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  • JSTA Current Issue Vol 12 No 2 (2020): Special Issue: On Cinema

    Editorial: On Cinema
    Daniel Ribas; Nuno Crespo, Carlos Sena Caires

    On Cinema
    Counter-Devices of Moving Image: The Werner Nekes Collection
    Maria Mire

    Between the Screen-Sediment and the Shattered Window: The Deconstruction of the Screens Limits and Frames in Moving Image Installations
    Sara Castelo Branco

    Contemporary Cinema and the Logic of the Building The Case of Apichatpong Weerasethakul’s "Loong Boonmee raleuk chat"
    Carlos Natálio

    Image and racism: Racial anthropophagy and the limits of anti-racist and decolonial cultural production in Brazil
    Michelle Sales, Bruno Muniz

    Hallucinating Gonçalo M. Tavares’ "Short Movies"
    Pedro Eiras

    The Film Sound Analysis Framework: A Conceptual tool to Interpret the Cinematic Experience
    Álvaro Barbosa, Kristine Dizon

    Folk Dancing Documentation as a Creative Tool for Video Art
    Yiannis Christidis, Nicos Synnos

    Audiovisual Essays
    Audiovisual essays: unveiling the mystery behind the object
    Carlos Natálio

    Some Visual Thoughts About Perception in 'Rebecca'
    Ricardo Vieira Lisboa

    The Invisible Woman: "Rebecca", after an audiovisual essay by R.V. Lisboa
    José Bértolo

    Situating a Non-Conformist Auteur
    Thomas Austin

  • CFP: creening Censorship: New Histories, Perspectives, and Theories on Film and Screen Censorship

    Ghent, Belgium, October 16-17, 2020

    *UPDATE: Our conference is going ahead, online. We will continue to
    adapt to the changing world. Based on abstract submissions Screening
    Censorship Conference will continue to adjust to circumstances, and
    implement best practices of virtual attendance to ensure the safety and
    comfort of delegates, presenters and attendees. The new deadline for
    abstracts is August 15, 2020. For more information, please contact
    (**daniel.biltereyst@ugent.be <mailto:daniel.biltereyst@ugent.be>**)
    and/or Ernest Mathijs (**ernest.mathijs@ubc.ca

    Throughout the history of film and cinema, censorship has existed
    everywhere–in all kinds of shapes, colors, and dimensions. The act of
    restricting the free production, circulation, screening and consumption
    of movies was never unique to authoritarian regimes. Age restrictions,
    film cuttings, bans, industry discouragements, and other types of
    censorial interventions also occurred in countries where media freedom
    and the freedom of speech were and are highly regarded principles.
    Censorship has had far-reaching implications on filmmakers,
    distributors, exhibitors, and audiences across generations, and across
    genres. Hard, strict institutional censorship often came alongside
    implied or ‘suggested’ forms of soft censorship, including, importantly,
    the self-censorship or audiences disciplined into particular viewership

    Today, soft and hard censorship co-exist in even more fluid forms. The
    acts of banning, regulating, trimming, and tailoring films for
    ‘harmless’ consumption, by bureaucracies, pressure groups and activists,
    are frequently embedded within wider debates about media use. But film
    nonetheless remains a ‘banner issue’, a point of reference for what
    constitutes screen censorship.

    *Keynote participations will be a combination of live, virtual and
    recorded addresses.*

    Academic keynote speakers:

    Professor Richard Maltby (Flinders University, Australia)

    Professor Linda Williams (University of California, Berkeley, USA)

    Professional keynote speakers:

    Manuel Mozos (filmmaker, Portugal)

    Rachel Talalay (film director/producer, US/Canada)

      From the long tradition of investigating film censorship onwards, this
    conference aims at reflecting upon recent changes in policies,
    strategies and practices of film censorship, both in the past and in
    today’s media landscape. Amongst the many questions, this conference asks:

    ·What are film history’s lessons from censorship?

    ·What are the contours of censorship today? //

    ·Is censorship still a useful concept? How has it changed? //

    ·How do new or renewed sensitivities influence censorship today, in
    terms of gender, ethnicity, sexuality, religion, ageism, ableism? //

    ·How do censorships compare, across time, space, genre, and technologies? //

    ·What is the role of social media in debates about censorship? How do we
    define film censorship in times of massive content moderation on social
    media platforms? //

    ·How does film censorship work on different screens: in the theatre, on
    television, on in-flight, mobile, across multitudes of digital screens? //

    ·What are the ‘aesthetics’ of censorship today and what is the function
    of pastiche, subversion, ‘just joking’, and other kinds of
    boundary-challenging work? //

    ·What do recent controversies and provocations reveal about the
    evolution of censorship? //

    ·What is the relationship between incidents and interventions in
    production culture, artistic integrity, and censorship?//

    ·What is censorship’s relationship with ‘hardcore’ and explicit
    material, past and now? If censorship is not always a simple matter of
    repression from above, but of conflicting discursive constructions
    arising from below, how do we account for the history of the emergence
    of hard-core pornography beyond thinking of it as the liberalization of

    /Screening Censorship /also invites reflections on the changing research

    ·What are the tools for studying censorship today?

    ·How have digital technologies affected the study of censorship?

    ·What is the influence of new film and cinema historiography in
    exploring practices of distributing, screening, consuming and audience’s
    experiences of film and screen censorship?

    /Screening Censorship/aims to showcase academic and industry voices on
    the issue of the shifting practices of censoring films on the different
    screens. The four keynote addresses confirmed for the symposium reflect
    that goal. The conference//is organized in tandem with the 47^th
    International Film Fest Ghent (FIAPF accredited, Variety’s top-50
    must-attend), and aims to examine how film and cinema censorship, as a
    concept and as a practice (ad hoc and post hoc), functions 20 years into
    the 21^st Century.

    /Screening Censorship/welcomes contributions for 20-minute presentations
    from scholars, artists and practitioners whose work pertains to topics
    and themes of film and screen censorship. We are seeking abstracts for
    individual papers and panels of three or four contributors on topics
    including, but not limited to:

    ·Theories, concepts, and discourses on film censorship, control,
    discipline, silencing, content moderation

    ·New film censorship policies, strategies, tactics, practices

    ·The aesthetics of film censorship, subversion, pastiche

    ·Activism and resistance

    ·Film censorship, audiences and reception

    ·Institutions and power

    ·Comparison, entangled history, histoire croisée

    ·Film censorship and the museum: archives, heritage, platforms

    ·Artistic integrity, interventions, re-use

    ·Film censorship cases, controversies, panics

    ·Digital tools and new methods for doing film censorship research today

    Please send *abstracts of 300 words and a 100-word biography* to Daniel
    Biltereyst (daniel.biltereyst@ugent.be
    <mailto:daniel.biltereyst@ugent.be>) and Ernest Mathijs
    (ernest.mathijs@ubc.ca) by *August 15th, 2020*, and address any queries
    to the same addresses. Abstracts should be submitted following this
    order: (a) author(s); (b) affiliation; (c) email address; (d) title of
    abstract; (e) body of abstract; (f) bibliography. E-mails should carry
    the subject line: /Screening Censorship/ Abstract Submission.

    Conference sponsored by Digital Cinema Studies (DICIS, FWO Flanders) in
    collaboration with The Centre for Cinema and Media Studies (UBC).

    Conference website: www.censorship-symposium.org

  • CFP: Constructions of the Real: Intersections of Practice and Theory in Documentary-Based Filmmaking

    As more filmmakers have entered into academic institutions, and other
    film practitioners have sought to engage with philosophy, the
    relationship between filmmaking and theory has become entwined in
    dynamic ways. The confluence of theory and practice has impacted on the
    relationship between forms, platforms and content. Further, it has
    interrogated how the process of filmmaking can create new knowledge and
    can apply theory to the filmmaking process to open up new ways of

    Constructions of the Realseeks to bring together documentary-based
    practitioner-researchers writing about their processes of making. Drawn
    from a range of global perspectives, each chapter aims to reflect a deep
    engagement with the creative-theoretical processes of film and media
    making located in a phenomenological world. Through a range of diverse
    and situated practices, the book engages with current debates about the
    role of creative scholarship, making a claim for documentary and
    non-fiction filmmaking as a necessary practice for framing, critiquing
    and interpreting the world.

    Agnès Varda coined the termcinécritureto describe film as emerging from
    a subtle and complex process involving reconnaissance, inspirations,
    writing, shooting and editing (2014). We embrace this emphasis on the
    creative entanglements of relationships and things encountered by the
    filmmaker. Through prioritising process, we see non-fiction filmmaking
    as a creative act, messy and full of contradictions. We welcome authors
    who can speak to these issues from their own practice.

    Alongside this, we are interested in non-fiction filmmaking that
    disrupts the “reassuring mutual reinforcement of sound and image”
    (Marks, 2000) of traditional documentary by suggesting new forms,
    structures and intentions.

    /We are initially seeking a 300 word abstract for eventual chapters of
    5000-6000 words. Please include a short author bio (100 words) and brief
    bibliography (in addition to the abstract length) with your abstract./

    Deadline for abstracts is: August 11, 2020.

    Draft chapters will be due in the first half of 2021.

    You can send abstracts, and any questions you have, to

    We actively encourage practitioner-scholars from the Global South as
    well as Indigenous and First Nation practitioners.

    Some provocations for the book chapters include:

    The Expanded Essay Film
    What are the new directions that the essay film is heading in, and how
    are practitioner/academics working with the affordances of new
    technologies and platforms?

    The Other-than-Human
    What strategies can be employed to shift perspectives from the

    Contested Spaces
    How can filmmaking practices reveal and critique histories and
    sovereignty of place?

    Disruptions and Transgressions
    How can strategies of disruptions and transgressions challenge the
    gendered or colonial gaze?

    Making Memory
    How can non-fiction filmmaking create memory for the practitioner, speak
    into silences, and make a past in order to restore the present?

    Filming the Self
    Can filming the self achieve ‘reconciliation’, how might this be
    achieved and at what cost?

    Archive as Practice
    How can moving-image archives be recycled to reframe social
    relationships  across time and space?

    What can working with amateur home movies offer as a method to explore
    professional practice?

    Publisher for the Book

    We intend to publish with Intellect Books, in particular as part of the
    book series Artwork Scholarship: International Perspectives in
    Education, edited by Anita Sinner, Associate Professor in the Department
    of Art Education at Concordia University, Canada, and Rita Irwin,
    Professor of Art Education in the Department of Curriculum and Pedagogy
    at the University of British Columbia, Canada.

    You can find more about the series

    Intellect Books | Artwork Scholarship: International Perspectives in

    Series Editors: Anita Sinner and Rita Irwin. The aim of Artwork
    Scholarship is to invite debate on, and provide an essential series
    resource for transnational scholars engaged in analyses of the emergent
    paradigm of creative research involving the visual, literary and
    performative arts that advances pedagogical and experimental
    perspectives, reflective and evaluative assessments ...

    Book Editors

    Kim Munrois a documentary maker and lecturer at RMIT University. She has
    published broadly in books and journals on the intersections between
    documentary theory and practice.Catherine Gough-Bradyis an award-winning
    documentary producer and director who has published widely on the
    emergent use of video as a method of academic discourse.Christine
    Rogersis a filmmaker and scholar and her non-fiction writing has been
    published in journals, newspapers and anthologies. She co-edited the
    bookMediations: Working Papers on Media and Practice, RMIT University,
    with Professor Lisa French and Dr. Jenny Weight. Liz Burkeis a
    documentary producer, whose work has been distributed through broadcast
    television and film festivals. Her area of academic research is the
    intersection between interactive documentary and the essay film. She
    lectures at Swinburne University of Technology.Liz Baulchis a film
    producer whose narrative and experimental films have screened widely on
    the international film festival circuit. Her current creative practice
    and area of research is the recontextualisation of the Australian family
    in amateur home movies. She lectures at Deakin University.

  • CFP: 'Genre/Nostalgia: An Online Film and Television Studies Symposium'

    Rescheduled and going virtual. New date: 06/01/21. New deadline: 02/10/20.

    Keynote speaker: Dr Kate Egan, Northumbria University: ‘Nostalgia for British Comedy’s Past: Monty Python, the 1960s and 1970s, and Fan Memories’

    Film and TV genres and nostalgia have long been intertwined.
    Fundamentally, both are rooted in the practice of creatively recycling
    and adapting modes of the past; Steve Neale’s (1990) assertion that
    genres are processes of repetition and variation is also applicable to
    many films and programmes which reimagine historical events, past eras,
    earlier styles and classic works of literature. Period dramas regularly
    cite the codes and conventions of past genres as a means of triggering
    collective memories of an era, while for multiple other film and TV
    genres, the past is a key component: for instance, science fiction might
    depict the past as a function of time travel, while the Western is
    founded on its 19^th century American frontier setting, and gothic
    horror is often associated with Victorian England or based on fin de
    siècle literature.

    Relationships between genre and nostalgia are regularly explored in
    isolated studies, while broader publications and events often focus on
    one or the other. However, the focus is rarely on the relationship and
    interaction between them. This may in part be due to lingering doubts on
    the value of exploring it. When, in 1991, Fredric Jameson identified
    what he called ‘the nostalgia film’, he cited genre texts like the
    neo-noir /Chinatown /(Roman Polanski, 1974) as evidence of ‘the waning
    of our historicity’ (1991: 21). In their repetition of previously
    mediated images, it was, to a large extent, the /genericity /of films
    like these which so concerned Jameson and led him to judge them as
    lacking in historically critical depth. This perspective has to some
    extent persisted in studies of period and historical dramas, where
    engagements with the past in popular genres like horror, comedy and
    science fiction are considered less ‘serious’ or historically
    significant. Meanwhile, Jameson’s reading of postmodern nostalgia as
    inherently regressive, despite being subsequently questioned (see, for
    instance, Hutcheon 2000; Dika 2003), has encouraged some studies to look
    sceptically on the presence of nostalgia, reading it as a more or less
    straightforward indicator of longing for a simplified, comforting past
    rather than as a complex phenomenon.

    Yet, links between genre and nostalgia have only deepened in the
    increasingly media-saturated 21^st century. More genre films and
    programmes have opted for past settings, and more period dramas, in
    their style of historical adaptation, have rejected traditional notions
    of ‘authenticity’ in favour of self-reflexive genericity. As such, this
    one-day symposium, which we hope will lead to the development of an
    active research network, seeks to explore connections between film and
    television genres and nostalgia, memory and other manifestations of the
    past. The aim is to facilitate dialogue between these two rich and
    increasingly interconnected areas of study, and to connect scholars at
    all levels working in these areas.

    Possible areas that may be explored include, but are not limited to:

    * Retro style in film and television genres such as comedy, horror,
    science fiction, the Western, noir, etc., and specific case studies
    of genre texts engaging with these styles

    * Reappropriations of past genre tropes in period dramas or other
    generic forms

    * Other forms of media, such as books, music videos and video games
    (e.g. /L.A. Noire/, 2011), which engage nostalgically with film and
    television genres

    * Foregrounding ignored or marginalised histories (e.g. via new
    representations of gender/race/class/sexuality) in period genres
    (e.g. literary adaptations, Westerns)

    * Revisiting genre texts on new platforms (e.g. streaming services),
    and the role of nostalgia in ways of watching (e.g. binge watching,
    or interactive texts like /Black Mirror: Bandersnatch/, 2018)

    * Nostalgias for genre texts and the nostalgic practices of fans,
    audiences and/or fan-creators

    * Recycle, remake, reboot: nostalgia’s role in genre seriality and

    * The role of nostalgia in the reappraisal, re-release and/or
    canonisation of genre texts

    * Key filmmakers, showrunners, or other creatives engaging with genre
    and nostalgia/new appropriations of the past (e.g. Greta Gerwig,
    Ryan Murphy, Spike Lee, Armando Iannucci)

    * Genre stardom and nostalgia

    * The role of nostalgia in genre development, stages, eras and/or cycles

    * Genre narratives about nostalgia/memory (e.g. /Da 5 Bloods/, 2020;
    /Ready Player One/, 2018; /13 Going on 30/, 2004, /Westworld/, 2016-)

    * Nostalgia in hybrid genres (e.g. /Ashes to Ashes/, 2009-2010; /Back
    to the Future/, 1985; /Ripper Street/ 2012-2016)

    * Rewriting or rethinking historical narratives via genre (e.g. /Once
    Upon A Time…in Hollywood/, 2019; /Jojo Rabbit/, 2019; /Chernobyl/,


    * The past in the introduction of new generic styles and forms (e.g.
    steampunk, neo-noir)

    * Retro period ambiguity (e.g. /It Follows/, 2014; /The Guest/, 2014;
    /Sex Education/, 2019-)

    We welcome abstracts for standard 15-20 minute conference papers, as 
    well as for alternative forms of presentation (e.g. panel discussions,
    video essays, posters, extended abstracts, etc.).

    Please send abstracts of c.200-250 words, along with a short biography
    and an indication of the presentation format, to the organisers: Dr
    Caitlin Shaw (c.shaw3@herts.ac.uk <mailto:c.shaw3@herts.ac.uk>) and Dr
    Laura Mee (l.mee2@herts.ac.uk <mailto:l.mee2@herts.ac.uk>) by October
    2nd 2020. We anticipate that this will be a free event.

  • CFP: ReFocus: The Films of Roberta Findlay

    ReFocus: The Films of Roberta Findlay

    Few filmmakers were more central to both 1960s sexploitation/grindhouse
    cinema and 1970s hardcore film, not to mention 1980s horror b-movies,
    than Roberta Findlay, an under appreciated jack-of-all-trades who wrote,
    directed, worked cameras and lighting, and acted, among other production
    roles. Yet few women filmmakers have so emphatically rejected the label
    of feminist, forestaling any facile recuperative efforts. Findlay broke
    new ground for women in film even as she sneered at the notion, with a
    legacy extending across genres and decades, from Take Me Naked(1966), to
    A Woman’s Torment(1977), to Tenement (1985).

    Cult and porn aficionados have long hailed Findlay’s expansive and
    idiosyncratic body of work, locating her in a canon alongside Andy
    Milligan, Doris Wishman, Joe Sarno, and other luminaries of the
    cinematic underbelly. But scholars have been slower to attend to her,
    perhaps in part because her fragmented filmography was partly
    pseudonymous and even today remains partly lost.

    We are currently soliciting abstracts of approximately 100-200 words for
    essays to be included in a book-length anthology on Roberta Findlay to
    appear in 2021. As the first comprehensive study of Findlay’s career,
    this collection seeks to deepen our understanding of the filmmaker and
    build on existing existing fan-culture knowledge by bringing that into

    dialogue with ongoing scholarly discussions of exploitation film and
    pornography so that scholarly communities can better attend to Findlay’s
    work and its rich, complex sexual and textual politics and stylistic
    skill and innovation. Essays may focus on individual films or on themes
    and topics that pervade her work.

    Possible areas of inquiry could include: Findlay’s striking
    sexploitation collaborations with her then-partner Michael Findlay; her
    turn to hardcore and the evolution of her style across the 1970s; the
    role of horror in her oeuvre; the craftsmanship of her non-directorial
    work; sexual and gender politics; marketing, distribution, and reception
    of her work across time; or other creative and productive angles.

    Essays included in the refereed anthology will be of approximately 5,000
    to 8,000 words, referenced in Chicago endnote style. We especially
    welcome work from BIPOC, female, queer, trans, and other traditionally
    underrepresented groups and voices.

    The Films of Roberta Findlay will be one of the scholarly editions to be
    published by the University of Edinburgh Press in a series of
    anthologies examining overlooked American film directors. Series editors
    are Robert Singer, Ph.D., Frances Smith, Ph.D. and Gary D. Rhodes, Ph.D.

    Please attach a curriculum vitae to your abstract and email them directly
    to the anthology’s editors by August 31, 2020.

    Peter Alilunas, Associate Professor, Cinema Studies Department,
    University of Oregon: pka@uoregon.edu <mailto:pka@uoregon.edu>
    Whitney Strub, Associate Professor, History Department, Rutgers
    University-Newark: wstrub@gmail.com <mailto:wstrub@gmail.com>