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Call for papers

Closed

Generic proposal

The 10th AIM Annual Meeting will be hosted at the Polytechnic Institute of Setúbal on May 27-30, 2020, in a joint organization of AIM and the Higher Education School of the Polytechnic Institute of Setúbal. AIM’s Annual Meeting is an international conference and all proposals will be peer reviewed. Proceedings will be published in electronic format after the meeting.

Founded in 2010, AIM – Portuguese Association of Researchers of the Moving Image aims to gather scholars and researchers whose common subjects and research interests are related to the moving image. With this in mind, nine annual meetings have been organized: at the University of Algarve, Faro (2011), at the Catholic University of Portugal, Lisbon (2012), at the University of Coimbra (2013), at the University of Beira Interior, Covilhã (2014), at ISCTE-IUL, University Institute of Lisbon (2015), at the Catholic University of Portugal, Porto (2016), at the University of Minho, Braga (2017), at the University of Aveiro (2018) and at the University of Santiago de Compostela, Espanha (2019). 

We invite submissions for individual presentations and pre-constituted panels in Portuguese, Galician, Spanish or English, not exceeding 1500 characters (including spaces), in the areas of film, television, video, and digital media studies. The list is indicative and may include other areas.

In order to participate in the conference you can submit your proposal as an AIM member (free registration) or as a non-member (60€ registration fee, paid after acceptance). Each person may submit one paper proposal, either as an individual presenter or as part of a pre-constituted panel. Some panels may have respondents. Please note that, before submission, AIM members must renew their membership for 2020 until November 15, 2019 (30€/normal; 20€/student).

The deadline for submission of proposals is November 15, 2019.

All proposals must be submitted through the proper form at: http://aim.org.pt/?p=meeting&sp=sub


Workgorups proposal

  • Visual Digital Culture

    Suggested topics:


    - media archeology;

    - history of film and television;

    - technologies cultural forms of internet 2.0;

    - internet 2.0 and digital production, exhibition and distribution film experience relocated filmic and audiovisual dispositif theories;

    - contemporary audiovisual culture ideologies;

    - critiques of participatory culture; animation, documentary, live cinema, virtual reality, transmedia, music video, video-essay.


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, contact mpinhoalves@gmail.com, nog.luis@gmail.com

  • History of Portuguese Cinema

    Suggested topics: Returning to the archive, reviewing the sources In the last decade, several researchers have promoted, through individual or collective projects, a group of proposals for the re-reading and redefinition of cinema studies in Portugal. Through a valorization of the archives and an archaeological research practice that has rescued several primary and secondary sources, a significant contribution has been made to critically review various aspects of the history of cinema in Portugal, as has been canonizing in previous decades. If, on the one hand, this new approach has made it possible to "re-write" the same story, especially from the academy, on the other, it has also made it possible to develop cultural and artistic projects in various areas and forms of expression, contribution for the democratization of the archive. The purpose of this call will be to put into dialogue reflections of scientific, academic, artistic and cultural projects that depart from or involve the archive.


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, please contact: Daniel Ribas: ribas.daniel@gmail.com

  • Cinemas in Portuguese

    The Workgroup Cinemas in Portuguese invites its members, the members of AIM, and researchers interested in the subject, to submit their proposals.

    Suggested topics:

    Cinemas in Portuguese speaking countries;


    • Documentary cinema;
    • fiction cinema;
    • other cinemas;
    • Colonial and postcolonial cinema;
    • Comparative studies between the various cinematographies produced in Portuguese-speaking places;
    • The continuity / discontinuity processes faced by the territories in question;
    • Investigations into cinematographic methods and work processes;
    • Film analysis from cinematic materialities;
    • Film adaptation;
    • Sceneries, costumes and props in the cinematographic process;
    • New media and digital technologies.


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, please contact: Leandro Mendonça: ljrmendonca@gmail.com;
    Jorge Cruz: jlzcruz@gmail.com

  • Landscape and Cinema

    Suggested topics:


    • Natural Landscapes
    • Urban Landscapes
    • Endangered Landscapes
    • Landscapes in Conflict
    • Landscape Allegories
    • The Meaning of Landscape
    • The Times of Landscape
    • Landscape and Archive
    • Ecocritical Approaches to Landscape Films
    • Body and Landscape: Relations between the poetics of the body and their possible constructions / reinventions in specific landscapes


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, contact: Filipa Rosário: filiparosario@gmail.com / Iván Villarmea Álvarez: ivillarmea@gmail.com / Ana Costa Ribeiro: costaribeiroana@gmail.com


  • Other Films

    The workgroup "Other Films" invites members and non-members of AIM to submit proposals of papers to its thematic panel. The proposals should bring theoretical, methodological, and empirical contributions to the group's research interests and objectives, established around marginal and non-canonical films (https://outrfilmes.hypotheses.org/sobre-o-blog). The call is open to all research topics, but this year's focus is set on other films made by women. 

    Through the study of women's non-canonical films, we seek to question and expand the theoretical, archival, and artistic fields of research on marginal images, as well as to discuss, subvert and undo the hierarchies that structure them. As Teresa de Lauretis wrote in 1985, the effort and challenge of women's cinema would be to effect a new vision, "to construct other objects and subjects of vision." Today, such must be the effort and challenge of feminist research on non-canonical audiovisual production, uncovering these objects and subjects as well as elaborating other tools of reflection within an already peripheral territory. We may therefore raise some questions in light of what Claire Johnston evoked in her founding text, "Women’s Cinema as Counter-Cinema": to what extent does "women's other cinema" operate as a counter-cinema? What visions do these other objects and subjects construct? In the context of other films, would women be the "Other"? Or rather the others: how to think about the differences between women and between their images, evoking, for example, issues of ethnicity and class, as well as lesbian, subaltern, and postcolonial studies? How to write the histories and elaborate the memories of these films?


    Proposals must be submitted through the proper form.


    For questions or doubts, please contact the group’s coordinators: Thaís Blank: thais.blank@fgv.br / Maria Ganem: mariaganem@gmail.com / Beatriz Rodovalho: biarodovalho@gmail.com


  • Filmmaker’s Theory

    The GT " Filmmakers’ theory" is a research group that adopts a new possible, specific and necessary approach to the study and understanding of cinema. The main goal is to bring together film theory and the thought and poetics from filmmakers. We consider that filmmakers have an understanding of both their own artwork and cinema that the academic theory cannot put aside. We intend to stimulate a film theory whose fundamental reference and main sources are the films, as well as both oral and written manifestations of the filmmakers. On the one hand, we consider that the most important sources to develop and expand film theory are the direct ones, namely the films, interviews, books or texts written by the filmmakers. On the other hand, "filmmaker" is a concept that covers not only the director but also whoever presents a valuable contribution to the cinematic art, like actors, screenwriters, cinematographers, etc. The proposition of the study of cinema by integrating film theory with the thought and poetics that each filmmaker elaborates, is an alternative to the support that film theory has sought in other disciplinary areas. Above all, we intend to stimulate a theoretical study that is deeply related to the filmmakers themselves. Similarly, we intend to continue all the existing research about the thought and poetics of the filmmakers.


    Suggested topics:


    • methodology(s) for a film theory based on filmmakers’ thought and poetics
    • concepts of the filmmakers that contribute to the discussion of film theory themes
    • filmmakers’ relationship with the spectator
    • the way filmmakers influence each other
    • the creative process of the filmmakers
    • filmmakers' manifestos
    • contribution of the theory and practice of filmmakers to the history of cinema


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, contact: Manuela Penafria: penafria@ubi.pt

  • Audiovisual Narratives

    Narrative always had, since the beginning of time, great importance for the existence of human beings and the life of societies. In its most basic meaning, narrative presupposes the evolution from one state (a beginning) to another (an end), a transition which occurs in time and is acted by someone (author, narrator, character) or something (camera, the film itself) (Jost and Gaudreault, 1990). This does not necessarily imply any measure of “truthfulness”. In the field of narratology (e.g. Gérard Genette), the act of narrating / enunciating is known as “storytelling”, and the content of the narrative / enunciation is the “story” [told].

    AIM’s work group Audiovisual Narratives takes up the study of narrative content and form in all kinds of products and by all audio-visual processes, composed of images as well as sounds (together or separately), disseminated throughout all means, and for all types of audience. The sub-fields of literature, publicity, psychology, journalistic media, and the relationship with other art forms are considered relevant for this purpose, as long as presentations stick to narratologically-based form and content, as well as the narrative process and its outcome. We are looking for innovative proposals, original theories, creative film analysis and, of course, subject matter for long-lasting quality reflexion.

    Some specific possibilities, among others: The importance of narrative. Artificial worlds and the way they are built. The Hero’s Journey. Story and plot. Matters pertaining to narration (e.g voice over). The classical narrative paradigm. Theoretical or practical attacks on classical narrative patterns. Formal experimentation. Narratives about narrative/metafiction/metanarrative. Non-linear narrative structures. “Complex narratives”. Interactivity and gaming. Parallel worlds. Film viewers’ psychic involvement. Viewers’ decoding and analysis. Script writing. Recurrences, embeddings, metalepsis, and other narrative patterns. Themes (and who uses them, and when). Narrative (im)plausibilities. Narrative contexts. Narrative forms its uses: society, culture, science, religion, art, etc. Myths, legends, fables. Any particular aspect of storytelling (e.g. characters, plot resolution, twist, foreshadowing, lack of dialogues, etc.).


    Proposals must be submitted through the proper form.

     

    For more information regarding this internal call, contact: Fátima Chinita: chinita.estc@gmail.com

  • Cinema and the Other Arts

    This working group intends to bring together investigations about the artistic manifestations in the scope of the relations of the cinema with the other arts. The focus is on studies that rivet on the relationships between still image, moving image and experimental artistic processes. The cinema, the audiovisual and its hybrid forms are privileged fields to think not only the status of the image in contemporary times but also its ethical, aesthetic, political and affective uses. Through theoretical construction and the analysis of multiple artistic manifestations we intend to map and observe the various tensions around the relations between cinema and other arts in the creative process inherent in avant-garde, engaged or experimental cinema, videoart, expanded cinema, activism, artist cinema and installations. If cinema, in its multiple conceptions, has approached and deviated from a hegemonic model, then it is necessary to reflect on these processes according to the image and spectator regimes of each historical moment. Thinking about the cinema device, its meanings, its tensions and its reformulations from its technological, aesthetic, architectural, political and economic dynamics finds relevance as the relationships between these vectors will allow us to review both the intersections between cinema and art as well as their singularities and impossibilities. Thinkers, theorists, artists, and researchers have been wondering: what can an image do? What do images want? What does an image, image in movements, make see, make do? The WG aims to address these themes, asking the multiple cinemas and their techniques how to imagine the present.


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, contact: Victa de Carvalho: victa.pereira@eco.ufrj.br / Diego Paleólogo: diego.paleologo@gmail.com / Liliana Rosa: lcvrosa@gmail.com

  • Cinema and Education

    Film is an aesthetic object with its own specificities, whose fruition and reading requires a minimum of information on different aspects of its language, in order to understand more completely its expression and its receptive impact. Every film experience entails the potential of its usage and vital application, either from a formal as from a non-formal point-of-view. Therefore, film represents a relevant formative and educational resource, both potentially as accomplished. Its increasing usage as a didactic content or methodology comes from its inventive language, and from a narrative feature that fosters approaches to an unlimited number of themes and contents, referencing existent or simulated realities. Within educational contexts, film encourages experiences that motivate and involve students more intensely in their learning process, strengthening the edu-comunicational ecosystems in their multiple forms. In order to overcome the alienation of schools and society towards film, going from its instrumentalization towards an understanding of its social, cultural and educational specificity and importance, we intend to explore the theoretical and empirical potential of cinema, as a source for knowledge, critical thinking, sensitivity, and creativity.Therefore, this call for papers addresses theoretical, methodological or empirical perspectives that focus on the possible relations between film and education.

    Suggested topics:


    • Teaching film (pedagogical approaches and projects that explore the artistic features of film);
    • Teaching with film (didactic proposals for the usage of film within different curricular fields and teaching levels);
    • Teaching through film (film artistic experiences produced within educational contexts).


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, contact: jmoreira@uab.pt / pmalves@porto.ucp.pt / elsa.mendes@pnc.gov.pt

  • Post colonial and outer cinemas

    The GT presented here is interested in the discussion of emerging cinemas in postcolonial contexts, many of which are the margins of national cinematography, usually in urban peripheries. By deepening the debate about the presence of "peripheries and margins" in postcolonial and outer cinemas around the world, in addition to conceptually organizing and systematizing a postcolonial cinema, we want to move in the direction that has presented itself as the most fundamental for these cinematographies: the image as representation and (more recently) as self-presentation in the cinema realized in the margins and peripheries of the world. We are interested in the critical revision of hegemonic and eurocentric forms and representations, as well as the social, cultural and artistic movements that have promoted the emergence of marginal artists in the film and art market, imposing images and other representations, as well as the production of artists from the diaspora , and the collective production of minority political groups. In Europe and the United States, this movement is accompanied by the emergence of voices, usually immigrants from ex-colonies as well as from social movements whose artistic power has been able to assert sensitivities in a growing wave of questioning of imperial molds and global aspects of contemporary life. In African countries, where the image was used as an instrument of colonial domination, an anti-colonial and denouncing cinema emerges, which continues to expand in terms of genres and themes. In Latin America, especially in Brazil, the representation of places and cultures is assumed by the groups themselves. Indigenous filmmakers are emerging and film collectives emerge in favelas and peripheries. Within this panorama, we want to discuss who are the artists and peripheral groups that are emerging in contemporary cinema and the visual arts, imposing a new agenda for the production of images in general, able to discuss the forms of invisibility and forgetfulness with respect to the ancient and recent modes of exclusion and re-colonisation.

    Suggested topics:


    Research about cinemas produced in countries that underwent colonization

    - Reflection around cinemas produced after the independence cycles, featuring postcolonial cinemas

    - Research on cinemas produced on the outskirts

    - Reflection on the postcolonial concept adopted in contexts of culture, cinema and thought

    - Reflection on insurgent cinemas produced in Latin America and Asia

    - Reflection on Latin American Decolonial Thought

    Feminist cinemas produced throughout the 20th and 21st century

    - Indigenous cinemas


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, contact: Paulo Cunha: paulomfcunha@gmail.com / Michelle Sales: sales.michelle@gmail.com / Liliane Leroux: liliane.tashi.leroux@gmail.com


  • Cinema and Materiality

    Suggested topics:


    • Investigations on the subjects of cinema: light, spaces, environments, costumes, sounds, creative research;
    • Reflections on registration of the processes of an audiovisual work development;
    • Investigations into cinematographic working methods and processes;
    • Film analysis from cinematographic materialities (art direction, scenography, costumes, sounds);
    • Considerations about the stages of development of a film work, creative processes, relationships between teams, transformation of text into image;
    • Genetic critique and creative process in traditional arts and audiovisual products;
    • Screenwriting and cinema: pathways from written adaptation to visual design;
    • The work of the actor and the creative process in the gesture and the coated body;
    • Sound and the soundtrack construction;
    • Scenarios, costumes and props as the last materialization of an idea
    • Censorship and self-censorship in the creative process
    • Film and new media: how new technologies influence the creative process;
    • Different creative processes for different formats: video essay;
    • Historical and material interaction between black and white and color in silent movies


    Proposals must be submitted through the proper form.


    Should any doubt arise about this internal call, contact: Caterina Cucinotta: caterinacucinotta@fcsh.unl.pt / Nívea Faso: niveafaso@gmail.com / Ana Bela Morais: anabelamorais7@gmail.com


  • Cinema, Sound, Music and Language

    In cinema, we process the perception of sounds through images and the ways they assist us (an obvious example being the reading of subtitles). Film theory is not yet able to think images through sounds, to grasp the process of perception of objects (in images) and images (as objects) via the process of perception of sounds as objects.

    How does the notion of sound-object arise?

    The discovery of the sound-object by modern industrial societies is not simply a "technical" function of new scientific devices "disinterestedly" geared towards its mechanical (re)production, for the existence of these same devices is only possible from the viewpoint of a self-reflective regime of listening, a "listening of listening" interested in its precise inscription as commodity form. The question of the sound object cannot therefore be reduced to new contemporary musicality and any attempt to absorb noise into the 'discourse of sounds' (serial or minimal, concrete or electronic, pop, rock, rap or techno); or to new audiovisual possibilities of semiosis assimilating it into cinematic or audiovisual discourse (ambient sounds, direct sound, room noises, offs and the most diverse sound effects, as well as their ‘stereophonization’). The sound object is the result of permanently reconfiguring historical interaction between the strictly acoustic objectivity of the physical propagation of sound waves and the psychoacoustic subjectivity of their perception. Its historicity is the mark of a constitutively insurmountable gap between the physiology of human hearing and the temporality of the social listening regime to which each specific sound object corresponds. There is a disjunction that traverses the field of the audible between its utterances and the "purely" sensory level of its audibility (or loudness).

    Sound archeology demonstrates not only how the concept of sound "slides" through this disjunction as it travels through its various archives - musical, radio, cinematic, etc, but also how sounds themselves (as objects we hear) are constituted by the differential variations that occur historically in this field.

    While it recognises the historical importance of the phenomenology of listening for the "discovery" of sound as an object, archaeological research gives this concept a decidedly historicising rapport, conceiving it as "common to different types of listening (causal, reduced, codal, etc.), and not just the object of a 'reduced listening', such as with the Schaefferian sound object.

    We invite all interested researchers to send their communications about cinema and its sound objects to the “Cinema, Sound, Music and Language” WG of the next annual AIM meeting, to be held at the School of Higher Education of the Setúbal Polytechnic Institute between 27 and May 30 2020.


    Proposals must be submitted through the proper form.


    Contact/Email: cimusoli@gmail.com