one-off masterpiece to the steady production of former actors who have become as well-known for their director’s works as for their acting career (John Cassavetes, Woody Allen, Clint Eastwood, Kenneth Branagh), actors’ films do certainly not constitute a genre of their own. Nonetheless, for all their variety, they seem to foreground some personal commitment, either in relation to an autobiographical experience or in an attempt to make a political or social statement. In this respect, one may wonder if actors’ films are not the perfect illustration of “auteur theory” that American film critic Andrew Sarris popularised from French film criticism, whereby a film is first and foremost the product of the director’s personal vision, a means of conveying his/her own worldview (Sarris, 1962).
The economic aspects of the matter may also be considered. Does the recent trend of actors-turned-directors convey a genuine emancipation from the profit-oriented, market-led constraints of a broadcasting environment that seems ever more prone to cash in on predictable formulaic franchises? Or is this rather the ultimate sign of the entertainment industry’s merchandising?

We invite submissions that will explore significant examples of films or collections of films by actors-turned-directors. The following list provides possible, albeit not exhaustive, topics for discussion:

* To what extent does this phenomenon contribute to renewing the
debate around theories of film authorship after it has been
discredited by structuralist and post-structuralist approaches?
* Is it possible to set up a typology – from the intimate and
autobiographical or self-reflexive stance (Paul Newman directing his
family, Sarah Polley etc.) to the spectacular overkill (Mel Gibson
for ex)?
* How do production contexts and distribution strategies impact an
actor’s decision to turn director? Do the opportunities offered by
television (HBO, Netflix, etc.) and Hollywood or independent studios
stimulate such career choices?
* How are the films received by the critics and the audience? Are they
received with more condescension or more severity than other
“ordinary” new-comers?
* How does it impact the collaborative nature of filmmaking?
* How do actors-turned-directors handle actor management? Are there
notable specificities in this regard?
* How does it impact their future career? How does filming oneself
affect an actor’s performance? Is an actor’s choice of roles or
acting modes altered after an experience as film director? Does a
director’s choice of film (and genre) relate to his/her acting career?
* Can factors of difference (age, gender, ethnicity, for example)
influence actors to turn director?

Proposals (250 words) and a short biography are to be sent by December 1st 2017 <http://airmail.calendar/2017-12-01%2012:00:00%20GMT> to <>, <>, and <>. Notification will be sent by mid-January. The deadline for completed articles is 1st September 2018 <http://airmail.calendar/2018-09-01%2012:00:00%20BST>.

Contributions should be sent together with a short biography of the author (max. 150 words) and an abstract (max. 200 words) and five keywords. For submissions, please consult and follow the norms for presentation indicated at Film Journal
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NECSUS general cfp

NECSUS accepts abstract submissions on a rolling basis throughout the year for a wide variety of articles on a number of themes related to media studies but not necessarily connected to a special section topic. These submissions will be considered for the Features section, which opens every journal issue. Articles in the Features section are full-length and subject to double-blind peer review. Please note that we do not accept full manuscripts for consideration without an invitation. Access our submission guidelines at

We are also accepting proposals on a rolling basis throughout the year for festival, exhibition, and book reviews, as well as audiovisual essays. Review articles are medium-length and not subject to peer review. No abstract submission is necessary when proposing review articles.

We look forward to receiving abstracts of 300 words, 3-5 bibliographic references, and a short biography of 100 words at the following address: On the basis of selected abstracts writers will be invited to submit full manuscripts (5,000-7,000 words, revised abstract, 4-5 keywords).

NECSUS is an international journal of media studies connected to NECS (European Network for Cinema and Media Studies) and published by Amsterdam University Press. The journal is multidisciplinary and strives to bring together the best work in the field of media studies across the humanities and social sciences. We aim to publish research that matters and that improves the understanding of media and culture inside and outside the academic community. NECSUS is a gold-level open access journal with no APCs for authors and no paywall for readers. Read more about the journal here:
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Call for Guest Editors - Feminist Media Studies Commentary & Criticism

The editors of Feminist Media Studies’ Commentary & Criticism section are seeking self-nominations from scholars to serve as a guest editor of the section for an upcoming issue in the journal, to be published sometime in 2018.

The Commentary & Criticism section of Feminist Media Studies features timely responses to current issues in feminist media culture, for an international readership. In each issue, the section features 3-5 brief (1000-2000 word) essays on a given theme. The guest editor will be responsible for proposing a theme, circulating a call for submissions, selecting the submitted essays to be developed for publication, and working with authors to bring the selected submissions up to the standards of publication in FMS. The guest editor may also write a substantive introductory essay if they choose. The turnaround time for the Commentary & Criticism section is typically 3 months, from posting of CFP to the issue going into production. The guest editor may work closely via email with the regular Commentary & Criticism co-editors (Susan Berridge and Laura Portwood-Stacer) throughout the process.

We are particularly interested in proposed themes that incorporate issues of race and ethnicity in their framing, and that show the potential to attract a diverse, transnational range of contributions. We will consider proposals from scholars working within the academy, alt-ac and post-ac scholars, precarious and independent scholars, and advanced graduate students. We will also consider proposals from two-person co-editing teams.

To nominate yourself as a guest editor, please send an email with the following information in the body of the email:
-A proposed theme for your guest-edited Commentary & Criticism collection
-A one-paragraph description of the theme that demonstrates its contemporary relevance to the field of feminist media studies and feminism/media culture at large
-A one-paragraph biography that details your qualifications to serve as guest editor, including your research and publication history relevant to the proposed theme

To receive full consideration, please direct your email to both Dr. Susan Berridge ( <>) and Dr. Laura Portwood-Stacer ( <>) by 1 November 2017. Questions and expressions of interest can also be addressed to Drs. Berridge and Portwood-Stacer in advance of the deadline.
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CFP: Transmedia Literacy International Conference (Barcelona)

Transmedia Literacy International Conference - March 22-24, 2018 
Universitat Pompeu Fabra - Barcelona

This event brings together a vibrant and global community of media and education researchers and innovators. The conference is organized as a part of the dissemination activities of the TRANSLITERACY H2020 action <>, a project that involves researchers from Europe, Latin America and Australia. Beyond the paper sessions and the keynotes the *Transmedia Literacy International Conference *will include workshops and short presentations by education innovation leaders. The main objective of the conference is to share research outputs and practices around the following topics:

* /Transmedia literacy/
* /Transmedia education/
* /Transmedia skills and informal learning strategies/
* /Media literacy/
* /Educommunication/
* /Student-generated contents/
* /Collaborative cultures and education/
* /Fan cultures and education/

Transmedia Literacy International Conference will be held at the Universitat Pompeu Fabra – Barcelona, and will feature a series of workshops for teachers as well as two days of paper sessions and a special event around Transmedia Literacy. Please, check our website for more details: <>


* *Proposals submission: October 31, 2017
* *Notifications: December 15, 2017


* With accepted proposals: *from December 15 to February 15, 2017*
* Other participants:* from February 16, 2017*

*Keynote speakers*

* *David Buckingham <> – University of
Loughborough (United Kingdom)*
* *Divina Frau-Meigs <> –* *Université
Sorbonne Nouvelle (France)*
* *Alejandro Piscitelli <>–
Universidad de Buenos Aires (Argentina)*
* Other keynote speakers will be confirmed as soon as possible.


The *Transmedia Literacy Conference* will accept the following formats:

* *Research Papers: *participants must send research papers
(*extension:* 6,000 -8,000 words) before October 31, 2017. The
*Transmedia Literacy International Conference *will accept proposals
tailored to the diverse forms of research in the field of transmedia
literacy, transmedia education, transmedia skills and informal
learning strategies, media literacy, educommunication,
student-generated contents, collaborative cultures and education,
and fan cultures and education.
o Paper parallel sessions will be held on March 22 (afternoon) and
March 23 (morning & afternoon).
o If you are interested in presenting a Research Paper, please
fill and *submit a proposal in English* (download the Paper

to the following email:
<>, clearly
indicating that is a Research Paper proposal in the subject.
Please send a MS Word file (.doc, or .docx); *do not send PDF
o Conference proceedings will only include selected abstracts.
*Authors are free to submit their full papers to other
o *Deadline: October 31, 2017.*

* *Innovative Educational Practices: *participants must send before
October 31, 2017 an extended abstract (*extension*: 1,200-1,500
words) describing a real educational experience in primary/secondary
schools involving transmedia storytelling, collaborative practices
in social media, student-generated contents o any other
educommunicational activity.
o Innovative educational practices sessions will be held on March
22 (afternoon) and March 23 (morning & afternoon).
o If you are interested in presenting an Innovative Educational
Practice, please fill and *submit a proposal in English
*(download the specific guidelines here

to the following email:
<>, clearly
indicating that is an Innovative Educational Practice proposal
in the subject. Please send a MS Word file (.doc, or .docx); *do
not send PDF documents.*
o *Deadline: October 31, 2017.*

* *Workshops: *the *Transmedia Literacy International Conference *will
accept a short number of *workshops oriented to high-school
teachers/professors.* The workshops should be designed for short
groups (no more than 20 people) and the duration should be 4 hours
(240 minutes including a break); they could explore different uses
and experiences around transmedia storytelling and collaborative
cultures in the classroom.
o Workshops will be held on March 23 (morning & afternoon) and,
eventually, on March 24 (morning).
o *Workshops can be in English, Spanish or Catalan (Los talleres
pueden ser en inglés, castellano o catalán / Els tallers poden
ser en anglès, castellà o català).*
+ *English*: If you are interested in organizing a Workshop,
please fill the following* Workshop proposal *(*extension*:
1,500-2,000 words) (download the specific guidelines here

and *submit *it to:
<>, clearly indicating
that is a Workshop proposal in the subject. Please send a MS
Word file (.doc, or .docx); *do not send PDF documents.*
+ *Castellano*: Si estás interesado en organizar un Taller,
por favor completa la siguiente *propuesta* (descargar la

(*extensión*: 1.500-2.000 palabras) y envíala a:
<>, indicando
claramente que es una propuesta de Taller. Por favor, envía
un archivo MS Word (.doc o .docx); *no envíes documentos PDF.*
+ *Catalán*: Si estàs interessat a organitzar un Taller, per
favor completa la següent *proposta* (descarregar la guia

(extensió: 1.500-2.000 paraules) i *envia-la* a:
<>, indicant clarament
que és una proposta de Taller. Per favor, envia un arxiu MS
Word (.doc o .docx); *no enviïs documents PDF.*
o *Deadline: October 31, 2017.*

*Important details*

* This conference is supported by the TRANSLITERACY Project / H2020
Research and Innovation Programme under Grant Agreement No.
645238.* The registration is free and includes coffee breaks.*
* Participants with accepted papers, innovative experiences or
workshops *will have priority for registration*. The registration
will then be opened to other participants.
* All conference rooms will be equipped with standard Wi-Fi broadband
service, PC, Power Point / Adobe PDF software, AV projection, sound,
and VGA adapters. We will not provide additional bandwidth capacity
or provide other special equipment.


*Scientific Committee*

* *Carlos A. Scolari* – Universitat Pompeu Fabra (Spain)
* *Elisenda Ardévol* –Universitat Oberta de Catalunya (Spain)
* *Rosalía Winocur* – Universidad de la República (Uruguay)
* *Gladys Ceretta* – Universidad de la República (Uruguay)
* *Sara Pereira* – Universidade do Minho (Portugal)
* *Raine Koskimaa* – University of Jyväskylä (Finland)
* *Rebecca Enyon* – Oxford Internet Institute (United Kingdom)
* *Simona Tirocchi* – Università degli Studi di Torino (Italy)
* *Carlos Barreneche* – Pontificia Universidad Javeriana (Colombia)
* *Gabriella Taddeo* – Istituto Nazionale Documentazione Innovazione
Ricerca Educativa (Italy)
* *Heather Horst* – University of Sidney (Australia)
* *Sarah Pink* – RMIT University (Australia)

*Organization Committee*

* *Carlos A. Scolari* – Universitat Pompeu Fabra
* *Maria-Jose Masanet* – Universitat Pompeu Fabra
* *Mar Guerrero-Pico* – Universitat Pompeu Fabra
* *María-José Establés* – Universitat Pompeu Fabra
* *Elisenda Ardèvol* – Universitat Oberta de Catalunya
* *Israel Márquez* – Universitat Oberta de Catalunya
* *Débora Lanzeni* – Universitat Oberta de Catalunya
* *Arnau Gifreu* – Universitat de Vic
* *Ruth Contreras* – Universitat de Vic


*Universitat Pompeu Fabra
*Campus of Communication – Poblenou
138 Roc Boronat Street, Barcelona (Spain).

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CFP: Special Issue of Celebrity Studies Journal

Where is the Star?: Special Issue of Celebrity Studies Journal 
(eds. Martin Shingler and Lindsay Sternberg)

The Celebrity Studies Journal is planning a special issue on film stars and stardom, co-edited by Martin Shingler and Lindsay Steenberg. This will explore the current state of celebrity studies and celebrity media culture by focussing specifically on the work of film stars within this arena.

Given accessible platforms such as Instagram and Twitter permitting new forms of celebrity and notoriety, to what extent do film stars remain integral to public perceptions of fame across the globe?

With contemporary transnational media culture in mind, this special issue aims to take stock of the concept of film stardom in relation to celebrity by asking the basic question, ‘where is the star?’

Essays of either 3500-4000 or 7000-8000 are sought that examine how film stars function as celebrities in various parts of the world and transnationally. This includes some studies of individual stars. Other essays might usefully consider theoretical and methodological approaches to film stardom for understanding and investigating how film stars operate within the wider arena of contemporary global celebrity.

If this is of interest to you, please submit an abstract of 250 words and a brief biographic statement to<>by November 3^rd 2017.

We will be in contact with prospective contributors in early December 2017.

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Call for Contributions: "Documentary Film Cultures: Wales" (Edited Collection)

“Documentary Film Cultures: Wales” (Edited Collection)
Professor Elin Haf Gruffydd Jones & Dr Dafydd Sills-Jones, Aberystwyth University
The purpose of this edited collection is to gather together the latest research and opinion on the documentary film culture of Wales, for a book in the new /Documentary Film Cultures/ series from Peter Lang (

Documentary in contemporary Wales has evolved as part of a wider national emergence from a British context, marked by the appointment of Cardiff as Wales’ capital as late as 1955, the launch of a Welsh language broadcaster Sianel 4 Cymru (S4C) in 1982, and the founding of Y Senedd (National Assembly for Wales) following the referendum of 1997. It is closely linked to the British tradition, and especially to the BBC documentary film values of authority, facticity and dominant political discourse. Most of Wales’ documentary output has been produced by televisual broadcasters such as BBC Cymru/Wales, HTV Wales and Sianel 4 Cymru (S4C). This has had a specific and complex effect on the way documentary has presented reality, and projected notions of Welshness.
In recent years, there has been a shift towards a more independent mode of production, with Welsh filmmakers taking their place in an international community of production, co-production and distribution. These shifts include the founding of a national festival of documentary (WIDF), a national guild of documentary makers (DOGFEN Cymru), and new documentary strands developed by S4C, activist documentary production and emergent filmmakers within academia. This book seeks to place this new, emerging, transnational, multi-lingual and aspirational ecosystem next to the older system that gave it life, in an attempt to trace the development of a film culture in a specific instance of small nation cinema dynamics.

This exciting new book from Peter Lang series provides a space for exploring the development of documentary film cultures in the contemporary context. The series takes an ecological approach to the study of documentary funding, production, distribution and consumption by emphasizing the interconnections between these practices and those of other media systems. It thus encourages new ways of understanding documentary films or practices as part of other, wider systems of cultural production.

Therefore, we are looking for contributions on the contemporary documentary culture/ecology of Wales, from any perspective, including:

- Contemporary Production Structures and Cultures
- Historical Background to the Contemporary Scene
- Welsh Language Documentary
- Bilingualism and Documentary in Wales
- Legislative Frameworks and Documentary Output
- Alternative Documentary Aesthetics and Practices
- Activist & Community: Not-For-Profit Documentary
- Welsh Documentary Auteurs
- A ‘Welsh’ Documentary Aesthetic
- Wales And the British documentary tradition
- Transnational Welsh Documentary
- Documentary in the Academy
- Welsh Documentary Audiences
- Welsh Identity and Documentary / Identity and Welsh Documentary
We are open to formats that could include but are not limited to: traditional book chapters (6-7k), short opinion/provocation pieces (2-3K), dialogues and interviews.
December 10th, 2017 - Abstract submission deadlineJanuary 8th – Notification of acceptance
May 2018 – contributions due
May – September 2018 - Peer review / revisions
Publication – late 2018/early 2019

Please email 300 word abstract and 150 word biography to &

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CFP: Framing Space through Architecture and Film

Association for Art History 2018 Annual Conference

Courtauld Institute of Art & King’s College London

5 – 7 April 2018, London

Framing Space through Architecture and Film

Session Convenors:

Jessica Schouela, University of York,

Hannah Paveck, King’s College London,

We experience architecture and film as media of duration that unfold in time. The encounter of an embodied spectator or inhabitant with a film or a dwelling is informed principally by motion and the succession of one frame or screen (architectonic and cinematic) to the next. These two modes of construction investigate into the three dimensional occupancy and representation of space as it relates to both bodies and objects, framed within curated and mediated spaces. Instantiating an experience of space that is far more than visual, architecture and film activate both sound and touch, the latter being a mutual and relational ‘commitment’ of the body and the world (Jennifer Barker).

Adolf Loos famously writes: “it is my greatest pride that the interiors I have created are completely lacking in effect when photographed”. Does film function differently? How have architecture and film represented each other and in which ways do they, either similarly or distinctly, frame or design space? What happens to architecture when it is filmed and how might a building be described in terms of its cinematic qualities (Beatriz Colomina)?

Moreover, how can film and architecture challenge our perceptual habits? Can film convey atmosphere of space and the built environment (Gernot Böhme)? How might the representation of urban versus domestic narratives (i.e. exterior and interior space) through film result in distinct viewing experiences?

This panel explores the mutually informing link between architecture and film in an effort to not only open up the limits of these methods of representation but also to look beyond what typically gets included within the history of art. Proposals may address the relationship between architecture and film through ontological comparisons, the framing and representation of space, and/or the phenomenological experience of mediated spaces.

Please submit your proposal for a 25-minute paper to <> and<> by Monday 6 November 2017. Proposals should include the title of the paper, a 250-word abstract, and a short bibliographical statement.
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CFP - MAI: A Journal of Feminism and Visual Culture

MAI: A Journal of Feminism and Visual Culture is seeking contributions for its first issue. We address a wide range of visual culture (Film and Television, Photography, Art, Sculpture, Performance, Video Games, Comic Books and Graphic Novels, Design, Fashion and Online media) through a feminist lens. We welcome creative, visual and experimental approaches to writing on visual culture from a feminist perspective (indeed the journal has sections dedicated to Video Essays, Creative Response and Feminist Literature). We also welcome reviews of exhibitions and books - especially reappraisals of forgotten or overlooked feminist texts. We also have an interview or dialogue section open to conversation and exchange with activists and practitioners.

We hope to publish our first issue in January and thereafter have special issues lined up on imaging queer sex, female authorship and television.

Please do get in touch with Anna Backman Rogers and Anna Misiak, the journal's co-editors in chief and founders if you have ideas and writing you would like to contribute to this feminst conversation at and/or

MAI aims to be intersectional in its approach to visual culture and is open to and encourages LGBTQI and BME writers especially.

With best wishes,
ABR and AM.

Selected Publications:

American Independent Cinema: Rites of Passage and The Crisis Image (EUP 2015)

Feminisms, co-edited with Laura Mulvey (AUP 2015)

Sofia Coppola: The Politics of Visual Pleasure (Berghahn 2017)

Female Authorship and the Documentary Image: Theory, Practice and Aesthetics, co-edited with Boel Ulfsdotter (EUP 2017)

Female Agency and  Documentary Strategies: Subjectivities, Identity, and Activism,  co-edited with Boel Ulfsdotter (EUP 2017)

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CFP Alphaville Issue 16: Queer Media Temporalities

Alphaville - Issue 16 (Winter 2018)
Queer Media Temporalities

Issue Editors: Maria Pramaggiore and Páraic Kerrigan

This special issue of Alphaville invites papers that address the queer potentials of time-based film and screen media, with a particular interest in exploring temporalities that inform, or are invoked or generated by, texts and practices of queer media history and historiography.

Read the full CFP here: < Call for Papers_final.pdf>

Abstracts by 10 December 2017. Essays by 1 May 2018.

Send submissions to: <>
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CFP Trípodos - Spanish film noir, the thriller and the crime genre in Spain. A historical perspective


< <>

Editors: José Luis López Sangüesa (Universidad Complutense de Madrid, Spain) and Rubén Higueras Flores (Universidad Complutense de Madrid, Spain)

Deadline for receiving papers: 16/10/2017

Much of the wealth of Spanish cinema lies in the fact that it consists of many popular genres, which enjoy great commercial success but little critical recognition. Film noir and crime are genres which have been either forgotten by the history books or else relegated to a mere footnote in a film history biased in its view. For this reason, this monograph aims to offer a historical perspective of this evocative body of work, from the post-war period to the present day. The commercial success and critical acclaim bestowed on some recent feature films belonging to the genre attest to the timeliness of this monograph, which we consider of great interest to film historians and researchers and academics in the fields of History of Art and Communications Studies.

Lines of study

* Spanish post-war detective film (1940-1949).
* Spanish noir of the fifties.
* Spanish crime film under the policies of García Escudero and Robles Piquer (1960-1968).
* Spanish thriller (1969-1983)
* Contemporary Spanish thriller.
* Auteurship in film noir and the Spanish thriller.

Papers should be sent by the 16th October 2017. In order to submit original papers, authors must be registered with the journal (<>) as authors. Following this step, authors must enter their user name and password, activated in the process of registering, and begin the submission process. In step 1, they must select the section “Monograph”.

Rules and instructions regarding the submission of originals can be downloaded at <>. For any queries, please contact the editorial team of the journal at <>.

Trípodos is a international scholarly journal published by the Blanquerna School of Communication and International Relations at Ramon Llull University. Since 1996, the pages of this biannual publication have offered a forum for debate and critical discussion with regard to any discipline related to the world of communication: journalism, cinema, television, radio, advertising, public relations, the Internet, etc.


- Occupies the 5th position in the IN-RECS index (2011 edition).
- Is in category C of the CIRC classification (Integrated Classification of Scientific Journals).
- Is indexed in the databases and catalogs: ESCI (Emerging Sources Citation Index), Ulrich’s periodicals directory, EBSCO Publishing, Communication Source, DOAJ (Directory of Open Access Journals), ERIH PLUS, ISOC, DICE, MIAR, Latindex, Dulcinea, REBID, Library of Congress, British Library, COPAC, SUDOC, ZDB, OCLC WorldCat, Dialnet, Carhus Plus+, RACO, among others.
- Has an H index of 6 in Google Scholar Metrics (2008-2011). Occupies the 7th position in the Communication category.

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Conferência de Ciência e Artes dos Videojogos
Junte-se a nós nos dias 23 e 24 de Novembro para a Conferência de Ciência e Artes dos Videojogos. Este evento pretende aliar as contribuições da academia e da indústria, para estabelecer um campo comum no estudo dos jogos. A conferência será organizada pela Universidade Lusófona de Humanidades e Tecnologias e pela Sociedade Portuguesa de Ciência dos Videojogos (SPCV). O seu principal objetivo está relacionado com a promoção da cultura científica, da investigação e da indústria dos videojogos em Portugal, enfatizando diferentes áreas:
Arte, Estética e Design de Jogos Digitais
Desenvolvimento de Jogos
Aprendizagem baseada em jogos
Imersão e presença nos videojogos

A Conferência de Ciência e Artes dos Videojogos terá lugar na Universidade Lusófona de Humanidades e Tecnologias - Lisboa, e contará com alguns dos mais proeminentes trabalhos de investigação na área, bem como alguns dos mais relevantes keynote speakers.

Submissão de artigos: 15 de Outubro de 2017
Notificação de aceitação: 5 de Novembro de 2017

Mais informação aqui:

Join us on November 23-24, 2017, for the Conference of Science and Arts of Video Games. This event aims to bring the contributions of the academy and industry together, to establish a common ground in game studies. The conference is organized by the Universidade Lusófona de Humanidades e Tecnologias and the Portuguese Society for Videogames Sciences (SPCV). The main objective of this conference is to promote the scientific culture, research and the video game industry in Portugal, emphasizing several different subjects:
Art, Aesthetics and Design of Digital Games
Game Studies
Game Development
Game-based Learning
Immersion and Presence in Videogames

The Conference of Science and Arts of Video Games will be held at the Universidade Lusófona de Humanidades e Tecnologias – Lisbon, and will feature the most prominent research works in the field, with some of the most relevant keynote speakers. We hope you can join us!

Proposals submission: October 15, 2017
Notification of acceptance: November 5, 2017

More information here:​
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Curso de Doutoramento em Estudos Contemporâneos - fase extraordinária
O Centro de Estudos Interdisciplinares do Século XX da Universidade de Coimbra - CEIS20 integra a rede de unidades de investigação financiadas e avaliadas pela Fundação para a Ciência e a Tecnologia - FCT. No âmbito do Instituto de Investigação Interdisciplinar da Universidade de Coimbra - III da UC, assegura, no ano letivo de 2017/2018, a sétima edição do Curso de 3º Ciclo em Estudos Contemporâneos.

Trata-se de um Curso de Doutoramento de quatro anos (240 ECTS) que visa promover investigação científica de elevada qualidade sobre as sociedades contemporâneas. Os projetos de doutoramento terão uma natureza interdisciplinar ‒­ a partir da história contemporânea, dos estudos europeus e relações internacionais, estudos artísticos, ciências da comunicação, ciências da educação e história das ciências da saúde – e uma natureza comparativa.

Recordamos que decorrerá, de 15 a 31 de outubro de 2017, a fase extraordinária de candidaturas.

Para mais informações, ver e Para respostas mais direcionadas, contactar
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Call for Papers: Women and New Hollywood

Maynooth University, Ireland

29-30 May 2018

Recent decades have witnessed no shortage of critical or academic writing on the industrial upheaval and creative innovations of New Hollywood (1967-80). But as scholarship has shaped the era, it has done so around a very narrow set of concerns, the overriding one casting New Hollywood as an era of great directors, which, by default, has meant an era of “great men.” Such a vision relies on the kind of identification of creativity with masculinity that Geneviève Sellier has discussed in relation to the French New Wave, and its construction has required a marginalisation, erasure even, of the creative labour of countless women practitioners.

In reality, the late ‘60s and ‘70s saw women begin to re-enter Hollywood production in numbers never before seen. While achieving nothing close to real parity, women nevertheless wrote, edited, designed, and produced many of the era’s most influential films. Most of these contributions have been, at best, paid lip service, but more often overlooked almost completely.

For example, one of New Hollywood’s iconic films, /Bonnie and Clyde/, is regularly recognized for its innovative editing – Dede Allen arguably changed the style of Hollywood filmmaking forever. And yet, Allen is marginalised within discourses that discount women’s contributions and privilege the roles of men like Arthur Penn and Warren Beatty.

Media Studies at Maynooth University and the Irish Research Council are happy to announce the conference Women and New Hollywood, to be held at Maynooth Unversity on 29-30 May, 2018.

The conference will endeavour to excavate and reassess the various roles that women’s creative labour played in shaping the New Hollywood era across all facets of production and within the broader cultural context. We hope to challenge the dominant discourse around New Hollywood, which is, among other things, heavily gendered in its bias towards a creativity, an innovation, and a labour that continue to be framed as almost entirely male.

To that end we invite proposals on any aspect of Women and New Hollywood, including but not limited to:

* women practitioners – analysing the work of specific editors,
designers, directors, writers, producers, etc.;
* how the work of particular women of the ‘70s has influenced later
Hollywood filmmakers;
* actors behind the camera;
* women in charge – charting the rise of the first wave of women
executives and studio heads and their influence on later eras of
* the relationship between women in production and women’s
representation on screen;
* women’s film criticism during the era;
* women, New Hollywood, and second-wave feminism;
* historiography & institutional memory – how contemporary
institutions such as publishers, archives, or film studies
departments perpetuate or challenge the marginalisation of New
Hollywood women;
* theorizing the ‘70s – through a contemporary lens or by revisiting
‘70s feminist theory.

Furthermore, while the main topic of the conference is Hollywood filmmaking, we recognize that artistic women have often been impelled to work across creative spheres. So we are also open to proposals on the following, especially where links can be made to the conference’s main topic:

* independent women filmmakers;
* women in television;
* women working in other national film industries.
We are accepting submissions for individual papers or pre-constituted panels of three papers each. In either case, please include abstracts of no more than 300 words and brief biographies for each presenter (100 words). Pre-constituted panels should also include a brief rationale statement (250 words). In keeping with the spirit of the conference, we would like to discourage all-male panels. Proposals should be submitted in one email to by 20 December 2017. Participants will be notified by the selection committee before the end of January 2018.

Further queries can be directed to the email address above or to one of the conference organizers: Aaron Hunter ( or Martha Shearer (

Maynooth is a university town, located approximately 30 minutes by train from Dublin city centre. It is home to a historic castle, the Duke of Leinster’s former estate, and lively pubs and restaurants. Accommodation will be available on campus and in local hotels.
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Call for chapters - Cinema of Crisis: Film and Contemporary Europe

Now more than ever, the idea of Europe as grounded in a shared cultural heritage cannot be taken for granted. For all its diversity, complexity and internal tensions, Europe remains a powerful economic and political superstate. But it is one in crisis, where the postwar social democratic consensus has collapsed, the failings of neoliberalism have led to widespread austerity, and extremism, xenophobia and racism are on the rise.

This collection of original essays will consider filmmakers’ engagements with pressing issues of the moment via popular genres, documentary, art cinema, experimental film, intermedia work and gallery installations.

We invite contributions that focus on creative responses to topics such as:

- Political upheaval (politics as morality; ‘de-democratisation’; 
- the rise of nativist, nationalist, and racist groupings; 
- failures of the centre left; 
- reinventing politics and the return of the left; 
- Brexit and its ramifications; Trump and Europe)
- Economics (austerity and its affects;labour conditions and the ‘gig economy’; 
- precarity; 
- class, gender and inequality under neoliberalism; 
- the continued hollowing out of manufacturing; 
- privatisation and the erosion of the welfare state; 
- automation anxiety
- Society inequality; 
- the scapegoating of immigrants and the poor; 
- zoning and social exclusion; polarisation along generational / regional / ethnic / gender / cultural and class lines; 
- Fortress Europe and the migrant / refugee ‘crisis’; 
- environmental pressures; 
- post-war history, memorialisation and memory disputes; 
- security threats and discourses (states of emergency; 
- fear, insecurity, surveillance; 
- cyber attacks; 
- terrorism, etc.

Please send 300 word proposals to both Thomas Austin and Angelos Koutsourakis by November 30, 2017.

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CFP: The Films of John Hughes (Refocus Series)

Series Editors: Gary D Rhodes, Robert Singer

Editors: Timothy Shary, Frances Smith

The films of writer, director, and producer, John Hughes, have enjoyed popular and critical success. With Sixteen Candles (1984), The Breakfast Club (1985), Weird Science (1985), Ferris Bueller’s Day Off (1986), and /Pretty in Pink (1986), Hughes portrayed mercurial suburban adolescence in America. In doing so, he was responsible for bringing to the fore a whole new troupe of actors, dubbed The Brat Pack, which included Molly Ringwald, Matthew Broderick, Emilio Estevez, and Andrew McCarthy. Despite the lasting success of Hughes’ teen output, it was his move into mainstream comedy that secured his greatest commercial successes with hits like /Planes, Trains and Automobiles (1987), Uncle Buck (1989), Home Alone (Chris Columbus, 1990), and 101 Dalmatians (Stephen Herek, 1996).

Since Hughes’ death in 2009, there has been a growing appreciation of his work, and particularly of his teen output. Contemporary nostalgia for the 1980s has played a role, in works such as Easy A (Will Gluck, 2010), Pitch Perfect (Jason Moore, 2012), The Edge of Seventeen (Kelly Fremon Craig,2016), and Permanent (Collette Burson, 2017). Yet Hughes also deserves to be considered as an independent filmmaker, who eschewed the calls of Hollywood to film in his native Midwest (particularly Chicago). To be sure, Hughes’ films remain relevant and are well remembered. However, despite his popular appreciation and the sporadic commentary about his movies, there has to date been no scholarly volume dedicated to the discussion of his work as a whole.

This anthology seeks to address this gap in scholarship, and will be published by Edinburgh University Press in 2019 as part of the /Refocus/ series, which has included books on Amy Heckerling, Delmer Daves, and Preston Sturges. Edited by Dr. Gary D Rhodes and Dr. Robert Singer, this series is dedicated to examining the work of overlooked filmmakers. We are seeking proposals of 500 words, plus a biography of 100 words, for essays to be included in the book. Completed essays should be between 6500 and 8000 words and follow the Chicago endnote referencing style. We are open to proposals on all aspects of John Hughes’ work. Essays may focus on individual works, or on recurrent themes throughout his oeuvre.

Contributions are particularly welcome, but by no means limited to, the following areas:

• Hughes and teen cinema
• The American family in Hughes’ films
• His early work for /National Lampoon/ movies and TV shows (1979-1985)
• Analysis of individual films (1980-2008)
• Gender and teen comedy
• Topics of class, race, sexuality, or gender across Hughes’ films
• Analyses of individual star performances in his films, e.g.: John Candy, Macaulay Culkin, Molly Ringwald, Anthony Michael Hall
• Hughes’ eight films as director (1984-1991)
• The aesthetic style of Hughes’ work, as writer and/or director
• Hughes as Hollywood producer of family comedies, e.g.: /She’s Having a Baby/ (1988), /Dutch/ (1991), /Dennis the Menace/ (1993), /Flubber/ (1997)
• Midwest geography and culture in his stories
• Use of music in his films, particularly pop hits
• His writing as alter ego Edmond Dantés, including /Beethoven/ (1992), /Maid in Manhattan/ (2002), and /Drillbit Taylor/ (2008)
• Anything connecting his essentially secluded personal life to his work

Proposals should be sent to <>by December 31, 2017. Both editors will review all proposals and respond by January 31, 2018. If successful, essays will need to be completed by September 30, 2018. Please send any enquiries to <>.

With best regards,

Frances Smith and Timothy Shary
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CFP: 23rd International Bremen Film Conference

23rd International Bremen Film Conference – April 25th 29th , 2018

Call for Papers: Cinema Crossing Borders

Since its invention, cinema has been exploring the practice of creating and identifying borders, including: geographical borders, national borders, the abolition of borders and the construction of walls to delimitate borders. However, despite the existence of borders, films have travelled and continue to travel around the world: in former times through classic trade routes to cinema theatres and film festivals but nowadays also as digital information. The cinema’s narratives, as well as the journeys of the films themselves, represent and describe national boundaries as products of a political, social and aesthetic practice that culturally changes. Following contemporary studies on migration and cinema, cinema in exile and diaspora, as well as in the context of interdisciplinary border studies, the 23rd Bremen International Film Conference invites international experts to reflect on “Cinema Crossing Borders” as practices of border and cross-border cinema.

The concept of cross-border cinema is linked to specific characters: vagabonds, migrants, merchants, tourists or terrorists – but also to far less defined and less related phenomena – such as “strangers” or “aliens”. Cross-border cinema is only seemingly anchored to classic genres – such as: road movie, western, war film and science fiction; or to contemporary forms, including: postcolonial and transnational cinema, multicultural cinema etc.As a genuine portrayal of movement, cross-border cinema encompasses all of these genres – including Hollywood cinema, documentary film, essay film, animation, etc. From its origins to the present, cinema seems to be a predestined medium for staging and transcending border transitions but also it allows participation in border practices, shaping and reshaping them.

Cinema has, since its beginnings, become a key part of the global economy, as well as of colonialism and of the appropriation of the world through images, audio-visual documents and productions. Films are themselves specific products of the global trade, they tell of their own border crossings, rendering them visible and audible, thus contributing to border negotiations. International co-productions, festivals and distribution channels are a proof of this. Furthermore, the theoretical and historical discourses also shape and reflect the overcoming of national-state boundaries as the object of cinematic creation, as well as its context in a globalised world. These discourses include, for example, historical considerations of the possibility for a cinematographic universal language, concepts for multilingual film productions, but also research into exile. From a more contemporary perspective, these discourses include cinema and migration and cinema of diaspora which explicitly address the above developments.

Abstracts are invited on topics related, but not limited to:

- Cinema and migration
- Cinema in exile and diaspora
- Transnational cinema
- Colonial and postcolonial cinema
- Genre and boundaries
- “Disorientation”: lack of border/grey zones
- The European crisis
- Border between USA and Mexico
- Comparative approaches to the representation of boundaries in films
- Multilingualism in the film / International distribution
- Limits and cultural identity. Race and Identity
- New Media Formats and borders: Virtual Reality / Network Projects

The 23rd International Bremen Film Conference aims to explore all the varieties of analytical approaches to “Cinema Crossing Borders” and to enhance the debate/discussion on how cinema forms and informs our idea of borders. Furthermore, it will also facilitate the analysis of critical and affirmative audio-visual productions as discourses on borders. The 23rd International Bremen Film Conference offers a platform for interdisciplinary exchange on border narratives and representations on screen. The conference will combine talks, panel discussions, film screenings, and Q&As with artists, and will take place from April 25th to 29th, 2018 at Bremen’s communal cinema CITY 46. Abstracts for papers that address the above topic with an interdisciplinary and film-theory approach are welcome. If you wish to participate in the 23^rd International Bremen Film Conference please submit an abstract (2000 characters) with a short curriculum vitae in German or English by October 1st 2017. A small travel allowance may be granted but funds are limited.

Contact: Rasmus Greiner /
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Call for papers - Pornography: Margins and Extremes

FilmForum 2018
XVI Gorizia International Film Studies Spring School / Porn Studies Strand
March 3rd-7th 2018

Deadline for submissions: October, 25th 2017Address questions and proposals to: <>,<>, <>, <>

In the 2018 edition of the Gorizia Spring School, the main objective of the Porn Studies section is to explore the margins and extremes of pornography in contemporary mediasphere, as well as in its historical developments.

The notions of margin and marginality may refer to “the place of repressed or subordinated textual meanings” (Brooker 2003: 152), but also to the specific position of non-mainstream intellectuals, subjects and social groups. In this sense, margin(ality) can either be a place of alienation, social exclusion, and normative oppression or a “space of radical openness” and a “position and place of resistance” (hooks 2015 [1989]: 228, 231; see also: Walker 1999), from which it is possible to re-articulate dominant discourses and produce new meanings and interpretative perspectives. At the same time, extremities and extremes can be understood in Foucauldian terms as places in which power becomes “capillary” (Foucault 1980: 39) and productive – that is where power is materialized in actual practices and produces real effects (Colucci 2004: 128) on bodies and subjectivities.

In our view, pornography can be understood as both a margin and an extreme of mainstream culture. In this perspective, it represents one of the places in which normative discourses and power dynamics are at their most visible and effective; on the other hand, however, pornography can sometimes be seen as the space of production of counter-discourses that might disrupt dominant perceptions and beliefs about gender, sexuality and the body.

With this in mind, we aim to analyse the repressed or subordinated textual and social meanings that characterize (or, conversely, that are produced by) pornography in its different historical and geographical forms, as well as to investigate the micro-politics of power at play in pornographic media and representations and their possible subversive re-articulations.

We invite proposals that explore, but are not restricted to, the following areas:

– Extreme pornography, extreme bodies, extreme representations
– Body modifications, aesthetic surgery and the re-conceptualization of aesthetic standards
– Marginal groups, identities, subjectivities in pornography
– Lives “at the margins”: performers, directors and producers’ biographies
– Marginal celebrities: the meaning of pornographic stardom in the wider context of celebrity culture
– Niche pornographic genres and consumption practices
– Marginal technologies of pornography: dismissed devices, obsolete media, outdated representations
– Marginal economies of pornography: small and independent studios, local businesses, memories of pornographic consumption
– At the margins of the city: movie theatres, arcades, sex shops as places of consumption and socialization
– Marginal pornographic industries and non-US productions
– Legal controversies, censorship, regulation
– Political debates on pornography: stigma and social scapegoating or liberation and empowerment
– Media discourses on pornography
– Mainstream representations of pornography (in film, television, press)

We invite you to send us proposals for papers or panels. The deadline for their submission is October, 25th 2017.

Proposals should not exceed one page in length. Please make sure to attach a short CV (10 lines max). A registration fee (€ 150) will be applied.

Address questions and proposals to: <>,<>, <>, <>
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CFP: film and literature, the Portuguese context


13 and 14 November 2017, King’s College London

The theme of literary adaptation to the screen has always been a great academic catalyst, appealing to various disciplines, from film, to literary, to post-colonial, to translation, and to media and communication studies. Indeed, this broad spectrum of interest has made for very productive and multidisciplinary research. /Letters from War/, by film director Ivo Ferreira, a recent adaptation from the homonymous novel by writer António Lobo Antunes, has highlighted how film adaptations of literary works can lead to very distinct theoretical readings. For this discussion, it is important to bring to the forefront two distinct schools of thought: on one hand, such key authors as André Bazin and Joy Boyoum, who advocate a screen adaptation that is “true” to the work it is inspired by; and, on the other, theoreticians and film critics such as Neil Sinyard, Patrick Cattrysse, Henry Bacon, Jeanne-Marie Clerc and Monique Carcaud-Macaire, who defend the film work as a new object in its own right. In this context, it is relevant to mention the nuances and variations in artistic meaning created by the film adaptation of international literature. Such as in the work of Portuguese filmmaker João Botelho, who has adapted both Charles Dickens’ /Hard Times/ and Fernando Pessoa’s /B//ook of Disquiet/. Or Michel Van der Aa, who has also adapted Fernando Pessoa’s /Book of Disquiet/. Or the adaptation of José Saramago’s oeuvre by several international filmmakers. Can we read the impact of nationality in film adaptation? In this dialogue around film and literature, it is also crucial to investigate the indents film has been making on Portuguese literature. Can we trace how and to what extent the cinema has influenced Portuguese literary works? And can we speak of a film-centric Portuguese literary period or school? This conference will focus on the challenges, possibilities and multidisciplinary aspects arising from and related to the field of interaction between literature and film in a Portuguese context.

Guest speakers: João Botelho, Margarida Gil

Call for papers We welcome proposals for papers and presentations that explore
the following themes from a broad range of viewpoints and
approaches, by researchers and practitioners, as well as by
practice-based researchers.

Submissions may focus on, but are not limited to, the following topics:

• The relationship between the book, time and film.

• Film influences in Portuguese literature.

• Fidelity to literary works versus the creation of new independent film works.

• The imagined audience. The reasons for literary adaptation.

• How do book adaptations engage cinema goers and on what levels?

• From ‘text' to film: the aura of the writer.

• Portuguese literature’s influence in and translation to the visual arts.

Scholars and researchers from all related academic and practice-based fields and are invited to submit proposals.

The conference will be held in English.

Submission deadline: Friday 15 September 2017.

Participants will be notified by Friday 29 September 2017

Scholars and researchers wishing to submit a proposal for a paper presentation of 20 minutes (max.) are required to provide their name, email address, the title of the paper, an abstract (300-350 words), 5 key bibliographical references, 5 keywords and a short biography (100-150 words) to the following email: / <>


Centre for Portuguese Language and Culture (King´s College, London) and Utopia - UK Portuguese Film Festival

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Call for Chapters - Book: "Shared Emotions: Children's World & Cinema"

Shared Emotions: Children’s World & Cinema.

Editors: Maria Irene Aparício, Ph.D; Dina Mendonça Ph.D, Stefanie Baumann Ph.D; Susana Mouzinho Ph.D candidate
Faculdade de Ciências Sociais e Humanas - New University Lisbon

We are opening a call for papers for contributions for an edited volume on Children’s Cinema and Philosophy entitled Shared Emotions: Children’s World & Cinema.

The field of Cinema and Philosophy is a growing field of research and it has been the subject of several thematic volumes both edited and monographic. Often, those publications remain open to diversified aspects and approaches. Contrary to this, the present volume is concerned with a simultaneously circumscribed and manifold figure: that of the child and his or her particular experiences and ways of understanding the world, as shown through cinema. The idea is to assemble heterogeneous approaches on the way in which we grow up with cinema, how cinema forges our ways of perceiving and conceiving the world and how imaginary constructions associated with infancy are performed through cinema.
Predicted possible topics include, but are not limited to:

- Children’s experiences and their epistemological and political impact
- Pedagogy and its other: approaching children from an adult’s perspective
- Nietzschean, Bejaminian, Deleuzian or other philosophers’ approaches to childhood and their cinematic reflection
- Perception, Knowledge and Recognition
- The Meaning of Shared Values
- Growth, Aggression and Violence
- Strong affects: On Laughing and Crying at the Cinema
- Transformation and mimesis

We welcome approaches from different philosophical and film theory perspectives, as well as approaches related to other scientific areas and subjects beyond philosophy and film theory while holding philosophical and film theoretical insights.

Submission: Please send your abstract (up to 500 words) and a short CV (for each author/co-author) to <>, by October 15th, 2017.

The notification of acceptance will be on November 15th.

Full articles should be between 5000 and 8000 words, and follow Chicago Style. They are due on January 30th 2018.
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