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The creation of the Association of Moving Image Researchers [AIM] arose from the desire to bring together in Portugal researchers from around the world who share the same interests and objectives.

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  • Conferência internacional "Materialidade e Processos Criativos no Cinema Português".

    Conferência internacional  online, dia 29 e 30 de Outubro, sobre "Materialidade e Processos Criativos no Cinema Português". 

    Uma organização de Cucinotta Caterina do Instituto de História Contemporânea — NOVA FCSH e Federico Pierotti do Dipartimento di Storia, Archeologia, Geografia, Arte e Spettacolo — Università degli Studi di Firenze.

  • CFP:Film on Demand – Streaming Platforms and their Social, Economic and Cultural Impact

     CFP: Contribution to Humanities (Studia Humanistyczne AGH) special issue- "Film on Demand – Streaming Platforms and their Social, Economic and Cultural Impact".

    Guest editors: Piotr Siuda (Kazimierz Wielki University, Poland;
    piotr.siuda@gmail.com) and Agata Lulkowska (Staffordshire University,
    UK; Agata.Lulkowska@staffs.ac.uk)

    Film and TV industries are undergoing yet another revolution today. It
    affects procedures, production companies, broadcasters, and other
    parties involved. The transformation is led and accelerated by
    influential streaming platforms and VOD services. Netflix, Amazon Prime,
    HBO, or MUBI change the viewing habits, offering subscription-based
    content accessible anywhere and anytime. The number of subscribers keeps
    growing year by year, and many consumers give up cable and digital
    television and settle on VOD. The effects of time-shifted viewing and
    new reception habits are becoming increasingly apparent. This special issue
    of CtH reflects on the social, economic, and cultural impact of
    streaming platforms. We are interested in the way they change film and
    television landscapes, both in terms of production and reception.

    We welcome submissions addressing the following topics:

    Evolution of the reception practices

    The transition from scheduled TV and cinemas to film rental stores,
    followed by the VOD on multiple personal devices. Finding your way in
    the plethora of content – keywords and recommendation mechanisms.

    VOD as a medium of interactivity and control: pause, fast-forward,
    rewind, stop, resume. Binge-watching (especially TV series).

    VOD classification – subscription (sVOD, Netflix model) vs. transaction
    (TVOD, Apple model). Mass services (Netflix, Amazon) vs. niche art
    cinema (MUBI, BFI Player, Curzon).

    VOD vs. traditional cinema

    Subscriptions and memberships – cinemas' response to the growing
    popularity of streaming services. Streaming platforms and the future of
    the cinema sector – competitors or allies?

    Film-watching as a social activity – at-home VOD versus collective
    cinema movie-watching experience. How can cinemas compete with VOD
    (better sound, 3D cinema, 4DX cinemas stimulating all senses)? Legal
    aspects of the VOD model (e.g., net neutrality and its impact,
    international licensing law).

    Original content

    Streaming services' impact on production procedures (including new
    distribution models). Interactive film and other novelties.

    Streaming services producing original content.

    Streaming services vs. piracy and illegal re-distribution of video
    content. Cinema, TV, and streaming services – similarities and differences.

    VOD and Covid-19 pandemic

    Covid-19 film and television industries adjustments.

    Virtual Film Festivals, talks, and Award Ceremonies – the new norm?

    Will the high number of the VOD subscribers stay the same once the
    pandemic is over? VFX and animation - the future of cinema?

    The social and cultural role of streaming services during the pandemic.
    Movie-therapy – the best way to keep sane during the times of crisis?

    Submissions deadline is: 30.06.2021

    The manuscript length is up to 7,000 words, including references.
    Detailed guidelines can be found at:
    http://www.journalssystem.com/shagh/Editorial-Rules,2335.html      and

  • Novidade: The Auditory Setting: Environmental Sounds in Film and Media Arts

     "The Auditory Setting: Environmental Sounds in Film and Media Arts"

    por Budhaditya Chattopadhyay

    Analyses the sonic environment mediated and crafted within the film and audiovisual media arts

    Defines the generally underexplored but well-used terms "ambient sound" and "ambience" – terms that denote an often unnoticed but significant element in the organization of sound in film and media productions

    Traces the use of ambient sound in film and media art production through various technological trajectories leading to the contemporary milieu of digital sound systems

    Takes a critical attitude towards the notions of diegetic sound, mimesis, presence, artistic transformations of soundscapes and technological innovations

    Questions the conventional assumptions about sound in film and audiovisual media art (e.g. image-based relationships), and intends to shift the focus on the notion of sculpting a site’s presence in the diegetic world of media productions as a vital narrative strategy

    Draws inputs from prominent media artists and practitioners and their works across the globe as well as from this author’s practice

    Includes examples from Indian, European and American films and many artworks from around the world

    The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.

  • Call for Papers: Sydney Screen Studies Network Presents: Dial S for Screen Studies 2020

     Sydney Screen Studies Network is currently seeking proposals for our

    2020 conference,*Dial S for Screen Studies*, held*18th to 19th November
    2020 *online via Zoom. This year, our conference will adopt a new
    online-friendly format: papers (and associated media) will be
    distributed digitally prior to the conference, and conference panel
    sessions will be moderated discussions of the relevant papers.

    We invite scholars working across film, television, video and internet
    media to present their research on screen studies and screen culture
    from a variety of perspectives. In particular, we welcome research
    pertaining to the stream detailed below:

    2020 has brought unprecedented challenges on a global scale. The
    COVID-19 pandemic has had an immediate and substantial impact upon the
    way we work and socialise. In the midst of such a crisis, the renewal of
    the Black Lives Matter movement in the USA and its subsequent global
    expansion has further brought to the fore conversations around human
    rights, freedoms, and the call for increased diversity. These events
    have already had noticeable impact upon both screen industries and
    screen studies in multi-faceted ways. Notably, they have renewed
    discussions around both the value and precarity of the arts in times of

    We invite scholars to submit proposals that consider the impact of these
    various global crises of 2020 on the film, television and media
    industries and screen studies. Some suggested perspectives for this
    stream include:

       * Representation of race, racial diversity and racial violence.
       * Disrupted and reimagined film and TV
         production/distribution/exhibition (in response to COVID-19).
       * Precarity of the film and TV industries.
       * Precarity of Screen Studies as a humanities discipline.
       * The value of the screen arts in responding to crisis.
    While we encourage participants to consider the stream on contemporary
    events suggested above, we will also welcome submissions on topics such
    as the following:

       * Early cinemas, classic cinemas and/or contemporary cinemas
       * Television, traditional and new
       * Screen history
       * Spectatorship
       * Mass media and social media
       * Screen theory/screen philosophy
       * Intersections of academic research and screen practice
       * New media forms
       * Gender, sexuality, race and class in screen media
       * History/theory of performance on screen
    Please send your proposals including a*title*, an*abstrac*t (200 words),
    and a*short biography*todialsforscreenstudies@gmail.com
    <mailto:dialsforscreenstudies@gmail.com>by*Friday 25th of September 2020*.

    We encourage collaborative works, pre-constituted panels, as well as
    postgraduate and early career researchers to apply to present at Dial S
    for Screen Studies.

  • Call for submissions: Teaching Women’s Filmmaking

     Teaching Women’s Filmmaking

    Online Conference, 16-17 April 2021

    Department of Film and Television, Istanbul Bilgi University

    KEYNOTE: Scholar & video essayist Catherine Grant


    This virtual conference marks Istanbul Bilgi University’s third annual

    event dedicated to women and media, following the conference Female

    Agency and Subjectivity in Film and Television in April 2019, with

    proceedings forthcoming from Palgrave Macmillan (November 2020)


    <https://ftvconference.bilgi.edu.tr/> and the March 2020 virtual

    conference Gender Equality and Sustainability: Agnès Varda’s Sustaining

    Legacy https://ftvvarda.bilgi.edu.tr/ <https://ftvvarda.bilgi.edu.tr/> .

    This year’s focus blends scholarship with pedagogy. We seek

    contributions from scholars and teachers around the world that explore

    strategies, best practices, and past experiences when using films made

    by women in the classroom and when navigating women’s careers in cinema

    through teaching and research.

    The two-day event will be split between two forms of scholarship: one

    day will be dedicated to traditional academic papers and roundtables;

    the other to audiovisual criticism. Individual paper presentations will

    be limited to 10 minutes. We will also consider pre-constituted,

    30-minute roundtable discussions with 3-5 designated participants.

    Written contributions based on papers and roundtables will be considered

    for inclusion in published proceedings, whose format will be finalized

    after the conference.

    For the video essay component, our goal is to challenge both established

    and emerging video essayists to devote their critical energies to

    audiovisual scholarship on women’s filmmaking. These video essays can

    focus on any aspect of women’s filmmaking, past or present. The

    conference presentation will consist of up to 10 minutes for screening

    the work (an excerpt may be selected if the full video essay exceeds

    this limit), followed by 10 minutes of commentary from the creator. We

    will consider audiovisual material that has already circulated online

    (e.g., posted to video sharing sites), but which was posted no more than

    two years prior to submission. The submitted work must not have been

    curated by any academic publications. Formal curation/publication for

    video essays may be offered after the conference to selected contributions.

    The committee is pleased to welcome scholar and audiovisual essayist

    Catherine Grant as the featured keynote speaker for the two-day

    conference: https://catherinegrant.org/ <https://catherinegrant.org/>

    Possible topics for papers, roundtables, and/or video essays include:

    ●  Teachable cinematic moments

    ●  (Un)teachable women’s films

    ●  Theorizing the female gaze

    ●  Women’s cinema and the film studies curriculum

    ●  Women’s cinema and production training

    ●  Gender in the filmmaking & screen studies classroom

    ●  Screenwriting and women’s filmmaking/television

    ●  Genre and women’s filmmaking

    ●  Women as documentary filmmakers

    ●  Women and essay/experimental film

    ●  Women in film/TV history

    ●  Stardom in women’s media

    ●  Gender and sexuality in women’s media

    ●  Women’s filmmaking and national cinema(s)

    ●  Women in transnational screen industries

    ●  Women filmmakers and the canon

    ●  Women’s films and the archive(s)

    ●  Auteurism and women filmmakers

    ●  In memoriam: Chantal Akerman, Agnès Varda, Barbara Hammer, Penny

    Marshall, Bilge Olgaç, inter alia


    Please direct all inquiries and submissions to Nilüfer Neslihan Arslan

    nilufer.arslan@bilgi.edu.tr <mailto:nilufer.arslan@bilgi.edu.tr> no

    later than February 1, 2021. Participants will be notified of acceptance

    by March 1, 2021. Presentation scheduling will respect each

    participant’s time zone to the best of our ability.

    ●  A traditional paper proposal must include a 300-500 word abstract, a

    bibliography with up to 5 entries, and a brief author bio.

    ●  Roundtable panel proposals must include a ~500 word abstract

    describing the goal of the panel, a bibliography with up to 10 entries,

    and bios and contact information for each of the 3-5 participants.

    Please indicate clearly in the proposal which panelist is the primary


    ●  Video essay submissions must propose a work completed no earlier than

    January 2019. Proposals must include a link to the complete video essay

    (with password if access is restricted), an abstract, a

    bibliography/videography that cites the works included in the video

    essay and related scholarship, as well as a brief creator bio.


    ●  Feride Çiçekoğlu, Istanbul Bilgi University

    ●  Colleen Kennedy-Karpat, Bilkent University

    ●  Diğdem Sezen, Teesside University

    ●  Şirin Fulya Erensoy, Istanbul Bilgi University

    ●  Ebru Çiğdem Thwaites Diken, Istanbul Bilgi University

    ●  Kate Ince, University of Birmingham

    ●  Nadine Boljkovac, Independent Scholar

    ●  Special Advisor: Sandy Flitterman-Lewis, Rutgers University