A revista ANIKI apresenta os livros disponíveis para recensão crítica:

Os títulos actualmente disponíveis são:  

- Bértolo, José. 2020. Espectros do Cinema: Manoel de Oliveira e João Pedro Rodrigues. Lisboa: Sistema Solar.

- Bértolo, José. 2019. Sobreimpressões - Leituras de Filmes. Lisboa: Sistema Solar.

- Bogalheiro, José e Guerra, Manuel (ed.). 2020. Descasco as imagens e entrego-as na boca - Lições António Reis. Lisboa: Sistema Solar.

-Childs, Jeffrey (ed.) 2019. Espelhos do Film Noir. Lisboa: Sistema Solar.

- Clarke, M.J. e Wang, Cynthia. 2020. Indie Games in the Digital Age. London: Bloomsbury Academic.

- Conde, Maitê e Dennison, Stephanie (ed.). 2018. Paulo Emilio Salles Gomes: On Brazil and Global Cinema. Cardiff: University of Wales Press.

- Cordero-Hoyo, Elena e Soto-Vázques, Begoña. 2020. Women in Iberian Filmic Culture: A Feminist Approach to the Cinemas of Portugal and Spain. Bristol: Intellect.

- De la Garza, Armida, Doughty, Ruth e Shaw, Deborah (ed.). 2020. Transnational Screens: Expanding the Borders of Transnational Cinema. New York: Routledge.

- Dias Branco, Sérgio. 2020. Escrita em Movimento - Apontamentos Críticos sobre Filmes. Lisboa: Sistema Solar.

- Florêncio, Pedro. 2019. Esculpindo o espaço. O cinema de Frederick Wiseman. Porto: Húmus

- Leitão de Barros, Joana e Mantero, Ana. 2019. Leitão de Barros - A biografia roubada. Lisboa: Bizâncio.

Os interessados em fazer a recensão de uma destas obras deverão contactar o editor da secção através de aniki@aim.org.pt

A revista Aniki: Revista Portuguesa da Imagem em Movimento procura revisores de textos em várias línguas.

 From Celluloid to Streaming: Conservation and Circulation of Small Cinemas

12th edition of the Small Cinemas Conference

Santiago de Compostela October 28-29, 2021

The flow of globalization has renewed the debate on centre-periphery inequalities. The irruption of new technologies for distributing, consuming and archiving cinema pose a challenge to small cinemas already fighting for a place in traditional screening venues and events. Small cinema products are now part of the Video on Demand gigantic catalogues. The so-called algorithm culture perpetuates the unbalance between big and small industries.

In this conference, we propose to analyse if the algorithm could be a death sentence for small cinemas or could instead bring new opportunities. Should small cinemas look for visibility by using tags related to popular genres or use smallness or periphery as tags themselves are relevant questions for the survival of small productions. Could small cinemas create a niche in the bag of Video on Demand (VoD)? Could they be independent from cinema venues or film festivals? Are there any existing dissemination models to follow? As online distribution redefines and makes peripheries visible rather than merge them with the centre (Szczepanik et al., 2020), the presence and success of small films could inspire new models of distribution, particularly as a result of Covid-19 conditions.

The conservation of small cinemas is also a relevant issue when films vanish into an increasingly saturated market. Access to films is indispensable for drawing a visual imaginary which is part of the nation as imagined community (Anderson, 1983). In the last years, some public or collaborative initiatives gathered films in minority languages, movies difficult to trace and endangered visual materials for posting on the Internet, where they are or can be transformed and appropriated by users.

Suggested topics:

-The flow centre/periphery in post-globalization and small cinemas.

-Effectiveness of public policies for the circulation of small cinemas.

-Digital market regulations and their effect on small cinemas.

-Exceptions to the rule: successful cases of small cinemas circulation on the international market.

-The festival circuit and the positioning of small cinemas.

-Looking for a ‘natural’ audience of small cinemas.

-The impact of Video on Demand on small cinemas.

-Algorithms, audiences and small cinemas.

-The impact of Covid-19 on the circulation/dissemination of small cinemas.

-The preservation of small cinemas as part of the immaterial cultural heritage.

-Archives and small cinemas. Avoiding the invisibility of small and peripheral cultures.

Submission deadline: Please submit a 300-word proposal by April 30, 2021

Conference Committee Response: June 30, 2021

Upon acceptance of proposals, a short abstract and bio are due: July 15, 2021

Please submit your proposal through the form at the bottom of the page.

Contact: info@estudosaudiovisuais.org

Mode of participation: Blended model (On site + Streaming)

Conference fee: 50€ general  / 25€ students, unemployed

Bibliography

Anderson, Benedict (1983). Imagined communities. Reflections on the origins and spread of nationalism. London: Verso.

Barreiro, M. S., Clares-Gavilán, J. (2020). “Public policies and strategies to foster access to films in a minority language. Catalonia and film subtitling 2015-2017”, International Journal of Public Policies, DOI: 10.1080/10286632.2020.1743698

Blankenship, J; Nagl, T. (eds.) (2015). European visions. Small cinemas in transition. Bielefeld: transcript.

Clares-Gavilán, J. (Coord.); Merino-Álvarez, C.; Neira, E. (2018). La revolución over the top: Del VOD a la televisión por Internet. Barcelona: Editorial UOC

Giukin, L.; Falkowska, J.; Desser, D. (eds.) (2015). Small cinemas in global markets. Genres, identities, narratives. Maryland: Lexington Books.

Hjort, M. (2016). “Crossing borders. Going transnational with ‘Danish’ film training, capacity building, and talent development” in A Companion to Nordic Cinema, M. Hjort, U. Lundqvist (eds.), pp. 148-172.

Hjort, M. (2005). Small nation, global cinema: the new Danish cinema. Minneapolis: University of Minnesota Press.

Hjort, M.; Petrie, D. (2007). The cinema of small nations. Edinburgh: Edinburgh University Press.

Ledo Andión, M. (2015). Finland, Galicia, Wales. The challenges of small cinemas in non hegemonic languages. Santiago de Compostela: Sacaúntos.

Ledo Andión, M;  López Gómez, AM;  Pérez Pereiro, M. (2016): “European cinema in the languages of stateless and small nations”. Revista Latina de Comunicación Social, 71, pp. 309 to 331. http://www.revistalatinacs.org/071/paper/1097/17en.html

Lobato, R (2012). Shadow economies of cinema. Mapping informal film distribution. London: BFI/Bloomsbury.

Lobato, R. (2009). “The politics of digital distribution: exclusionary structures in online cinema”,. Studies in Australasian Cinema, volume 3, issue 2, pp. 167-178.

López-Gómez, A.; Vallejo, A; Barreiro, M. A.; Alencar, A. (2020). “Found in Translation: Film Festivals, Documentary and the Preservation of Linguistic Diversity” in Documentary Film Festivals Vol.1, A. Vallejo, E. Winton (eds.), pp. 241-264.

Manias-Muñoz, M., Soliña-Barreiro, M., Rodríguez, A. I. (2017). “Public policies, diversity and national cinemas in the Spanish context: Catalonia, Basque Country and Galicia”, Communication & Society, Vol. 21-30, pp. 125-145.

Neira, E. (2013). El espectador social. Las redes sociales en la promoción cinematográfica. Barcelona: UOC.

Neira, E. (2015). La otra pantalla. Redes sociales, móviles y la nueva televisión. Barcelona: UOC.

Peirano, María Paz (2020). “Mapping histories and archiving epehemeral landscapes: strategies and challenges for researching small film festivals”, Studies in European Cinema, 17 (2), pp. 170-184.

Szczepanik, P., Zahrádka, P., Macek, J., Stepan, P. (Eds.) (2020). Digital peripheries. The online circulation of audiovisual content from the small market perspective. New York: Springer.

Szczepanik, P. (2017). “Localize or Die: Intermediaries in a Small East-Central European On-Demand Market”, Cinéma & Cie, vol. XVII, no. 29, pp. 33-49.

The I World Cinema International Conference will be an online conference that will take place on 15-16 June 2021, at University Complutense of Madrid (Spain), one of the most prestigious universities in Spain and the Hispanic world.

This edition is focused on the Cinema of india. The main goal of this conference is to be an international space to academic discussions on cinemas from different parts of the world, as well as on similar narratives forms as television series.  This conference is directed to researchers, professors, professionals, and PhD and Master Degree students who are interested in communicate and share their contribution to the study of cinema.    It is opened to any research approaches, qualitative or quantitative; focused on content or form; or those that address methodological questions.

 PROPOSALS

Proposals should be related to the cinema of India. Topics related to other cinemas will be considered for a miscellaneous panel.

 Languages: English and Spanish.

 Deadline for proposals: April 26, 2021.

Submission form: https://forms.gle/KhPCxxXDp4VjK3ss6

  Each proposal must include:

  •     Title

•       Abstract (200-250 words)

•       Keywords (at least, 3 keywords)

  Public notification of acceptance: 3 May 2021

 Once accepted by the scientific committee of the Conference, to finish the registration process, authors must make a payment of 30 euros. Payment is made by author, not by communication. Presentations will not be published until the payment has been made by all the authors who sign the communication. Registration for attendees without communication: 20 euros. 

PRESENTATIONS

 All communications will be presented online, with the videoconference tools provided by University Complutense of Madrid. Duration of presentations: 15 minutes.

 PUBLICATION

 Presenters can publish their communication as a chapter of a digital book published by Fragua Publishers (Position 11 at SPI (Scholarly Publishers Indicators) 2018 Communication: https://tinyurl.com/24z2hrez). The final text will be peer reviewed before publication.

  Presenters which communications address methodological questions related to Indian Cinema, may publish the presentation in the journal Communication & Methods  (Latindex, Dialnet, WorldCat) (http://comunicacionymetodos.com/index.php/cym  ), after being reviewed by the journal reviewers.

   KEY DATES

  •     Deadline for abstract proposals: 26 April 2021

•       Submit proposal: https://forms.gle/KhPCxxXDp4VjK3ss6

•       Public notification of abstract acceptance: 3 May 2021

•       Deadline for registration and payment as presenter: 14 May 2021 •

Deadline for registration and payment as attendant: 21 May 2021 •

Conference: 15-16 June 2021

   ORGANISERS AND CONTACT

  The I World Cinema International Conference is being organized by Jaime Lopez-Diez (University Complutense of Madrid) (UCM), at the research group GECA (Gender, Aesthetics, and Audiovisual Culture), with the collaboration of the dept. of Applied Communication Sciences, at UCM

(Spain).

All queries can be addressed to the chair of WoCiCo 2021, Dr. Jaime Lopez-Diez. E-mail: jailop05@ucm.es

Saiba mais em:

https://www.intellectbooks.com/horror-studies