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: 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
https://www.editorialsystem.com/shaghen

 "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.

 Sydney Screen Studies Network is currently seeking proposals for our

 Teaching Women’s Filmmaking

Online Conference, 16-17 April 2021

Department of Film and Television, Istanbul Bilgi University

KEYNOTE: Scholar & video essayist Catherine Grant

CALL FOR SUBMISSIONS

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/

<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

SUBMISSION REQUIREMENTS

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

correspondent.

●  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.

ORGANISING COMMITTEE

●  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