O Journal of Science and Technology of the Arts, publicação indexada à Scopus, do Research Center for Science and Technology of the Arts (CITAR) integrado na Escola das Artes Católica Porto está a receber propostas de ensaios audiovisuais. Leia aqui como submeter uma proposta.

Open Call for audiovisual essay submissions

JSTA aims to create a conceptual discussion around the audiovisual essay, not only as a creative process but also as a pedagogical and academic tool, to generate concepts and criteria for evaluation and scientific consideration. (Please see a version of our first audiovisual essay here). Therefore, JSTA is open to submissions of original audiovisual essays made with films, excerpts and other moving images. Works can have up to 15 minutes and should provide original insights in areas such as film and audiovisual studies; media studies; contemporary art; social sciences. Works submitted should not have been proposed to any other academic publication, despite the possibility of dissemination in other circuits. The call will not be restricted to academic practitioners but the process of evaluation will follow its procedures. Each audiovisual essay should be accompanied by a research statement by the author (up to 1500 words), articulating research aims and the process of work. Each work will be submitted to an open peer-review process, in which audiovisual essay and author’s statement will be published alongside the reviewers’ critical evaluations of the work. After the submission acceptance, the author will be asked to provide a printable version of the audiovisual essay (selecting around 20 frames of the original work). Submissions should have: - a video file (MP4, with H264 codec), no longer than 15 minutes and with less than 500 Mb, - a word document with the research statement (up to 1500 words). Possible working topics: -The use of sound in mise-en-scène; -Cinema and technology; -Poetics of time and space; -Movement, ambience and colour; -Editing based film criticism; -The history of cinema and its rhymes; -Gestures and techniques of the audiovisual essay; -Desktop cinema; -The intersection of film and visual arts; -New paths of contemporary cinema; -Films inside films and cinematic universe clashes; -Audiovisual essay as a pedagogical tool; -Audiovisual essay and practice-based research.

 A AIM - Associação de Investigadores da Imagem em Movimento tem como missão a promoção da investigação em áreas como o cinema, a televisão, o vídeo e a Internet, e pretende ser uma plataforma de conhecimento e de partilha científica entre os vários investigadores que, em Portugal e fora do país, trabalham sobre imagens em movimento.

Neste sentido, a direção da AIM decidiu instituir os Prémios AIM. Com a sua primeira edição em 2021, e incidindo sobre trabalhos realizados e/ou publicados em 2018 e 2019, os Prémios AIM visam destacar e promover a excelência na investigação sobre imagem em movimento, premiando o trabalho dos membros da AIM nas seguintes categorias:

Prémios AIM

A AIM - Associação de Investigadores da Imagem em Movimento tem como missão a promoção da investigação em áreas como o cinema, a televisão, o vídeo e a Internet, e pretende ser uma plataforma de conhecimento e de partilha científica entre os vários investigadores que, em Portugal e fora do país, trabalham sobre imagens em movimento.

Neste sentido, a direção da AIM decidiu instituir os Prémios AIM. Com a sua primeira edição em 2021, e incidindo sobre trabalhos realizados e/ou publicados em 2018 e 2019, os Prémios AIM visam destacar e promover a excelência na investigação sobre imagem em movimento, premiando o trabalho dos membros da AIM nas seguintes categorias:

Melhor Monografia - CEIS20

Melhor Coletânea de Textos

Melhor Ensaio

Melhor Trabalho de Estudante de Pós-Graduação

Os resultados da primeira edição dos Prémios AIM serão anunciados em maio de 2021, durante o X Encontro Anual da AIM, que devido às restrições decorrentes da crise pandémica que atravessamos será um evento totalmente online. Esta primeira edição dos Prémios AIM celebra o décimo Encontro da associação, assim como o décimo aniversário da fundação da associação em 2010.

PRAZO PARA SUBMISSÃO DE TRABALHOS

15 de Janeiro de 2021

VALOR

150 euros para cada categoria

JÚRI DOS PRÉMIOS AIM 2021 

Iván Villarmea Álvarez (Universidade de Coimbra)

Ana Isabel Soares (Universidade do Algarve)

Sérgio Dias Branco (Universidade de Coimbra)

Atenção. Chamada de trabalhos do vol. 26, no. 2/2021 da revista académica Ekphrasis - Images, Cinema, Theory, com número dedicado ao tema "The Essay Film as Self-Representational Mode".

THE ESSAY FILM AS SELF-REPRESENTATIONAL MODEIssue editor: Fátima Chinita, Lisbon Polytechnic Institute, Theatre and Film School, Portugal In cultural anthropology, subjectivity is an inherent part of the human condition; our perception, affects and sense-making stem directly from it. It exists at an individual level because human beings are sentient and thinking subjects reflecting upon themselves and upon the context in which they are inserted. At a social level, subjectivity depends on large scale cultural formations which predetermine choices and behavioural patterns imbuing them with political overtones. In cinema, these two components of subjectivity may be expressed through what Lisa Lebow calls first person documentary films, which designate a mode of address and not a filmic genre: “[…] these films ‘speak’ from the articulated point of view of the filmmaker who readily acknowledges her subjective position” (2012, 1). These films include a broad range of practices: the essay film, the self-portrait and the video diary, among others. Historically, essay films have been directed at least since the 1920s and the cinematic masterpiece Man with a Movie Camera (Dziga Vertov, 1929) is actually placed in this category by many film theoreticians. From the 1970s onwards it proliferated across different geographies and cultures, spreading in the world cinema landscape. Generally considered a hybrid and creative form of cinematic expression, the essay film eludes a single and irrefutable definition, which makes it an interesting topic for research and ever more so nowadays that film is mixing with other sculptural art forms and invading the gallery and the museum. Commentators’ positions on the essay film vary in relation to its form as well as its contents and mission, but it seems relatively safe to perceive it as being located in a universal in-betweenness having to do with typology, artistic or ideological goal, documental or critical stance, narrative or factual condition, interstitial framing, and so on. Essay films, as a type of first-person cinema (although Laura Rascaroli in 2009 distinguished between these two film varieties), may be poetical or accented, artistic or political, personal (literally about a person or self) or collective (about a community of whatever sort), covertly or assumedly autobiographical, descriptive or reflexive. More than other films − which are per se authorial statements inasmuch as all works reflect their authors − these films are made to be explicitly about the filmmakers. “The matter of knowing ourselves or coming to consciousness about ourselves is not only a central ontological question […] but is also at the center of the project of self-representation” (Lebow 2012, 4). These films may range from the self-presentation of the author and/or their artistic praxis to the questioning of social realities subjectively perceived from the author’s perspective. In fact, for the purposes of this publication both are considered self-representation. Therefore, this journal issue will focus on essay films with a twofold perspective, simultaneously artistic and political/sociological. Using the concept of self-representation as ideology and dealing with authorial self-representation (a specific person/people, lives, family, internal experiences, artists’ professional engagement) and authorial ideological engagement (which corresponds to one's world vision through an ideological choice of form and contents), we are opening this call for papers as a way of writing about oneself in the world and writing about the world through oneself. Both perspectives can be made to coalesce, the essay film as an art form being the uniting factor, independently of the author's films main goal(s). We are aiming at a heterogeneous collection of transnational articles and accept both theoretical and/or practical study cases. We strongly encourage articles about world cinema and lesser-known filmic works, as well as articles with novel approaches. Possible topics of interest include, but are not limited, to the following: (a) Artistic Films: the art, the medium. · Self-reflexive forms and practices of the essay film. · Poetics and personal methodologies of the essay as pedagogic strategies. · Essay film as an in-between cinematic position. · Self-representation in contemporary audiovisual art/culture. · Essay films about film/art and authorial creativity. · Reception and relationship with film viewers. · Essay films for galleries and museums. · The essay film across disciplinary borders. (b) Subject Films: the personal, the familiar, the cultural. · Autobiographical representations and self-examination. · Affinities/divergences with the self-portrait. · The self in memories or the archive. · Branding: self-representation and authorship. · Female, queer and minorities’ creative gestures. · Self-consciousness and the body. · First-person cinema and video confessions. (c) Accented films: ideology and politics. · Gendered, postcolonial, diasporic, political cinema. · Contesting/interrogating the world through the self. · Relationship with other branches of knowledge. · A world phenomenon dealing with local or transnational themes. · Dialectic arguments: thesis and antithesis. · The essay film as an instrument of change. · Socio-political interests of the author. Guide for authors: The language for this issue of the journal is English. All articles need to be proofread by a native English speaker before being sent to the journal Articles: 5,000-9,000 words, including a 300-word abstract, 5-7 keywords, a list of references, plus footnotes. Notes should be used with frugality; if something is worth saying, it usually is worth saying in the text. Book reviews 2,000-3,000 words. The books you propose must be recent. Both the proposal and the final text should observe the submission guidelines to be found on the journal’s website: https://www.ekphrasisjournal.ro/index.php?p=subm. Deadline proposals (250 - 300 words): April 5. Acceptance notice: April 20. Final submission deadline: July 30. We recommend that articles be sent before this date. Authors must be prepared for quick rewrites in September and October. Publication date: December 2. Send your submissions to: chinita.estc@gmail.com

Interrogates the myriad of ways women are underrepresented in the film industry and denied the power to speak through the medium of film

Explores the absence of women from key creative roles and the implications this holds for the kinds of stories being told; for the employment and creative opportunities available to women and for innovation in the audio-visual industries

evaluates film industries in seventeen countries and regions to establish the extent and scale of the gender inequality problem in a broad range of locations

The Gendered Landscape in the International Film Industry: Continuity and Change

 Índice

It’s So Hard Not to be Funny in This Situation’: Memes and Humor in U.S. Youth Online Political Expression” by Joel Penney