(English version below)


Conferência online – Submissão de papers

Materialidade e processos criativos no cinema português

Plataforma Google Meet - Universidade de Florença
29-30 de Outubro 2020

Keynote speakers confirmados:
Paulo Cunha (Universidade da Beira Interior)
Malte Hagener (Philipps-Universität Marburg)

No seguimento do materiality turn das ciências socias e das ciências humanas, no decorrer dos últimos anos as pesquisas sobre a materialidade intensificaram-se também no âmbito dos film studies e dos media studies. Se for aplicado ao cinema, o conceito de materialidade remete para diferentes elementos que interagem na realização de um filme: ferramentas, objectos, tecnologia, lugares, espaços e corpos.

Diversos tipos de matérias e materiais são incluídos em cada filme: tudo o que é filmado e gravado contém na sua origem uma história material que por sua vez se torna parte da história material do filme. Os filmes podem ser estudados como práticas sociais materiais no momento em que se foca a atenção nos diferentes aspectos na base da sua própria organização: da produção à escolha do décor; da realização dos figurinos à construção dos cenários; da montagem do set à fotografia; do desenho de som à pós-produção.

O estudo da materialidade do cinema empenha-se em observar os vários elementos que constroem o objecto filme com o objectivo de valorizar a génese dos processos criativos aí implicados. Ao desmontar e ao isolar os diferentes componentes materiais, é possível perceber melhor a natureza do filme como objecto complexo, que nasce da montagem de acções únicas e actos concretos. Se analisarmos estes elementos, enriquece-se a história do cinema com tantas micro-histórias ainda por contar. São sobretudo histórias do povo simples, dedicadas a objectos, lugares e corpos que interagem entre si.

O cinema português é especialmente rico nestas histórias. Ancorado a uma perspectiva artesanal mais forte em relação a outras cinematografias, sempre deu uma importância central à materialidade e foi muitas vezes pensado como um cinema materialista, apesar de os estudos existentes até aqui terem privilegiado prevalentemente a dimensão de autor. Os ofícios “inter-artísticos” foram colocados de parte em benefício de uma concepção que vê o realizador como o único e exclusivo responsável do filme. Pelo contrário, definições como as de Kubelka, que definiu a criação cinematográfica como “a tailor’s work in progress” devolvem o merecido espaço à importância destes ofícios, graças aos quais se molda a pedra em escultura, ou se corta tecido sem forma transformando-o em traje, e se arruma os sons para a criação de vozes e silêncios …

Torna-se, portanto, importante (re)pensar o cinema português à luz da materiality turn, para investigar as práticas e as tecnologias e para historiar os resultados. Logo em 1989, durante a estreia portuguesa de Rosa de Areia, realizado por António Reis e Margarida Cordeiro, foi o próprio Reis que lançou a ideia de uma estética dos materiais, para destacar significados novos e profundos a partir da matéria bruta da qual são feitos os filmes. Considerado como sendo um dos fundadores do Novo Cinema, Reis é, ainda hoje, um ponto de referência central para muitos realizadores portugueses contemporâneos. A partir desta ideia é então possível delinear as genealogias e as projecções futuras desta estética dos materiais, identificando os múltiplos vestígios não somente nas experiências ligadas ao Novo Cinema e à Escola Portuguesa, mas em toda a história material (e dos materiais) do cinema português. Ao considerar o cinema português como um ponto de partida, incentivam-se propostas sobre os seguintes temas, a título não exaustivo:

- Ligações históricas, transferências culturais, relações e trocas recíprocas entre Itália e Portugal no âmbito do cinema e dos media;

- Crítica genética e génese do filme: da produção às práticas materiais;

- Novas fontes e documentos para o estudo da materialidade;

- As fases do processo criativo: escrita, argumento, story board;

- Censura política e auto-censura;

- O trabalho do actor e o processo criativo no gesto e no corpo revestido;

- O trabalho no set: cenários, figurinos e adereços;

- As tecnologias sonoras: desenho de som, vozes, ruídos, músicas;

- As tecnologias visuais: película, fotografia, iluminação, novos suportes e instrumentos;

- Novos suportes para novos formatos: o video essay;

- Materialidade e género: ofícios, saberes e profissionalismo em relação com a identidade de género;

- Da cultura material à cultura visual: os objectos, os corpos e os dispositivos como agentes do olhar.



As propostas, de 300 palavras, deverão ser enviadas para o e-mail: cinematic.materialities@gmail.com juntamente com 3 a 5 palavras chave e uma biografia de 150 palavras.

O prazo para a apresentação do resumo é: 30 de Junho 2020.

A admissão será comunicada até ao dia: 30 de Julho 2020.

As apresentações têm uma duração de 20 minutos.

As línguas da conferência são: inglês, italiano, português e francês.

A conferência será integralmente realizada on line pela plataforma Google Meet para todas as sessões.


Organização

Dipartimento di Storia, Archeologia, Geografia, Arte e Spettacolo – Università degli Studi di Firenze
Instituto de História Contemporânea - NOVA Universidade de Lisboa


Direcção:

Caterina Cucinotta (NOVA Universidade de Lisboa)
Federico Pierotti (Università degli Studi di Firenze)



Comité Científico:

Paulo Cunha (Universidade da Beira Interior)
Sergio Dias Branco (Universidade de Coimbra)
Nivea Faria de Souza (Universidade Estácio de Sá, Rio de Janeiro)
Francesco Giarrusso (Univeridade de Lisboa)
Mathias Lavin (Université de Poitiers)
Maria do Rosario Lupi Bello (Universidade Aberta, Lisboa)
António Preto (Escola Superior Artística do Porto)
Bruno Roberti (Università della Calabria)
Cecilia Salles (Pontifícia Universidade Católica de São Paulo)


The IHC is funded by National funds through FCT — Fundação para a Ciência e a Tecnologia, I.P., under the projects UIDB/04209/2020 and UIDP/04209/2020.






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Online conference – Call for papers

Materiality and Creative Processes in Portuguese Cinema


Google Meet platform - University of Florence
29-30 October 2020


Confirmed keynote speakers:

Paulo Cunha (Universidade da Beira Interior)
Malte Hagener (Philipps-Universität Marburg)


Following the materiality turn of social sciences and humanities, over the last years research on materiality has also intensified in the scope of film studies and media studies. If applied to cinema, the concept of materiality refers to different elements that interact in the making of a film: tools, objects, technology, places, spaces and bodies.

Several types of substances and materials are included in each film: everything that is filmed and recorded contains in its origin a material history that in its turn becomes part of the material history of the film. Films can be studied as material social practices at the moment when attention is focused on the different aspects on the basis of their own organization: from production to the choice of décor; from the production of the costumes to the building of the sceneries; from assembling the set to photography; from sound design to post-production.

The study of the materiality of cinema commits to observe the various elements that make up the film object in order to enhance the genesis of the creative processes involved there. By disassembling and isolating the different material components, it is possible to better understand the nature of the film as a complex object, which arises from the assembly of unique actions and concrete acts. If we analyze these elements, the history of cinema is enriched with so many micro-stories yet to be told. They are mainly stories of commons people, dedicated to objects, places and bodies that interact with each other.

Portuguese cinema is especially rich in these stories. Anchored to a stronger artisanal perspective in relation to other cinematographies, it has always given a central importance to materiality and it has often been thought of as a materialist cinema, despite the fact that the existing studies hitherto have privileged the author dimension. The “inter-artistic” crafts were put aside in favor of a conception that sees the director as the sole and exclusive responsible for the film. On the contrary, definitions like those of Kubelka, who defined cinematographic creation as “a tailor's work in progress”, return the deserved space to the importance of these crafts, thanks to which the stone is molded into sculpture, or shapeless fabric is cut into costume, and the sounds are arranged for the creation of voices and silences...

Therefore, it becomes important to (re)think Portuguese cinema in the light of the materiality turn, to investigate practices and technologies and to record the results. In 1989, during the Portuguese premiere of Rosa de Areia, directed by António Reis and Margarida Cordeiro, Reis himself launched the idea of ​​an aesthetics of materials, to highlight new and deep meanings from the raw material from which the movies are made. Considered as one of the founders of Novo Cinema, Reis is still, today, a central point of reference for many contemporary Portuguese filmmakers. Based on this idea, it is then possible to outline the genealogies and future projections of this aesthetics of materials, identifying the multiple traces not only in the experiences related to Novo Cinema and to the Portuguese School, but throughout all the material (and the materials) history of Portuguese cinema. When considering Portuguese cinema as a starting point, proposals on the following topics are encouraged, but not exhaustively:

- Historical links, cultural transfers, relations and reciprocal exchanges between Italy and Portugal in the scope of cinema and media;

- Genetic criticism and genesis of the film: from production to material practices;

- New sources and documents for the study of materiality;

- The phases of the creative process: writing, argument, story board;

- Political censorship and self-censorship;

- The actor's work and the creative process in the gesture and the covered body;

- The work on the set: sets, costumes and props;

- Sound technologies: sound design, voices, noises, music;

- Visual technologies: film, photography, lighting, new supports and instruments;

- New supports for new formats: the video essay;

- Materiality and gender: crafts, knowledge and professionalism in relation to gender identity;

- From material culture to visual culture: objects, bodies and devices as agents of the look.


Proposals, of 300 words, should be sent to the email: cinematic.materialities@gmail.com together with 3 to 5 keywords and a 150-word biography.

The deadline for the presentation of the abstract is: 30 June 2020.

Admission will be communicated until: 30 July 2020.

The presentations have a duration of 20 minutes.

The conference languages are: English, Italian, Portuguese and French.

The conference will take place entirely online through the Google Meet platform for all sessions.



Organization

Dipartimento di Storia, Archeologia, Geografia, Arte e Spettacolo – Università degli Studi di Firenze
Instituto de História Contemporânea - NOVA Universidade de Lisboa


Board:

Caterina Cucinotta (NOVA Universidade de Lisboa)
Federico Pierotti (Università degli Studi di Firenze)


Scientific Committee:

Paulo Cunha (Universidade da Beira Interior)
Sergio Dias Branco (Universidade de Coimbra)
Nivea Faria de Souza (Universidade Estácio de Sá, Rio de Janeiro)
Francesco Giarrusso (Univeridade de Lisboa)
Mathias Lavin (Université de Poitiers)
Maria do Rosario Lupi Bello (Universidade Aberta, Lisboa)
António Preto (Escola Superior Artística do Porto)
Bruno Roberti (Università della Calabria)
Cecilia Salles (Pontifícia Universidade Católica de São Paulo)


The IHC is funded by National funds through FCT — Fundação para a Ciência e a Tecnologia, I.P., under the projects UIDB/04209/2020 and UIDP/04209/2020.

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.