Aniki 8.1
Festivais de cinema e os seus contextos socioculturais
Este Dossiê Temático é coordenado por Aida Vallejo (Universidade do País Basco) e Tânia Leão (Universidade do Porto - Instituto de Sociologia).

Os ensaios submetidos podem incluir, embora não exclusivamente, os seguintes tópicos:
- História do cinema e festivais de cinema
- Estudos de públicos
- Características e dinâmica do trabalho cultural em festivais de cinema
- Festivais de cinema como espaços de trabalho em rede
- Impacto social de festivais de cinema, construção de comunidades e ativismo
- Festivais de cinema e política
- Estudos urbanos e festivais de cinema
- Políticas de programação e práticas de curadoria
- Festivais de cinema e cinemas nacionais ou movimentos de filmes
- Línguas e culturas não hegemónicas e festivais de cinema

Chamada de Trabalhos/ Call for Papers / Llamada de Trabajos > https://aim.org.pt/ojs/index.php/revista/announcement/view/50



O prazo para submeter os artigos termina a 15 de julho de 2020.


Todos os artigos recebidos serão sujeitos a um processo de seleção e revisão cega por pares.


Antes de submeter o seu artigo completo, consulte aqui as Políticas de Secção, as Instruções para Autores e a Política de Revisão por Pares.

Para submeter uma proposta, por favor clique aqui.

Spring Seminar 2020
Revolution & Cinema
May 7-8th 2020

Call for Papers: February 1, 2020

Confirmed speakers & artists:
Ângela Ferreira
Ros Gray
Maria do Carmo Piçarra
Isabel Capeloa Gil
June Givanni (tbc)
Billy Woodberry

The fields of cinema and contemporary visual arts have been positioned, in recent years, from the perspective of recovering a historical memory of the colonized peoples. This recovery has been made either by the use of images or by the recovery of films produced by native filmmakers and artists (recovered from the archives), allowing the uncovering of their own imaginary, much built from the revolutions after the departure of the western countries.

The academy itself has produced a series of books and texts that aim to document and think these archives, as well as these national cinemas and artistic objects, giving them a place of visibility, contradicting established canons of cinema and its western worldview. At the Spring Seminar, Professor Ros Gray's book Cinemas of the Mozambican Revolution will be launched, which traces the history of the INC (Mozambican film institute) and the cinema made by Mozambican militant filmmakers.

In this seminar, we intend to discuss this recovery, either from this silenced history of a national cinema and/or art of the colonized peoples or from Western artists and filmmakers who work on this legacy from a postcolonial perspective.


Papers discussing the following topics will be accepted:

Postcolonial legacy in film and visual arts

Decolonization movements and their relationship with cinema and the visual arts

The third cinema

Decolonization of film and art histories

Collective forms of film and artistic production

The role of political cinema

Activist art or the relationship of art to politics

Other ways of thinking about cinema as a revolutionary artistic form

+ info: http://artes.porto.ucp.pt/springseminar



Submissions must be sent to springseminar.arts@porto.ucp.pt in a Word document containing the following information:

Title;

Authors’ names, affiliation and contact information;

Abstract (250-300 words);

3-5 keywords;

Authors’ short bio (100 words max.).

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

Queer Representation: Pasts, Presents,
Futures conference.

When: May 21st - 22nd 2020
The Institute for Advanced Studies in the Humanities, University of
Edinburgh

Keynote Speaker: Prof Richard Dyer (King's College London)

This conference aims to examine how LGBTQ representation has changed
through time, continues to evolve in the present, and what role it might
play in the future. It draws on recent developments in queer on-screen
representation - ranging from the increased focus on transgender and
queer of colour protagonists in series such as Pose (2018, FX-),
Transparent (2014-2019, Amazon Prime), Vida (2018-, Starz) and Orange is
the New Black (2013-2019, Netflix), to depictions of queer characters in
children’s programmes such as Cartoon Network’s Steven Universe (2013-)
- in order to trace how LGBTQ media comments on both the current state
of queer rights, as well as the possibility of queer futurity (Edelman
2004; Muñoz 2009). At the same time, it builds on work done on queer
archives and histories (Cvetkovich 2003; Castiglia and Reed 2012; Dunn
2016; De Kosnik 2016) in order to question how queer lives were once
commemorated, how these memories live on, and how representation has
changed from then to now.

We invite presentations on queer art, film, television, and literature,
as well as social media and digital scholarship. The conference will
work to represent a multiplicity of queer experiences, spanning
divergent historical and geographical areas of representation, as well
as the plurality of ideas of what it means to identify as queer today,
and what this identification might look like in the future. We build
here on work looking at the evolution of LGBTQ representation in diverse
contexts, as well as notions of transnational queer representation
(Schoonover and Galt 2016) and regionality (Yue 2014; Chiang and Wong
2016). With our inclusive focus on transmedia representations of
queerness, we hope to examine narratives of sex, identity, politics,
family and gender across a broad range of contexts, mediums and
artforms. We ask how queer representation has changed, what versions of
queerness we remember today, and how that can manifest in our hopes or
fears for the future. Through investigating which narratives of
queerness persist, and how representational patterns have changed, we
hope we may learn about creative spaces in which queerness can thrive.

We invite abstracts dealing with different examples of LGBTQ
representation, as well as presentations which analyse the overall
evolution of queer representation in specific mediums and contexts.
Topics may include but are not limited to:


* the evolution of queer on-screen representation in film,
television, literature, gaming, etc.
* different regional and national representations of queerness
* the past, present and future of queer intersectionality
* representations of queer histories and memory
* queer adaptation
* queer representation in different countries and contexts
* different conceptualisations of what it means to represent queerness
* The evolutions of homonormativity and homonationalism
* queer futurity and the future of queer representation

Organisers: Dr Anamarija Horvat
(anamarija.horvat@ed.ac.uk<mailto:anamarija.horvat@ed.ac.uk>) and Dr
Alice Kelly (Alice.kelly@ed.ac.uk<mailto:Alice.kelly@ed.ac.uk>)

To submit an abstract (200-300 words), please contact us by March 20th
2020 at
queerrep.conference@gmail.com<mailto:queerrep.conference@gmail.com>. We
offer a small amount of travel bursaries to assist presenters who are
students/unwaged/low-waged. If you would like to be considered for these
please indicate so when submitting an abstract. Web page:
https://www.iash.ed.ac.uk/news/call-papers-queer-representation-pasts-presents-futures

The conference will take place in the Old College at the University of
Edinburgh, which is fully accessible.

(Don’t) Look Back: Our Nostalgia for Horror and Slasher Films

Editors: Karrȧ Shimabukuro and Wickham Clayton

On first consideration it may not seem like “nostalgia” and horror and
slasher films have any clear connections. Usually nostalgia is applied
to events and experiences that have a pleasant connotation, even if
these pleasant feelings are a result of a rose-tinted view of the past.
While nostalgia can refer to personal feelings as well as larger
communal or cultural memory and pleasure, there is also an implied
action to it- that someone is seeking to reclaim, or revisit a specific
time period or place for an explicit reason. Applying this understanding
to remakes, revisions, reimaginings helps us understand what the purpose
of these reworked creations are, the work they’re doing, and how they
build on and expand on an already understood and accepted set of
narratives, tropes, characters, and beliefs.

Since the national and global trauma of 9/11 we have seen dozens of
remakes, reboots, revisions, and reimaginings of horror and slasher
films from the 1970s and 80s. Each work seeks to capture some element of
the original- the simple understanding of good and evil, the audience
reaction to scares, an aesthetic homage, the commercial popularity. If
we shift our perspective to view these films through the lens of
nostalgia, we can see that many of these narratives are grounded in
trauma, the performance of it, the aftermath, how people survive and
later work through it. Whether it is a movie, mini-series, television
show, or video game, these remakes can be organized according to several
subtopics that perform different work within the media and reflect
different fears, anxieties, and desires of a specific historical and
cultural moment, although the argument could be made that some texts
belong in a variety of categories, and there is noticeable overlap.

Movies such as Carrie (2013) , Prom Night (2008), The Fog (2005),
Piranha (2010), and Piranha 3DD (2012), My Bloody Valentine 3D (2009),
Friday the 13th (2009), Predators (2010), The Predator (2018), and
Fright Night (2011) as well as the television show Ash vs. Evil Dead
(2015-2018) all seek to recapture the pleasant memories either of the
creator upon their first exposure, or the often initial teenage
experience of the audience. It’s also worth noting remakes that seek to
capture this feeling and audience reception but fail as is the case with
Pet Semetary (2019) and Prometheus (2012) and Alien: Covenant (2017) or
remakes of films that were considered cult classics, or lacked the
recognition of many of these titles such as Sorority Row (2009). While
many of these movies have trauma as their inciting incident, or
backstory, films such as The Hills Have Eyes (2006), Texas Chainsaw
Massacre (2003), Amityville Horror (2005), and The Thing (2011),
explicitly deal with trauma in their narratives. A large number of
remakes seek to correct or revise perceived errors, erasures, or
missteps in the original source material. Certainly this is true in The
Shining (1997 mini-series), The Stand (1994 and in production 2020), The
Last House on the Left (2009), Straw Dogs (2011), Suspiria (2018), and
Nightmare on Elm Street (2010). Some texts like The Haunting of Hill
House (2018-present) begin as a revisionbut ultimately go deeper,
seeking to uncover a narrative within the source material. With the
explosion of streaming services, alternative storytelling, and
multimedia narratives, we’re seeing more and more adaptations that use
horror or slasher narratives as their foundation but create their own
stories from them. Bates Motel (2013-2017), The Exorcist (2016-2018),
Doctor Sleep (2019), Castle Rock (2018-present), The Conjuring (2013),
and Hannibal (2013-2015) all fit this category.

This edited collection would seek contributions that view these and
other texts through this lens of nostalgia, how these remakes, reboots,
revisions, and reimagings are the vehicle for the anxieties and concerns
of a particular moment, and what work they are doing. We’re particularly
interested in contributions that analyze texts that interact with the
source material in new and interesting ways, deconstruct tropes and
styles innate to these genres, as well as the application of adaptation
and fan studies to these works. The editors are accepting proposals for
chapters focusing on nostalgia in horror after 9/11. Topics for
contributions, focused through a lens of nostalgia, can address, but are
not limited to:

Case studies that relate to nostalgia as:
- Trauma
- Revision/Rewriting
- Recapturing past pleasure
- Using past forms to fill new concerns
Theoretical approaches to understanding horror and trauma
Understanding socio-political and economic cultural contexts
Pleasures of horror nostalgia post- 9/11
Slashers, subtexts, and tonal intensification
Paranormal embodiments of contemporary fears


Proposals should be submitted by 31 March 2020 to Karrá Shimabukuro
khkshimabukuro@gmail.com and Wickham Clayton wickscripts@hotmail.com.
First drafts due 31 December 2020. We welcome questions and expressions
of interest at any stage.

We at Frames Cinema Journal (ISSN 2053-8812) (Department of Film
Studies, University of St Andrews)//are looking to recruit
peer-reviewers for our editorial team.

Established in 2012, /FCJ/is a peer-reviewed, open access, biannual
academic journal which aims to provide a space for cutting-edge research
among scholars of film, media, and screen studies. Each issue of /FCJ
/is themed, and includes original research articles, point-of-view
pieces, film featurettes and scene reviews which correspond to the
issue’s topic. Book reviews and a letter from the editors are also
published in every issue. Visit ourSubmissions
<https://framescinemajournal.com/submissions/>page, for more details.

Each issue of /FCJ/is committed to expanding the boundaries of film
studies by publishing scholarship which is reflective of exciting new
developments in the field.

*Members of the editorial team are required to edit and provide feedback
on 1-2 article submissions per issue.*

*_Requirements for an editorial position:_*

* Must be an ECR or established academic in the field of film and/or
screen studies.


If you are interested in joining the /Frames Cinema Journal /editorial
team, please email Ana Maria Sapountzi and Peize Li
atframesjournal@gmail.com <mailto:framesjournal@gmail.com> expressing
your interest, along with a *150-200 word bio*, by*Friday, February 28,
2020.*