A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VII Encontro Anual irá decorrer de 10 a 13 de maio de 2017, na Universidade do Minho (Braga). Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM, e a BDIM - Base de Dados de Investigações Científicas sobre Imagem em Movimento.
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University of the Arts London, July 25^th – 27^nd , 2017

Deadline: April 17^th 2017

Individual paper and panel contributions are welcomed for the sixth annual international conference of the European Popular Culture Association (EPCA), to be held at the University of the Arts London (272 High Holborn), July 25^th – 27^nd , 2017.

EUPOP 2017 will explore European popular culture in all its various forms. This includes, but is by no means limited to, the following topics: European Film (past and present), Television, Music, Celebrity, The Body, Fashion, New Media, Popular Literature and Graphic Novels, Queer Studies, Sport, Curation, and Digital Culture. One particular strand will be devoted to fascism and popular culture.

The closing date for this call is Monday April 17th , 2017.

There will be opportunities for networking and publishing within the EPCA. Presenters at EUPOP 2017 will be encouraged to develop their papers for publication in a number of Intellect journals, including the EPCA’s Journal of European Popular Culture. Journal editors will be working closely with strand convenors – a full list of Intellect journals is available at:
* <>*

Papers and Complete Panels for all strands will be subject to peer review. Proposals for individual presentations must not exceed 20 minutes in length, and those for panels limited to 90 minutes. In the latter case, please provide a short description of the panel along with individual abstracts. Poster presentations and video projections are also warmly welcomed.

Proposals comprising a 300-word abstract, your full name, affiliation, and contact details (as a Word-file attachment, not a PDF) should be submitted to Pamela Church Gibson ( <>by 17/04/2017. Receipt of proposals will be acknowledged via e-mail.

The conference draft programme will be announced in May 2017, along with the conference registration and accommodation details. The likely conference fee will be 200 euros (student), and 250 euros (other). The fee includes coffees, lunches, evening reception and dinner, and EPCA Membership (includes subscription to the European Journal of Popular Culture, Intellect Press).

Keynote speakers will be announced in May 2017.

The European Popular Culture Association

The European Popular Culture Association (EPCA) promotes the study of popular culture from, in, and about Europe. Popular culture involves a wide range of activities, material forms and audiences. EPCA aims to examine and discuss these different aspects as they relate both to Europe and to Europeans across the globe, whether contemporary or historical.

EUPOP 2017 is organised by:

European Popular Culture Association (EPCA):

International Institute for Popular Culture (IIPC):

EPCA President, Kari Kallioniemi,

EPCA Vice-President, Pamela Church Gibson,

EPCA Secretary, IIPC Coordinator, Kimi Kärki,

EPCA Membership Secretary, Graham Roberts,
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Feminist Media and Cultural Studies Summer School

Gender and Celebrity Summer School

22 - 26 May 2017, Lancaster University (and various venues)

Featuring a public lecture and discussion by Prof Jack Halberstam (University of Southern California on 'Trans Bowie, Trans Prince'

Our feminist media and cultural studies summer school is a five day event aimed at postgraduates and academics, run by the Centre for Gender and Women's Studies at Lancaster University.

This year our theme is gender and celebrity. What makes a celebrity? How do celebrities connect with gender politics and to our construction of ourselves as gendered beings? How might we 'think with' and 'against' celebrities? How could we produce a feminist analysis of celebrity figures, machines and economies?

This summer school invites you examine celebrity through a feminist lens, and in doing so to critically explore questions of media production, identity and representation, desire, capitalism and value, visibility, activism and social and cultural change.

The summer school is led by Dr Debra Ferreday, Dr Tracey Jensen and Dr Kate McNicholas Smith and includes guest speakers, workshops, film screenings and more!

Prices for the full 5 day summer school: External Participant Price £90.00 / Lancaster University Staff/Students £15

for further details and to register, see

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Call for Papers

We are currently seeking submissions to be published on a rolling basis in future issues.

Film Criticism is a peer-reviewed publication now in its 40^th year of continuous publication, making it the third oldest academic film journal in the United States. Our aim is to bring together work in the field of film and media studies that foregrounds textual criticism as a primary value. Our readership is generally academic, but we strive to publish material that is accessible to a broader popular audience.

While our title suggests a focus on film, we are equally interested in articles that engage moving-image media of all forms, such as television or online video. FC is also committed to developing criticism that derives from a cultural studies tradition -- that is, criticism that situates media texts in a political context and recognizes the role culture plays in reproducing and maintaining social and power relations.

For more information about FC, please visit:

Website: <>
Email: <>
Facebook: <>

The latest issue of FILM CRITICISM is now online: <>

Issue 41.1 features the following articles:

* "Blinking and Thinking: The Embodied Perceptions of Presence and
Remembrance in Gaspar Noe’s Enter the Void” by Jeeshan Gazi
* "Looking Back: Versions of the Post-Apocalypse in Contemporary
North-American Cinema" by Ana Moya and Gemma López
* “'I don’t know who I am most of the time:' Constructed Identity in
Todd Haynes’ I’m Not There" by Kim Wilkins
* "Koyaanisqatsi and the Posthuman Aesthetics of a Mechanical Stare"
by Gary Matthew Varner

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Seminário de Crítica de Cinema, UBI, Covilhã, 22 de Março de 2017

22 DE MARÇO DE 2017

O principal objectivo deste Seminário é reunir investigadores que, em diversas áreas científicas, trabalhem com a Crítica do Cinema como tema, objecto ou interesse de estudos, promovendo o diálogo entre projectos de investigação. Mais especificamente, o Seminário pretende estimular a discussão e reflexão, entre outras, das seguintes linhas temáticas:
- A(s) teoria(s) do cinema e a Crítica;
- A crítica de cinema, os movimentos cinematográficos e cinema de autor;
- A crítica enquanto género literário;
- As particularidades estilísticas e argumentos do discurso crítico;
- A recepção crítica;
- Crítica do cinema, cinefilia e meios digitais.


Anfiteatro da Parada, Faculdade de Artes e Letras da UBI


José Antonio Pérez Bowie (Universidad de Salamanca, Espanha) 
La recepción crítica del nuevo documental español: 2000-2015

Lívia Apa (Università degli Studi di Napoli “L’Orientale”, Itália)
Das imagens em movimento como fonte para os estudos culturais

Beatriz Leal Riesco (Universidad de Salamanca,Espanha)
Teoría y crítica de los cines africanos contemporáneos

Antonio Gil & Patricia Val (Universidade de Santiago de Compostela, Espanha)
Una aplicación crítica de los conceptos de intermedialidad, adaptación y transmedia al universo de Juego de tronos

Carlos Natálio (Universidade Nova Lisboa, Portugal)
O gosto, o cânone e o aforismo - (ainda) problemas da crítica de cinema

Tito Cardoso e Cunha (Universidade da Beira Interior, Portugal)
Particularidades da Crítica de Cinema

Teresa García Abad (Centro de Ciencias Humanas y Sociales, CSIC, Madrid, Espanha)
Crítica y cine en Arbor

Catarina Maia (Universidade de Coimbra, Portugal)
A crítica de cinema: entre a academia e a apatia

Paulo Cunha & Manuela Penafria (Universidade da Beira Interior, Portugal)
A crítica dos cineclubes em Portugal: o caso do Boletim do Cineclube do Porto

Fernando González García (Universidad de Salamanca, Espanha)
Los pasos dobles, de Isaki Lacuesta: un artefacto paradójico ante la crítica

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Landscapes in Television Drama Series (Aarhus University, 28-29 September 2017)

Landscapes in Television Drama Series
International research colloquium.
Aarhus University, 28-29 September 2017

In contrast to film and literature, cinematic geography and landscapes in television drama series is a fairly new and emerging research field. Many recent television drama series include a significant use of places and landscapes including panorama aesthetics, cityscapes, snowscapes and seascapes. This tendency is related to new aesthetic standards for television drama series in general, new screen technologies, location as production value, and a general fascination and commodification of places and landscapes in global consumer cultures. Furthermore, to understand the aesthetic, cultural, political and economic aspects of cinematic landscapes in television drama, we need to develop perspectives across disciplines such as geography, art history, media and creative industries.

We are happy to invite researchers to join us for this event where we gather international leading scholars within the field. And - Thursday night we will have (terroir) beer tasting :-).
Welcome to Aarhus!

*Robert Saunders (US): Scoping/Scaping the Geopolitical in Occupied (2015-) and Nobel (2016-)
*Les Roberts & Hazel Andrews (UK):The Stranger and the Swamp: Tracing the Liminal Landscapes of True Detective
*Sue Turnbull (AUS): Out of the Shadows: The Value of Landscape in Australian TV Drama (The Kettering Incident)
*Steven Peacock(UK): 'Dexter's Hollow Designs': The meaningful shallowness of the Miami landscape in Dexter.
*Kim Toft Hansen (DK): The Arctic Spectacle and the Televisual North
*Anne Marit Waade (DK): Landscape gazing: from landscape paintings to tourism and television drama: The Legacy (2014-), Midnight Sun (2016-)

Call for papers: Deadline 15 May, 2017. 

Send your *abstract* (max 400 words) to <> (Expect feedback by 15 June)
Costs: The event is free. Coffee & tea is provided. Participants cover costs for meals, travel and accommodation.
Registration deadline 15 Aug 2017,
Organisers: <> (Kim Toft Hansen & Anne Marit Waade) in collaboration with Rethink Coastal
Tourism, Aarhus University

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CFP: Colóquio Internacional - "Variações sobre António. Um colóquio em torno de António Variações"

Colóquio Internacional: “Variações sobre António. Um colóquio em torno de António Variações”
Data: 7 e 8 de Dezembro de 2017
Local: Faculdade de Letras da Universidade de Coimbra

Com apenas dois LP’s, editados em 1983 (Anjo da Guarda) e 1984 (Dar & Receber), António Variações – nascido em 1944, com o nome de António Joaquim Rodrigues Ribeiro, e falecido em 1984 –, tornou-se um caso de estudo na música popular portuguesa, quer pelo cunho fulgurante do seu impacto, quer pelo rasto duradouro que deixou, manifesto em várias homenagens coletivas em disco, ou ao vivo, num «disco póstumo» (Humanos, 2004) elaborado por um conjunto de músicos portugueses a partir de maquetes de canções suas gravadas em cassetes, ou na importante biografia publicada por Manuela Gonzaga em 2006 (António Variações. Entre Braga e Nova Iorque, Âncora Editora).

A música, as letras das canções, a imagem, os vídeo-clips, tudo isso tem contribuído para que a presença de António Variações na cultura portuguesa não se tenha desvanecido, continuando, pelo contrário, a alimentar a imaginação do público. Tão importante como tudo isso, porém, é o paradigma que Variações representa na cena portuguesa dos anos 80, bem sintetizado pela frase, que terá dito ao produtor do seu primeiro disco, para enunciar o lugar estético em que via a sua música: «Uma coisa entre Braga e Nova Iorque». A frase não sugere um ponto de equilíbrio que seria, aliás, impossível de garantir; pelo contrário, parece enunciar uma pulsão de desequilíbrio ou de fabricação, não garantida por uma estabilidade identitária prévia – seja ela a da «cultura tradicional» ou a do «cosmopolitismo» –, para qualquer projeto de criação de uma versão moderna do popular, neste caso em Portugal. Nesse sentido, o percurso biográfico de Variações (que interioriza o típico percurso de um homem português da segunda metade do século XX, da aldeia à capital, à Guerra Colonial e à emigração) parece pressupor uma demanda, desde as origens minhotas a Lisboa e, depois, a Londres, Amesterdão, Nova Iorque, etc., mas uma demanda de algo que se produz, fabrica e falsifica pelo caminho, sem ceder a qualquer ilusão de um «encontro pleno com a alma» da cultura portuguesa ou do sujeito com as suas «raízes» e com a sua «verdade profunda», também ela objeto de uma encenação queer no limite do kitsch ou do camp, dando assim a ver, em modo espetacular, a identidade como recodificação. E isso é também reconhecível nas extraordinárias letras que Variações escreve para as suas canções, que oscilam entre uma versão fulgurante da poesia popular e a reinvenção literária que o leva a musicar, por exemplo, Fernando Pessoa.

Falar de António Variações é, pois, falar sempre de muito mais do que apenas das suas canções, já que não custa ler na sua obra e na forma como performatiza a sua identidade (pessoal e coletiva) algo que nos ajuda a ler Portugal na segunda metade do século XX, da música e da poesia à cultura, à sociedade e ao estado do «corpo político».

O colóquio «Variações sobre António» propõe-se, pois, estudar quer a obra do compositor e cantor, quer aquilo que nela é sintoma de fenómenos mais vastos – um deles, e dos mais importantes, a forma como a cultura portuguesa posterior à Revolução de 1974 tenta sintonizar-se / dessintonizar-se com o mundo exterior e, em particular, com a cultura e civilização saída dos anos 60, sobretudo aquela latamente designável como pop. O colóquio é uma proposta do Programa de Doutoramento em Materialidades da Literatura e da área de Estudos Artísticos, ambos da FLUC. O colóquio conta, neste momento, com o apoio do Centro de Literatura Portuguesa, do Centro de Estudos Interdisciplinares do Século XX, do Teatro Académico de Gil Vicente, da Rádio Universidade de Coimbra e do Jazz ao Centro Clube.

São entidades parceiras do colóquio o projeto Keep It Simple, Make It Fast, coordenado por Paula Guerra, o Núcleo de Estudos em Género e Música, coordenado por Paula Gomes-Ribeiro, e o Projeto Mural Sonoro, coordenado por Soraia Simões. Estas entidades estão representadas na Comissão Científica do colóquio.

O colóquio, que terá lugar na primeira semana de Dezembro de 2017, nos dias 7 e 8, poderá durar três dias, em função do número de comunicações, sendo as inscrições pagas. O colóquio é pensado sobretudo para as seguintes áreas disciplinares: musicologia, estudos artísticos, estudos literários, estudos intermédia, estudos culturais, ciências sociais, média e comunicação, história contemporânea.

Convidamos investigadores a apresentarem comunicações que explorem o seguinte temário:

1. A música de Variações, entre o rock português, o pop, o fado e o folclore
2. As letras de Variações: da poesia popular (ou fake) às letras pop
3. Texto & Som, Imagem & Corpo: performance e intermedialidade em Variações
4. Identidade, resistência e excesso: o queer, o glam e o camp
5. Discos: produção; indústria discográfica
6. Produção e gestão do impacto mediático de Variações
7. Cultura e sociedade no Portugal de Variações
8. Legado e reinvenção de Variações

As propostas de comunicação devem ser apresentadas até ao próximo dia 16 de junho de 2017, através da plataforma EasyChair ( Podem ainda ser propostos painéis de três comunicações. As propostas de comunicação deverão ter entre 500 e 1000 palavras (incluindo referências). O resultado da avaliação das propostas será comunicado até 16 de julho de 2017. São aceites propostas em português, inglês, espanhol, francês e italiano.

O colóquio terá uma programação complementar, na área dos concertos e performances. No primeiro caso, a organização desafiará músicos e bandas da zona de Coimbra para reinventarem a música de Variações, num concerto a ter lugar no TAGV. No que toca à performance, está disponível uma Call for Performances subordinada ao título «Variações performáticas sobre António», vindo as performances selecionadas a ter lugar na Sala do Carvão, do Edifício das Caldeiras da Universidade de Coimbra, e no Salão Brazil.


International Conference: “Variações sobre António. Um colóquio em torno de António Variações”
Date: December 7-8, 2017
Place: School of Arts and Humanities, University of Coimbra

With only two LP’s, edited in 1983 (Anjo da Guarda) and 1984 (Dar & Receber), António Variações – born António Joaquim Rodrigues Ribeiro in 1944, and deceased in 1984 – has become a singular case-study in portuguese popular music, either through the effulgent stamp of his impact or by the lasting after-image he left, both manifest in several tributes. Throughout the years, tributes took the shape of collective homages in record form, live shows, a «posthumous record» – Humanos, 2004 -, prepared by a group of portuguese musicians from still-tentative tunes he had recorded in cassettes, and even a significant biography, published by Manuela Gonzaga in 2006 (António Variações. Entre Braga e Nova Iorque, Âncora Editora).

The music, lyrics, imagery and video clips, all have contributed to the ever-presence of António Variações in portuguese culture. Plus, they have steadily and continuously fed the public’s imagination. Eaqually important, though, is the paradigm that Variações represents in the portuguese scene of the 1980’s, well resumed in a sentence he supposedly uttered to the producer of his first studio album in order to formulate the esthetic place where he envisaged his music: “Something in between Braga and New York City”. This particular phrase does not suggest a balance (in earnest impossible to ensure); on the contrary, it seems to formulate a drive for imbalance or for fabrication, not guaranteeing a previous identity stability (whether nurtured by «traditional culture» or by «cosmopolitism») for any project of creating a modern version of the «popular» in Portugal. In that sense, Variações’ biography (which mirrors the typical course of a portuguese male in the 20th century, from the province to the metropolis, the Colonial Wars and to emigration) seems to predicate a particular quest, from the humble origins in Minho to Lisbon and, afterwards, to London, Amsterdam, New York and so forth. The quest, though, is for something that is to be produced, fabricated and falsified along the way, without giving way to any illusion of a «fraught encounter with the soul» of portuguese culture or of the subject with his «roots» or «deep truth». Furthermore, the quest is, in itself, subject to a queer staging bordering kitsch or even camp, thus rendering, in spectacular fashion, identity as recoding. The process is also recognizable through the extraordinary lyrics he wrote to his songs, fluctuating between a vivid version of popular poetry and the literary reinvention that led him, for instance, to turn Fernando Pessoa’s poems into music.

To discuss António Variações is, therefore, to talk about much more than just his songs, since it is not difficult to read into his work and in the ways by which he forges his identity (both personal and collective) to fit performative instances, something that enables us to peruse what and how Portugal was in the second half of the 20th century, from music and poetry to culture, society and the state of the «body politic».

The conference «Variações sobre António» is intent, therefore, on studying not only the work of the singer-songwriter but also what in it relates to far-reaching phenomena: one of which (and perhaps amog the more important) is the ways by which the post-1974 revolution portuguese culture tried to be in and out of sync with the outside world and, specifically, with the culture and civilization that had emerged out of the 1960’s, mainly the one broadly referred to as pop. The conference was devised by the Doctoral Program in Materialities of Literature (Programa de Doutoramento em Materialidades da Literatura) and of the Arts Studies field of study, both of FLUC (University of Coimbra, School of Arts). It is currently backed by the Center for Portuguese Literature (Centro de Literatura Portuguesa), by Centro de Estudos Interdisciplinares do Século XX, Teatro Académico de Gil Vicente, Rádio Universidade de Coimbra and Jazz ao Centro Clube.

Other partners of the conference are: project Keep It Simple, Make It Fast, headed by Paula Guerra; Núcleo de Estudos em Género e Música, headed by Paula Gomes-Ribeiro; and the project Mural Sonoro, headed by Soraia Simões. All of the aforementioned entities will be represented at the conference’s Scientific Committee.

The conference will take place on the first week of December 2017 (7th and 8th), and it may extend to three days depending on the number of participants. Inscription fees will be requested. The conference was sketched as comprising as main targets the following disciplinary fields: musicology, arts studies, literary studies, intermedia studies, cultural studies, social sciences, media and communication, contemporary history.

We invite researchers to present talks exploring the following thematic range:
Variações’ music, between portuguese rock, pop, fado and folk
2. Variações’ lyrics: from popular (or fake) poetry to pop lyrics
3. Text & Sound, Image & Body: performance and intermediality in Variações
4. Identity, resistence and excess: queer, glam and camp
5. Records: production; record industry
6. Production and handling of Variações’ media impact
7. Culture and society in Variações’ Portugal
8. Legacy and reinvention of Variações

Conference proposals should be rendered until June 16, 2017, through EasyChair. Pannels up to three lectures can also be suggested. Lecture drafts will have 500 to 1000 words (including references). The results of the evaluation will become public by July 16, 2017. Proposals in portuguese, english, spanish, french and italian will be accepted.

The conference will display a side, complementary program, comprising a concert and performances. As to the first item, the Organising committee will challenge bands around the Coimbra area to reinvent Variações’ music in a concert to take place at TAGV; as for the performative side, a Call for Performances is available, under the title «Performatic variations on António» (the selected performances will take at Sala do Carvão, at Coimbra University Bolier House, and at Salão Brazil.

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CFP: Besides the Screen 2017 - VR, Volumetric Filmmaking and Spatial Control (UFES, 31/05-02/06)

UNFOLDING IMAGES – VR, Volumetric Filmmaking and Spatial Control

7th Besides the Screen International Conference

Federal University of Espirito Santo, Brazil, 31 May to 2 June 2017

Deadline for proposals: 24th March 2017

Once again, virtual reality is a technology to come. The recent popularisation of immersive displays has revamped the interest on the possibilities of this subject. Alongside came the growth of other forms of volumetric image capture and exhibition, such as 3-D scanning and 360o video. These systems, many of them created to enable computer sensing, are now informing other observers. The way they have been deployed in fields from social media to heritage preservation and prosthetic medicine indicate their broad impact on emerging spatial ontologies.

The next Besides the Screen conference means to frame these growing trends in volumetric imaging in the long history intertwining geography and optics. Departing from cinema, the event seeks to explore how space and image have shaped one another across different media and cultural systems, tracing the power relations that cause topological subjectivities to emerge.

We invite proposals of papers, workshops, performances, screenings, artist presentations, and experimental projects that address, explore, and subvert topics such as:

- the past, present, and future of VR technologies

- 360o and immersive filmmaking in different genres

- bodily affects and proprioception within virtual environments

- multi-camera stitching aesthetics

- visual effects / in-frame spatial compositing, both digital and analog

- 3-D animation and synthetic spaces

- moving images resulting from 3-D scanning, photogrammetry, and structured light capture

- developments in computer vision and depth perception

- real-time cartography as control interfaces

- responses from the media and data industries to new image technologies

- early stereoscopic, anamorphic, and panoramic devices

- event cinema, site-specific projections, and pop-up screenings

- cleavages and continuities between architecture and the moving image

- moving image installations and performances

- etc

To submit a project, please send an abstract (~250 words) and a short biographical note (~150 words) to the address<>, with the subject SUBMISSION: BESIDES THE SCREEN 2017. Please include links for demos / previews of any video, performance, or installation submission. The deadline is 20th March 2017.
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New job opportunities at Bournemouth University

The Faculty of Media and Communication at BU has an enviable reputation for media production and has developed a popular and successful suite of programmes in television and film production at both undergraduate and post graduate levels. As a result of our expanding numbers we are currently advertising three new roles:

Professor/Associate Professor of Media Production<>

Senior Lecturer/Lecturer (Academic) in Directing Film & Television<>

Senior Lecturer/Lecturer (Academic) in Screenwriting <>

Closing date: (Midnight) Wednesday 5 April 2017​

For details please visit:

For an informal discussion of these roles, please contact Dr Christa van Raalte, Head of Department – Media Production at<>.
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CFP Audiences2030: Imagining a future for audiences

Deadline approaching CFP Audiences2030: Imagining a future for audiences

Deadline: 30th March 2017

This is an open conference, anybody can submit. It celebrates the end of
project moment for the AHRC CEDAR network, in association with
Universidade Católica Portuguesa, the Audience and Reception Studies
section of ECREA and YECREA

Date: 28th and 29th September 2017
Venue: Universidade Católica Portuguesa, Lisbon, Portugal

Some highlights of this conference include –

• *Keynote speakers*: Sonia Livingstone, Martin Barker, Thomas Tufte,
Klaus Bruhn Jensen

• *Highlight Plenary*: End of Project launch panel for the CEDAR
network's findings

• *Audiences2030 Respondents’ Panel*:, Peter Lunt, Kim Schroeder, Pille

•*Commentary on the* *Launch Event for the CEDAR Final Report*: With a
commentary from Denis McQuail, Sylvia Harvey and David Frohlich

• *YECREA Workshop*: Voice and identity in academia

• *Conference Dinner at Lisbon Castle*: Our conference dinner will take
place at the beautiful São Jorge Castle - a Moorish castle atop a hill,
overlooking the historic Lisbon and Tagus River.

*Conference Fee Bands*: Option 1: 70 Euros (with lunch and
refreshments); Option 2: 95 Euros (conference dinner, lunch and
refreshments); Option 3: 35 Euros (non-presenting attendee fee).

At a time of political and socio-cultural flux in Europe, and as we
begin to enter times of what is commonly being called the “Internet of
Things”, Audiences 2030 brings together researchers taking diverse
approaches to researching audiences, to ask what needs (re)doing in the
ways in which we research audiences, the ways in with we mobilise
theory, and the extent to which we think of future challenges to a
rapidly changing field. Audiences 2030 is the end-of-project conference
for CEDAR - the Consortium on Emerging Directions in Audience Research
(funded by the Arts and Humanities Research Council) and will see a
highlight plenary from CEDAR launch the outcomes of its unique foresight
exercise about the future of audience research in 2030. The conference
will see keynote speeches from Sonia Livingstone, Martin Barker, Thomas
Tufte and Klaus Bruhn Jensen. In our call for papers we are particularly
keen to see a futuristic outlook - whatever project we speak from, we
would like to see it contextualised in contemporary complexities
(intellectual, socio-cultural, political), and geared towards future
challenges. Topics in our CFP include but are not restricted to -

EU politics, democracy and media audiences
The Internet of Things: implications for audiences and institutions
Audiences' new literacies, capabilities and coping strategies with
digital media
Contemporary political complexities and audience studies
Digital interfaces and their implications for 'audience' studies
Speaking to stakeholders in audience research
Race, class, gender and religion in audience studies
Youthful audiences
Invisible, marginalised and under researched audiences
Social action, movements and audiences
Co-option of audience labour
Audiences, media regulation and media policy
New forms of media engagement
The role of texts in contemporary audience research
Cross-media audiences
Methodological and theoretical innovations

For each of this (or indeed, other topics), we particularly welcome
papers thinking about the future, including socio-political challenges,
anticipated technological changes and implications for research. Our
conference also includes a workshop or PhD students co-hosted by YECREA.

Please find all the relevant information and submit 250 word abstracts on:

The last date for submissions is
30th March 2017. We plan to announce results by 15th May 2017.

Ranjana Das (Director, CEDAR), Brita Ytre-Arne (Co-Director, CEDAR),
David Mathieu, Ana Jorge, Ines Amaral, Universidade Católica Portuguesa,
the Audience and Reception Studies section of ECREA and YECREA.
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Call for Contributions: Arts and Digital Practices Conference

sIREN Conference 2017: Arts and Digital Practices

ECA – Edinburgh College of Art, Scotland

30 – 31 May 2017

Submission deadline: 30 March 2017 


sIREN ‘Art and Digital Practices Conference’ will explore digital practices and their social impact in contemporary artistic contexts. It seeks to create an interdisciplinary platform of communication among artistic practices, technologies, theory, artistic collaboration and digital media.

The plethora and availability of digital tools and practices have transformed the ways art is created, perceived and disseminated. This had a distinct impact on how research is conducted across the arts and humanities as a whole, from practice-led to process-focused and people-centered research. To this end, an interactive format of hands-on workshops, papers and a performance session will lay the foundations for a creative dialogue among artists, theorists, academics and practitioners. The aim is to debate on key practical and philosophical challenges that contribute to the broader discussion of what it means to use digital tools as a form of artistic inquiry.

This conference will provide an arena for academics across disciplines for extending the debate of interdisciplinary practices and their appropriate methods as well as their potential. We welcome and encourage proposals for papers across a wide range of related subject areas – such as fine and digital media art, architectural design, music and sound studies, geography, anthropology, cultural and film studies.


* The intersection of art and science
* Digital arts and urbanism
* Data analysis in art practice
* Computation and creative processes

*The intersection of art and science*

Testing the boundaries between scientific method and artistic experimentation. We intend to discuss the role of the artist in blurring this discursive separation, and examine emergent forms of such interdisciplinary practice.

*Digital arts and urbanism*

Approaching “digital urbanism” through exploring the themes of multiculturalism, sustainability and community, contemporary mobilities, digital art and design processes. We want to investigate how digital arts form part of the political dynamics of urban space and contribute in digital place-making.

*Data analysis in art practice*

Surveying artistic methods that rely upon the production or mapping of data-sets. We are interested in systems, tools and approaches for identifying patterns in creative processes and shaping this data into material form.

*Computation and creative processes*

Investigating the role of computer technology in forming and mediating creative practice. In particular, we aim to address some of the issues, challenges and opportunities, arising from the present ubiquity of computing devices.

*Call for presentations*

The conference will include research papers, position papers, performance presentation, installation/exhibitions and a concert. It will lead to an online publication and serve as a springboard for new research collaborations.

We would like to invite contributions that in some way address these topics in the broadest way possible. Proposed contributions may take the following formats:

* *20 minute research papers *
* *10 minute position papers *

this might be grounded in personal practice or activism, more polemical, work in progress

* *20 minute**performance presentation *

practice-led presentations that include some aspect of performance/work

Generally proposals should include all of the following details of the proposed contribution:

* the name(s), affiliation(s), email(s) of presenter(s)
* title of paper/performance presentation
* abstract/performance description (max 300 words)
* a full list of any technical requirements and other resources
* a short bio (max 150 words)

*Submission deadline: March 30th 2017*
*You will be notified if your submission has been successful by April 15th 2017*

*Please send your proposals to: * <>

Papers/presentations and conference proceedings will be peer-reviewed and published with DOIs.

Successful applicants will have the opportunity to attend hands-on workshops. There will also be a closing concert on the 31st.

*Confirmed keynote speakers are:*

Celia Lury (Director of Centre for Interdisciplinary Methodologies, University of Warwick), Nicolas Donin (IRCAM, Paris), Peter Sinclair (Locus Sonus Sound Lab) and Jen Southern (CeMoRe, Lancaster University).

*Confirmed workshop leaders are:*

Trevor Wishart (Institute of Sonology), Kristina Andersen (STEIM, Amsterdam) and Chris Speed (ECA, Design Informatics).

*Please note that there are no charges for registration and attendance. *
Lunch, coffee breaks and a closing drinks reception are included.

Have a question? Please email <>

Academic committee:

Prof Richard Coyne, Prof Chris Speed, Dr Jules Rawlinson, Dr Martin Parker, Dr Owen Green, Mr Yati Durant

Hosted by sIREN (student-led Interdisciplinary REsearch Network) team:
Eleni-Ira Panourgia, Katerina Talianni, Dara Etefaghi, Tina Krekels, Jack Walker, Roxana Karam

For more:
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CfP: Academic Mindtrek Conference

Academic Mindtrek 2017

Call for Papers, Posters, Demonstrations and Workshops

20th to 21st September, 2017

Tampere, Finland

Full papers, posters, demonstrations and workshops due on:

DEADLINE 21st May, 2017

In cooperation with ACM, ACM SIGMM, and ACM SIGCHI.

Contributions will be published in the ACM digital library.



We are pleased to invite you to the 21st International Academic Mindtrek conference, 20th to 21st September 2017. Academic Mindtrek is a meeting place where researchers, experts and thinkers present results from their latest work regarding the development of novel technology, media and digital culture for the society of tomorrow.

Academic Mindtrek is part of the renowned Mindtrek business conference.

Mindtrek brings together people not only from various fields and domains but also from different sectors: from companies, startups, academia and various governmental institutions.

This makes Mindtrek the perfect opportunity for advancing research results towards practical utilization by the industry, as well as getting out-of-the-box research ideas based on the interaction with practitioners.

Mindtrek events are accessible for the Academic Mindtrek attendees, and vice versa.

The academic conference features the following major themes:

- Human-computer interaction (HCI)

- Interaction design and user experience

- Developer experience

- Games and gamification

- Virtual, augmented and mixed reality

- Collaboration, literacies and multimedia technologies in education

- Crowdsourcing and citizen participation

- Open data and data science

- New forms of journalism and media

- Theatre, performance and media

- Enhancing work in socio-technological environments

We are especially enthusiastic about applied research and papers related to practical work.


Academic Mindtrek is organized in cooperation with ACM SIGMM, and ACM SIGCHI. The conference proceedings will be published in the ACM Digital Library, which includes full papers, posters, workshop proposals and demonstration proposals. All papers should follow the style guidelines of the conference (more information under submission guidelines). In the Finnish classification of publication forums, Academic Mindtrek proceedings are classified as Jufo 1.

There will also be a reward for the best paper(s) of the academic conference.


All submissions will be peer-reviewed and double-blinded. Therefore, please remove any information that could give an indication of the authorship. The papers should contain

6-10 pages, including the list of references.


Workshop proposals should be papers between 2-4 pages long. We welcome you to suggest workshops as part of the Academic Mindtrek. Workshop proposals should also include the organizing committee, a description of the theme and goals of the workshop, a short CV of organizers, duration, and the schedule. Workshop organizers can create their own proceedings of the accepted position papers. Depending on the attached number of papers for each workshop, we provide space for either half-day or full-day workshops.

Previous examples include e.g. a workshop on eLearning, theatre methods for requirements elicitation, among others.


Interactive experience demonstration proposals should be either short papers (2-4 pages long) or full papers (6-10 pages) and include: a) a description and motivation of the interactive experience demonstration;

b) general architecture of the interactive experience demonstration;c) description of the main features of the demonstration;d) a brief comparison with other existing related interactive experience demonstrations;e) audiovisual materials to illustrate the interactive experience demonstration (a poster or a roll-up and other material on a laptop, for example);f) the type of license (if applicable), g) the Internet address of the interactive experience demonstration (if applicable), and h) description of the scientific basis behind the interactive experience demonstration (e.g., a regular paper presentation). It is strongly recommended that the authors make a video of the interactive experience demonstration available on the Internet to accompany the article submission.


Posters proposals should be papers between 2-4 pages long and a poster should be presented during the conference. Attendees have the possibility to exhibit their posters on a A0 poster wall at the conference.


Human-Computer Interaction (HCI)

Human-Computer Interaction (HCI) track addresses the design, development and implementation of user interfaces and the design of human and technology interaction. The track focuses on design of computer systems for human users, human requirements, usability, ergonomics, privacy aspects, trustworthiness, interaction theories, and sociological and psychological factors. The track brings together people from diverse areas that provide a multidisciplinary forum for academics, designers and practitioners to discuss the challenges and processes of contemporary topics in Human-Computer Interaction. The themes include, but are not limited to, the following subject areas:

- Interaction: e.g. interaction theories and models, new interaction techniques, multimodal interaction, multi-device interaction, social interactions mediated by technology.

- Interfaces: e.g. adaptive and personalized interfaces, usability evaluations, autonomous and proactive interfaces and interfaces as artefacts.

- Technology: e.g. architectures for HCI, Cloud computing & Mobile HCI, new technology enablers like various sensors and actuators, toolkits and platforms for new interactive systems.

- Evaluation: e.g. evaluation studies of interactive systems, evaluation methods and techniques and user trials and experiments of interactive technology.

- User insight: e.g. methods for user research, ethnography, and understanding the users and contexts of use.

- Interaction Design and User Experience

This track focuses on the practice of designing interactive digital products and services and the user experiences and interactions therein. As people's quality standards tend to constantly increase, providing a delightful user experience and fluent interaction, the most relevant features have become central goals in the development of digital products and services. The areas of interest include, but are not limited to, the following areas:

- Theories, conceptualizations and reflections on user experience, consumer experience, product experience, interaction design, service design and their relations to other design disciplines.

- Understanding various aspects of user experience: e.g. aesthetics, trust and privacy, product attachment, playfulness, engagement, social elements.

- Novel design approaches: e.g. experience-driven design, critical design, design visions.

- Techniques, methods, tools and patterns for interaction design and service design.

- Measuring and assessing user experience, user studies and user experience evaluations.

- Creativity and innovation in design of interactive systems.

Developer Experience

Developer experience is of increasing interest in academia and industry.

Developer experience concerns how developers think and feel about, and are motivated to act in, software development in a wide variety of settings. The concept includes not only the individual developer and the technical artefacts involved, but also social and organizational factors as well as many contextual factors.

It is assumed that good developer experience can have a positive impact on software development outcomes. Developer experience may be an important strategic concern for organizations. More engaging and attractive software development could simultaneously lead to higher development performance. Digital products and services increasingly have primary or secondary users who are software developers, e.g. through open APIs and platforms. The role of developers is expanding with digitalization of society and business, and the evolving nature of the software development profession necessitates new research in this area.

This track focuses on conceptual and empirical aspects of developer experience (DX) and includes, but is not limited to, themes such as:

- Components of DX

- Empirical studies on DX

- Methodological aspects of DX research

- Factors contributing to DX

- How to support good DX

- How to design and apply experiential aspects and gamification for enhanced DX

- How to observe and manage DX in different kinds of environments

- Impacts on and consequences of good and bad DX

- Solutions to support good DX

Games and Gamification

The culture, development and business of games has become increasingly varied. The current trends range from virtual reality and wearable gaming to freemium business models and serious games. Games research is a multidisciplinary field featuring diverse approaches to understand the phenomenon of games and play.

Academic MindTrek has an inclusive approach in the Games track focusing on novel, innovative and even unorthodox games research from theoretical works, empirical case studies to constructive projects. The Games track themes include, but are not limited to, the following subject areas:

- Design (interaction, mechanics, interfaces...)

- Evaluation (game experience, playability, usability...)

- Development (production, tools, engines, AI, audiovisual...)

- Business (digital distribution, crowdfunding, revenue models, virtual


- Platforms (online, social, mobile, desktop…)

- Technology (virtual, augmented, mixed, and altered reality…)

- Serious games (education, health, persuasive, simulations...)

- Gamification (motivation, effects, case studies…)

- eSports (culture, streaming, fandom…)

- Hybrid games (digital-physical, board games, toys…)

- Online gambling (lottery, casino, betting…)

- Players (demographics, inclusivity, accessibility…)

- Indie (innovation, modding, transgressive…)

Virtual, Augmented and Mixed reality

Mixed reality refers to merging of real and digital realms in order to produce new environments where physical and digital objects coexist and interact in real time.

We consider this broadly, covering both purely virtual realities, as well as augmented reality, where the perception of the real world is enhanced with digital content. With new technologies for capturing, modeling, simulating and tracking the reality and for producing realistic hybrids of the real and digital, this field provides immense opportunities for novel applications in all areas of life. The main focus on this track is on the interactions between technology and its users rather than the technological enablers. Therefore, we welcome submissions related to, e.g.:

- Prototypes of applications or devices for virtual or augmented reality

- Designing, prototyping, and evaluating experiences and applications/services for AR/MR/VR

- Studies of user perceptions, user experience and acceptance of new mixed reality technology

- Methods and processes for producing mixed reality environments

- Augmenting human perception and activity with mixed reality technology

- User interface solutions for mixed reality interactions

Collaboration, Literacies and Multimedia Technologies in Education

Education is increasingly using tools and solutions to support learning and collaboration on mobile, online and distance platforms and with related applications. Furthermore, various types of multimedia technologies and solutions can be used in educational context, including rapidly emerging technological enablers such as AR/MR/VR. From the perspective of education, media and technologies foster the question of developing skills, especially media and information literacies and multi-literacies among pupils, students and other users. This kind of media education is relevant for the development of education curricula across all levels, especially for children and young people.

We welcome submissions on the collaboration and multimedia technologies, platforms, solutions, and trials in classroom, mobile, online, and distance learning contexts as well as in developing and rural regions.

Submissions related to skills and literacies related multimedia technologies are welcome as well. Theoretical, methodological and empirical submissions are welcome on design, prototyping, development, evaluation, and actual use of tools, solutions, and multimedia technologies and created data from lab to real life context. The submissions can address contexts such as daycare, schools and higher education, as well as in professional development in continuing education, MOOCs, or in informal learning contexts. Learners’ or educators’ viewpoint, or the educational aspects and goals can also be covered in the submissions, for example.

Crowdsourcing and Citizen Participation

Crowdsourcing and citizen participation have become part of everyday activities in media and organizational landscape. Crowds or citizens, can solve problems, create, contribute, share, and analyze multimedia content and data, and participate, provide their needs and perceptions, and influence decision making. Crowds contributing to open data can enable creating innovative applications, new multimedia forms, novel business models and platforms by utilizing the emerging opportunities.

This track welcomes submissions on using crowdsourcing and citizen participation in organizational, NGOs, multimedia and open data landscape. Submissions can include design, development, evaluation and use of solutions and platforms and processes for supporting crowdsourcing and citizen participation. Topics related to the cross-section of multimedia or open data, and crowdsourcing or citizen participation, such as gamification, motivation, incentives, privacy, as well as design and evaluation by using crowdsourcing and citizen participation are welcome to this track.

Open Data and Data Science

Accessing, creating, analyzing and utilizing good-quality data plays a central role in the development of the digital economy. The exponential accumulation of data, both sensor-based and user-created, opens new avenues for applications in, for example, various industry sectors, science, management, E-Government and E-Learning, artificial intelligence, predictive analytics, and knowledge work. But what data is interesting and where does it come from? How to access it, analyze it, make sense of it, or to build applications or ecosystems based on it?

We are looking for submissions that address the challenges and opportunities related to Open data, Data science and Big Data. The submissions can, e.g., introduce computational methods for analyzing, visualizing or acquiring various types of data, envision opportunities for or present developed applications that utilize open data, describe and analyze new

(open) data sets, or present procedures for extracting insight from various data. In addition to the usual scientific peer-review criteria, the evaluation of submissions about new data sets includes novelty, design and availability.

New Forms of Journalism and Media

The hottest topic in journalism and publishing industry in recent years has been the “mobile first”

approach. This means that particularly in the news media focus has shifted more and more from print or desktop-oriented publishing to mobile-first strategies.

Smartphones and tablets enhanced with the publications presence in social media are now at the core as the news media tries to meet its audience and customers at first hand. Engaging the audience with the help of these new tools is increasingly important also for non-news media, such as traditional magazines.

This track focuses on new and emerging forms of creating, distributing and presenting journalism in this new era. We have an emphasis on visual forms of storytelling and engaging audiences. This doesn’t mean other forms or genres of journalism and media are excluded.

We welcome submissions related to, e.g. use of online video, multimedia and data visualization projects in journalism, news mobile services, innovative ways of utilizing time lapse, hyper lapse, web videos, metadata, interactivity and news games. We are particularly interested in papers discussing the use and experiences of augmented, mixed and virtual reality and omnidirectional video in journalism and immersive storytelling.

Theater, Performance and Media

Discussions on the mediatization of performance and the use of theories and methods of Theatre and performance studies in media research enable new analytic paths to questions of cultural activity and representation.

Human actions in the media, and the automated, semi-automated or computer-controlled processes used in creative practices generate unforeseen modes of performativity.

Consequently, the fields of art and media now promote a culture of participation that calls for critical notions of transformative identity, new forms of co-creation and open performative environments, as represented by the many platforms of social media and emerging forms of non-linear/non-human game play. As components of user-centered ecologies and economies, these mostly digital phenomena suggest a cultural milieu where communicative processes, environments of operation, and shared or individual experiences are constantly performed and re-performed (created) by their users. The theater, performance and media track welcomes papers that discuss (but are not necessarily limited to) the following topics:

- The use of media in performance Digital/ non-digital/ hybrid performance

- Performances in specific media environments

- The performative aspects of media

- Performances in video games and other virtual environments

- The use of Motion Capture and other real time technologies in performance

- Live streaming of theatre performances

- Non-human performativity

Enhancing Work in Socio-technological Environments

Digitalization changes the ways of working making it polychronic, and multitasking is almost a standard. Technological tools enable asynchronicity, spatial dispersion, and mobility. Work is no longer bound to time or place, and working environments in the digital era differ from those before. In the context of work this means using technological tools to enhance performing tasks and, especially, to support co-creation. Knowledge work is particularly dependent on interacting with other actors, and thus working in close co-operation is a central determinant of work. Working in different socio-technical settings can take forms of one-to-one, one-to-many or many-to-many communication.

The tools to support and enhance co-creation need to take this diversity into account. In this context the term tool refers to several solutions ranging from single technological applications, through processes and ways of work to wider platforms, and even social constructs and norms.

So far, quite little is known about the practical working methods of knowledge workers, especially when the work is highly collaborative. The aim of the track is to present novel approaches on research of socio-digital working environments. The underlying theme is information ergonomics, yet it covers many disciplines and perspectives. The track welcomes methodological, theoretical and empirical papers on contemporary work settings.

New ways of personal knowledge management are also needed. How can a knowledge worker find and extract the knowledge meaningful for his work from the abundant mass made available by digitalization? What are the effects of digitalization to productivity, performance, and well-being?

Digitalization also molds information practices: how does this effect keep up with work? Digitalization of work has also been criticized for, for example, declining attention span, dislocation of information, stressed-out personnel, information security risks, and not living up to expectations in general. Therefore, if digitalization is not the answer, what is? Moreover, why would non-digital way of working be better?

The topics of this track may include but are not restricted to:

- Effects on productivity and well-being

- New ways of working

- Digital creativity

- Supporting technologies in knowledge work

- Information ergonomics

- Affordance of tools

- Social aspects and collaboration

- Creating value

- If not digitally, then how?


May 21st: Deadline for full papers, posters, demonstrations and workshops submissions.

July 14th, 2017: Notification of acceptance/rejection.

August 14th, 2017: Copyright forms submission.

August 21st 2017: Conference registration & camera-ready papers submission.


Please use the templates provided on the style guidelines site. A

template for Word documents and LaTeX guidelines can be found on

Note that since the papers will be published by the ACM digital library

all authors need to sign

an ACM copyright form. The copyright form would be sent through an

automated system only for accepted papers.

You can start sending in your papers now!


Academic Mindtrek Conference Chair

Markku Turunen, University of Tampere

Program Chairs

Janne Paavilainen, University of Tampere

Heli Väätäjä, Tampere University of Technology

Thomas Olsson, SIGCHI Finland and Tampere University of Technology


Silvia Rubio Hernandez, University of Tampere

Local Arrangement Chair and Conference Management

Jenna Tuominen, COSS Association

Mindtrek Conference Chair

Timo Väliharju, COSS Association


Esa Sirkkunen, University of Tampere

Fabian Fagerholm, University of Helsinki

Jussi Okkonen, University of Tampere

Mari Pienimäki, University of Tampere

Mikko Kanninen, University of Tampere

Sirkku Kotilainen, University of Tampere

For more info contact <>


Email: <>

Facebook: <>


COSS Association, City of Tampere, Tampere University of Technology

(TUT), Tampere

University (UTA), Tampere University of Applied Sciences (TAMK) and

SIGCHI Finland.
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Lecturer in Meda Studies at Lincoln

Lincoln School of Film and Media

The Lincoln School of Film & Media is based in the College of Arts, located at the University’s main Brayford campus. We have been delivering media education at HE for over 20 years and we are currently amongst the very best Schools in the UK for media education and research. As a creative and dynamic environment, we have developed a strong reputation for the integrated nature of our courses, our relationship with the media, creative and cultural industries, and the strength of our research and professional practice activity across practical and theoretical areas. Even in these tough economic times, a very large number of our students go on to forge successful careers in these industries and other professions like them. As we move into the next 20 year phase we are determined to advance our status as one of the leading centres for media education in HE, with a distinctive reputation for creative entrepreneurship and with our students at the heart of everything we do.

Media Studies at LSFM emphasises speculation, experimentation and creativity. The successful candidates will play a key role in the School’s curriculum development and enhancement, supporting the development of our new BA Media Studies, which launched in 2016.

Post-holders should have expertise in one or more of the following aspects of Media Studies:

· The technological, economic, and political histories of information society (e.g. cybernetics, post-Fordist capitalism, digital counterculture)
· The history and contexts of digital culture, with a particular emphasis on feminist, queer, post/decolonial and critical race perspectives
· Ecological and material contexts of the digital

The post-holders should be prepared to:

· Teach across a range of modules (dealing with key twenty-first-century themes and approaches such as media and the environment, materiality of media, media philosophy, rethinking gender) in Media Studies at undergraduate level.
· Contribute to the development of the curriculum for the critical studies strands (especially generating new options).
· Develop a strong research profile and research council bids.
· Contribute to the development of post-graduate (taught and research) provision in this subject area.
· Ensure achievement of HE teaching qualification/accreditation [e.g. with HEA] during the probationary period.

We promote a collaborative, research-engaged ethos, reflecting a diversity of interests and looking outwards to the world at large. Lincoln is distinctive in its commitment to a spirit of collective enquiry, inspired by the University’s ‘Student as Producer’ initiative. Through our teaching and research we aim to produce an intellectual commons and to participate in the transformation of the social world.

The School is actively working towards Athena Swan accreditation.

The University of Lincoln, located in the heart of the city of Lincoln, has established an international reputation based on high student satisfaction, excellent graduate employment and world-class research.
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CFP: Fast, Slow & Reverse


Fast, Slow & Reverse. Faces of Contemporary Film Narration conference

Gdańsk-Kraków (Poland), 24th – 28th May, 2017

Keynote speakers: Thomas Elsaesser, Warren Buckland, Noël Carroll, Eleftheria Thanouli

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CFP Queer Screens Conference 2017


September 2nd and 3rd 2017

The Institute of the Humanities and the Gendered Subjects Research Group
at Northumbria University, Newcastle Upon Tyne, UK

Keynote speaker: Prof. Jack Halberstam (University of Southern California)

We invite submissions which tackle diverse aspects of queer representation, and that question the extent to which the new influx of queer on-screen visibility works at once both to liberate and obfuscate certain queer identities and cultures. How, for example, should we perceive representations of the legalization of gay marriage in numerous countries, while taking into account that these changes in law also mark the entrance of queer individuals into reproductive and familial time? In England and Wales, 2017 marks the 50th anniversary of the Sexual Offences Act, which decriminalized private homosexual acts between male individuals aged 21 or over. As such, this anniversary comes at what is arguably a troubling time; one where right-wing nationalism spreads across the US and Europe and ‘homonationalism’ (Puar, 2007) allows for the appropriation of queer and feminist discourses so as to legitimize xenophobia and contemporary colonialism.

We encourage submissions dealing with queer representation in any on-screen form (ranging from the established forms of film and TV to gaming, music videos, advertisement, web-series, and social media, amongst others) in what can be broadly defined as a contemporary context, promoting both explorations of the historical development of queer visibility and of its recent media examples. Additionally, we welcome further explorations of what it means to be ‘queer’ on screen, to gaze queerly, and the value of queerness as not only a political but aesthetic term. Topics may include yet are not limited to:

● Queer intersectionality on contemporary screens
● Queer temporalities and geographies
● Specific regional, national or transnational contexts of queer representation
● The relationship between various media platforms and queer visibility
● Representations of queer activism and the (re)framing of activist debates
● The queer body and its relationship to the neoliberal context
● Adaptations and appropriations that queer canonical authors and texts
● Queering notions of success and failure in neoliberalism
● Homonationalism and its role in representation
● Queer anarchism. Queerness as a vehicle for change. Queer utopias and potentialities.

Organizers: Anamarija Horvat ( <>) &
Inmaculada N. Sánchez-García ( <>)

Please send 300-word abstracts for 20-minute presentations and a biographical note to<> by May 1st 2017.

For further information check our website:


Follow us on:

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CFP: Theorising Comedy Studies: Ethics, Aesthetics, Politics

Theorising Comedy Studies: Ethics, Aesthetics, Politics (ed. Helen Davies and Sarah Ilott)

We are in the process of putting together a book proposal for an edited collection on the above topic, for submission to the Palgrave Studies in Comedy series in late Spring 2017. We are seeking an additional contributor to write on any facet of the ethics, aesthetics and politics of comedy in the context of the U.S.

Potential topics might be, but are by no means limited to:

- U.S. sitcoms/stand-up etc. and the politics of identity (gender,
sexuality, race, class, disability)
- ‘Free speech’ and the limits of humour in the U.S.
- Comedy and politics: the uses/abuses of humour in the context of
presidential campaigns/elections etc.

We welcome submissions from researchers at any stage of their career, and critical writing from any perspective within media/cultural/literary studies.

Please submit a 500 word abstract (with a short biographical note of no more than 100 words) to<> by 23^rd March 2017. If accepted, final chapters of no more than 7000 words (including all bibliographical materials) will be due by 31^st December 2017.
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CFP: Southeast Asia on Screen: From Independence to Financial Crisis

Southeast Asia on Screen: From Independence to Financial Crisis

In the last two decades there has been an increase in English-language scholarship addressing Southeast Asian Cinema. Such research focuses upon, among others, national film histories (Phương 2007; Nugroho and Herlina 2015; Muthalib 2016), national cinemas (Tolentino 2001; Uhde and Uhde 2010; Tan 2008; Millet 2006; Lewis 2006; Khoo 2006; Margirier & Jean-Pierre Gimenez 2011), specific filmmakers (Cheah 2004; Quandt 2009; Mai 2015) and the filmmaking boom in the digital era (Baumgartel 2012). However, while such research is a welcome addition to an underexplored area of film scholarship, there is as yet no concise collection addressing Southeast Asian cinema from the post-WW2 era up to the 1990s, before the revival of these region cinemas and the advent of digital filmmaking.

This anthology will be the first comparative analysis across Post-WW2 Southeast Asian national cinemas. Following the end of World War 2, after which many Southeast Asian nations gained their national independence, and until the Asian Financial Crisis of 1997-98, film industries in Southeast Asia had distinctive and colourful histories. Much of this was shaped by national or domestic conditions, and cinemas in Southeast Asia have therefore been largely conceptualized as distinctive national cinemas, albeit ones shaped by global forces and developments. Whilst acknowledging the importance of respective national contexts, this collection aims to offer the first comparative overview of SE Asian cinemas by exploring thematic connections between Southeast Asian countries and their filmmaking histories. At various times, these nations experienced similar historical events that shaped their respective cinemas, making them more similar than different. All countries underwent a period of national formation in the aftermath of WW2 (Indonesia, Malaysia, Singapore) giving form to anti-colonial and nationalist movements and shaping concepts of culture, belonging, and modernity. The rise of authoritarian regimes (Burma 1962, Indonesia 1966-, Philippines 1972, Thailand 1976, Cambodia 1979) increasingly defined film production through its relationship to the state, producing films addressing both state ideology and political resistance. Throughout the 1970s and 1980s meanwhile, many local industries flourished, catering to a mass local audience, while, at the same time, auteur figures emerged in each country, as did art cinema.

In addressing the similar themes, histories, trends, technologies, and socio-political events that have shaped the art and industry of film in this region, this edited volume seeks to identify the unique characteristics that continue to shape cinema, spectatorship and Southeast Asian filmmaking in the present and future. Such issues could address the conditions that have given rise to today’s burgeoning Southeast Asian cinemas as well as the gaps that manifest as temporal belatedness and historical disjunctures in the more established regional industries. As the tenth anniversary of the Association of Southeast Asian Cinemas conference (triggered by the 1990s film revival) approaches, this retrospective of Southeast Asian Cinemas past will provide a timely analytical history while also remaining rooted in the contemporary and reflecting on the future.

The editors seek chapters that will fit into the following thematic sections for a book publication with a reputable academic publisher:

1. Independence and Post-WW2 era: films that grappled with what it means to be postcolonial, dealing with issues of modernity, development, and nation-building.

2. Golden Eras, Studio Systems and Festival Success: for example, the golden eras for Philippines, Malaya/Singapore, Cambodia.

3. War, Propaganda and the Military: how and when have Armed forces and armed struggles have been venerated; these can include a focus on Vietnamese cinema(s), Myanmar, Indonesia, or Malaysia.

4. Under Martial Law and military authorities: many of the countries of SE Asia experienced periods of martial law or authoritarianism including Indonesia (1966-1998), Philippines (1972-1981), and Thailand (1976-1988). How did these periods shape film production either in service of the regime or in resistance to it?

5. Cheap Quickies: Exploitation, Sex, and the Popular: prolific production gave form to popular culture but also cultural debates.

6. Art Cinema and Auteurs: this could focus on Rattana Pestonji, Lino Brocka, Ishmael Bernal, Mike de Leon, Usmar Ismail, Teguh Karya, etc.

We are aiming to get the book out for the 10^th Association of Southeast Asian Cinemas Conference. Please submit an abstract of no more than 500 words complete with a 100 word bio by 15 April 2017 to: <>, <>, and<>
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CFP: Encontro internacional "O Cinema e as outras Artes" -UBI

[Please see English version below]

Ao longo da história do cinema temos assistido a um complexo debate sobre a relação recíproca entre o cinema e as outras artes que se caracteriza, sobretudo, por um conjunto de esforços criativos e gestos experimentais de ambos os domínios, permeado por dialogismos que transitam entre a expressão das outras artes no cinema e a transmutação do cinema nas outras artes. Desde a defesa do valor estético da imagem em movimento até às formas mais híbridas construídas sob novos referenciais, o cinema está em constante relação de reciprocidade com as outras artes, quer seja por uma relação de tensão, de presença de uma na outra, ou em última instância, de diluição das fronteiras. Este campo investigativo encontra nas possibilidades operativas da intertextualidade e no regime dialógico da construção artística, processos metodológicos capazes de estruturar o discurso científico.

O encontro internacional O Cinema e as outras Artes terá a sua segunda edição nos dias 28 e 29 de setembro de 2017, na Universidade da Beira Interior. O seu principal objetivo passa por promover a discussão/reflexão sobre problemáticas atuais relativamente ao diálogo entre as diferentes formas de arte, tendo como ponto de contacto o cinema. Procurando reunir esforços para ensaiar hipóteses de leitura interdisciplinares e interculturais, são convidados a participar neste encontro, investigadores das diversas áreas científicas, com especial preponderância para os Estudos Fílmicos, os Estudos Artísticos e os Estudos Culturais, que, em diferentes domínios disciplinares e fases de investigação, se ocupam destas questões.


A organização O Cinema e as Outras Artes convida toda a comunidade científica, a submeter propostas originais que se enquadrem na dinâmica do evento, de 20 de janeiro a 15 de maio de 2017

Cada proponente poderá apresentar apenas uma proposta de comunicação.
As comunicações poderão ser apresentadas por coautores, desde que um dos proponentes esteja devidamente inscrito no encontro.

Todas as comunicações terão a duração máxima de 20 minutos, independentemente do número de coautores.

Os resumos devem ser enviados em formato Word document ou PDF para o email, incluindo a seguinte informação:
Filiação institucional
Título da proposta
Resumo (máx. 500 palavras) mais cinco palavras-chave
Biografia de cada autor (máx. 150 palavras)

Para mais informação visitar:


Throughout the history of motion pictures we have witnessed a complex debate around the reciprocal relationship it establishes with other arts, that is mostly defined by creative efforts and experimental gestures in both domains, permeated by the dialogic quality of how those other arts express themselves in cinema and the latter transmutes into the former. From advocating the aesthetic value of a moving image to more hybrid forms built on new benchmarks, cinema dwells on a constantly reciprocating relationship with other arts which takes up many forms, whether because there is tension among them and one is present in the other, or ultimately because borders are blurred. This is a research field that can count on methodological processes capable of structuring scientific discourse due to the operational possibilities of intertextuality and artistic creation’s dialogic quality.

The international meeting Cinema and other Arts will take place for the first time at Universidade da Beira Interior on 28-29 September 2017. Its main focus is to promote the debate/reflection around current issues related to the dialogue between different art forms whose point of contact is the cinema. Seeking to provide interdisciplinary and intercultural reading possibilities, researchers from several scientific areas currently engaged with these issues, albeit in different disciplinary domains or research stages, are invited to participate, especially from the areas of Film Studies, Art Studies and Cultural studies.

The organisation Cinema and other Arts invites the whole scientific community to the submission of original proposals that are fitted in the dynamic of the event.

The deadline for submission of proposals is May 15, 2017. Each applicant may submit only one proposal.

Please send your proposal - either in Portuguese, Spanish, French or English - as a Word document or PDF via email (<>) including the following information:


Institutional Affiliation

Title of proposal

Proposal for paper/presentation (not more than 500 words) plus five key­words

Biography of each author (not more than 150 words)


For further details and information, please visit: <>

Facebook: <>

Organizing Committee | C_2017 <> <>

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CFP ECREA Film Studies conference: Multivoicedness and European Cinema: Representation, Industry, Politics


Multivoicedness and European Cinema: Representation, Industry, Politics

Conference date: Friday 10th and Saturday 11th November 2017

Venue: University College Cork, Ireland

Organised by: ECREA Film Studies Section

Deadline for abstracts: 2 May 2017

Conference website:

European cinema has evolved from a homogenous and selective object of study, mostly shaped by frameworks of national industry, identity and culture, to a much more diversified field, reflecting the shift to a post-colonial, post-communist, post-national, globalised Europe. In the context of an increasingly diverse but also split society, in which social polarisation is on the increase due to the crisis of the Eurozone and the decline of the welfare states, and in which populism and nationalisms are on the rise, resulting in the strengthening of the Fortress Europe project, this conference aims to turn the spotlight on the less-represented and less-audible voices in European cinema in all its forms: fiction, documentary, mainstream, art house, independent, exploitation, art film. With an inclusive focus encompassing issues of production, distribution and reception, of representation and of form, of dissent and of control, the conference invites contributions that engage from a wide range of theoretical perspectives and methodological approaches with the politics of difference and with the representation and/or expression of alternative viewpoints in European films / in films made in Europe.

Keynote Speakers:

Professor Ewa Mazierska (University of Central Lancashire)

Professor Chris Wahl (Film University Babelsberg Konrad Wolf)

Abstractsare invited on topics related to Multivoicedness in European Cinema, including but not limited to:

* Multivoicedness in national and transnational European cinemas
* Peripheries, borders, and grey areas: falling between the cracks,
speaking from the margins
* Ethics and/or aesthetics of alternative voices
* Audiodescription, subtitling and dubbing of multivoiced films
* Cultural and market negotiations: translating cultures, crossing borders
* Participation, dissent, resistance: audiences, politics, and public
* Alternative European cinemas and the global market
* Other voices: niche markets, new forms of consumption
* Deterritorialising identities, becoming migrant/minoritarian
* Polyglot cinema: speaking from multiple subject positions
* Genders and genres: decentering and in-betweenness
* Alternative film festivals and other cinemas
* Speaking in tongues: the audiences of multivoiced films
* Queering European cinema
* Nonfiction and commitment: documenting the silenced subject
* Speaking for oneself: multiple forms of first-person filmmaking
* Transnational, cosmopolitan, global: what European cinema?
* A continent in motion: multiple commitments, divided belongings
* The “New Europeans” in films / making films
* Margins of industrial practices, alternative forms of production,
distribution and reception
* Speaking parts: person, character, actor, star

The conference will also be the host to special panel sections prepared by the HoMER network (History of Moviegoing, Exhibition and Reception) and FFRN (Film Festival Research network).

Abstract submission: Please submit your abstract (max 300 words) along with key references, institutional affiliation and a short bio (max 150 words) or a panel proposal, including a panel presentation (max 300 words) along with minimum 3, maximum 4 individual abstracts.

Submission deadline: May 2^nd 2017.

Proposal acceptance notification: June 23^rd 2017.

Please send your abstract/panel proposals to the conference email <>

Submissions for the HoMER section should be sent to Daniela Treveri Gennari: <>and submissions for the FFRN section should be sent to Skadi Loist: <>.

ECREA membership is not required to participate in the conference. Delegates will be required to contribute towards administrative and catering costs.

Conference details: The Conference is hosted and supported by the Department of Film and Screen Media, University College of Cork, Ireland:

Conference organisers: Laura Rascaroli (University College Cork), Sergio Villanueva Baselga (Universitat de Barcelona), Helle Kannik Haastrup (University of Copenhagen), Anders Marklund (University of Lund), Gertjan Willems (Ghent University).

Conference email address: <>

Conference website:

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CFP: Horror, Cult and Exploitation Cinema: a PhD and ECR workshop
Call for Presentations:

Researching Horror, Cult and Exploitation Cinema

A Workshop for PhD Students and Early Career Researchers

Friday 5 May 2017, Northumbria University, Newcastle Upon Tyne

PhD students and Early Career Researchers working in the field(s) of “horror, cult and exploitation cinema” are invited to submit abstracts about their research to deliver at a workshop at Northumbria University on Friday 5 May 2017. The workshop will take the format of a mini-symposium and consist of three sessions, each made up of three speakers. Speakers will each deliver a 5-10 minute talk about their research to their peers and to a panel of academic experts from Northumbria’s Film and Television Research Group, providing a short introduction to their current project and identifying several questions for discussion. After each presentation, there will be an opportunity for the academic panel and other workshop participants to feedback to each speaker, and to ask follow-up questions.

The workshop is intended to be a small scale networking opportunity for scholars with shared research interests, and to provide a relatively informal, and supportive, opportunity for those newer to academia to engage in dialogue with more established researchers.

The event will close with a short presentation from Gillian Leslie <>, the Commissioning Editor for Film Studies at Edinburgh University Press, who will give advice about academic publishing (including converting PhD theses into monographs).

The academic panel will comprise:

Professor Peter Hutchings (Professor of Film Studies, author of/The Horror Film/ and /The Historical Dictionary of Horror Cinema/)

Dr Russ Hunter (Senior Lecturer in Film and Television Studies, co-editor of /Italian Horror Cinema/, author of /A History of European Horror Cinema/)

Dr Steve Jones (Senior Lecturer in Media, author of /Torture Porn: Popular Horror After Saw/, co-editor of /Zombies and Sexuality/)

Dr James Leggott (Senior Lecturer in Film and Television Studies, author of /Contemporary British Cinema: From Heritage to Horror/)

Dr Sarah Ralph (Lecturer in Media and Cultural Studies, co-author of /Alien Audiences: Remembering and Evaluating a Classic Movie/)

Dr Jamie Sexton (Senior Lecturer in Film and Television Studies, co-author of /Cult Film: An Introduction/, founding series co-editor of /Cultographies/)

Dr Johnny Walker (author of /Contemporary British Horror Cinema: Industry, Genre and Society/ and co-editor of the /Global Exploitation Cinemas/ book series)

Applicants are reminded that there are only nine spaces available.

Lunch and light refreshments will be provided throughout the day.

Please submit a 250 word summary of your project, and a 50-100 word bio to the organiser, Dr Johnny Walker (<>), by Friday 31 March 2017. Applicants will be notified of the outcome the following week.

This is a collaborative event between the Department of Social Sciences and the Department of Arts.
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CFP: World Multidisciplinary Art Symposium - WMAS 2017

The last 3 weeks to abstract submission deadline 10 March, 2017.

Online registration and submission system are now open, and you can submit your abstract(s) as well as full text(s).

On the behalf of the Organising Committee, we would like to invite you as a representative participant in WMAS 2017.

We also invite you to be CONVENER of a specific session related with one of the WMAS 2017 topics. CONVENERS will be free of charge of registration fee as a compliment of WMAS 2017, if your session will be completed with the minimum 10 participants registered.

Let's meet in the city of Art and Romance, Prague .

Sincerely yours,

Chairmen of WMAS

Prof.Dr. M. Hilmi BULUT

Assist.Prof.Dr. Duygu ULUSOY YILMAZ

Assoc.Prof.Dr. Ferdinand CHRENKA<>

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CFP Northern Lights: Surveillance: Through media, by media, in media

Call for submissions to Northern Lights, Volume 16 - Theme issue on:

*Surveillance: Through media, by media, in media*

Volume editors: Göran Bolin and Anne Jerslev

Following the spread of digital media, the interdisciplinary field of surveillance studies has raised a prominent agenda, engaging scholars from the humanities and the social sciences alike. Although surveillance as an activity presupposes the involvement of media technologies and images and often involves media organizations, the specific role of the media in these activities has not been sufficiently dealt with.

The increased opportunities for corporate businesses and state administrations to monitor customer and citizen behavior around the clock raise a range of media-related questions of ethical, legislative and political nature, concerning privacy, citizenry, power and individual rights vs. the common good included in an open digital information architecture. However, surveillance is also present /in/ the media, aesthetically and thematically. The increased possibility of surveillance and the many levels of monitoring made possible in society are critically examined and challenged in contemporary media practices. What could be labeled a ‘surveillance aesthetics’ seems to be part and parcel of communicative strategies and audiovisual experiments in photography, film and television series – from constructions of different panoptic points of view to embodied, subjective points of view – just like surveillance is prominent as theme, discourse and narrative structure in a range of programs on diverse platforms as well as in news media.

For this issue of /Northern Lights/, we invite articles that critically analyze and discuss the role of media in various forms of monitoring and surveillance in society. This includes issues regarding the ways media technologies both enact and facilitate surveillance and how different media genres, platforms and technologies facilitate monitoring such as the corporate monitoring of media audiences, media users and customers through various forms of (big) data. Moreover, articles may discuss one or more of political and ethical themes raised by mediated surveillance on different levels from discussions of national and transnational privacy protection laws to discussions of everyday practices within an environment characterized by ubiquitous surveillance technologies. Finally, articles may discuss how surveillance functions as (audio)visual practices.

Themes include (but are not restricted to):

* Surveillance aesthetics in (audio)visual media
* Surveillance and privacy
* Surveillance and social media platforms
* Media historical perspectives on monitoring and surveillance
* Analyses of systems of monitoring and surveillance in relation to
digital media
* Distinctions between audience analysis and surveillance
* Media coverage of surveillance post-Snowden
* Analysis of attitudes to surveillance and monitoring by different
groups of new media users
* Sousveillance and the critique of power
* Panspectric practices in marketing
* The role of big data in surveillance systems

Please send an extended abstract of 500-600 words to volume editor Professor Göran Bolin: <>

Deadline for abstract submission: 3 April 2017
Notification to authors: 21 April 2017

Final article submission: 1 September 2017

Publication: Spring 2018

Additional information about the journal is available on the Intellect Press website:,id=143/view,page=2/
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CFP: Speculative Visions (InVisible Culture, Issue 27)

For its twenty-seventh issue, /InVisible Culture: An Electronic Journal for Visual Culture/ invites scholarly articles and creative works that address the complex and multiple meanings of/speculative visions/.

The last decade has seen a rise in popularity among science fiction, fantasy, and horror. These genres encourage the capacity to imagine post-human bodies, extraordinary worlds, techno-utopias, and claustrophobic spaces of violence. In their reliance upon the imagination, these speculative visions provide a space to consider contradictions and a carnivalesque interaction between popular culture and critical theory.

For Issue 27, we would like contributors to consider a range of questions produced by both historical and contemporary science fiction, fantasy, and horror across all visual media. How are objects transcribed and/or adapted from one medium to another? How do the limitations and possibilities of a medium structure works?How have these genres endured over time beyond their originary forms? How have technological advances altered the literalization of these imagined worlds? We welcome papers and artworks that further the various understandings of /speculative visions/.

Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to <> by March 1, 2017. Inquiries should be sent to the same address.

Creative/Artistic Works
In addition to written materials, /InVisible Culture/ is accepting works in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. Please submit creative or artistic works along with an artist statement of no more than two pages to<>. For questions or more details concerning acceptable formats, go to<>or contact the same address.

/InVisible Culture/ is also currently seeking submissions for book, exhibition, and film reviews (600-1,000 words). To submit a review proposal, go to <>or contact <>.

The journal also invites submissions to its blog feature, which will accommodate more immediate responses to the topic of the current issue. For further details, please contact us at <> with the subject heading “blog submission.”

InVisible Culture: An Electronic Journal for Visual Culture/ (IVC) is a student-run interdisciplinary journal published online twice a year in an open access format. Through peer reviewed articles, creative works, and reviews of books, films, and exhibitions, our issues explore changing themes in visual culture. Fostering a global and current dialog across fields, IVC investigates the power and limits of vision.

Jerome P. Dent, Jr.

Graduate Student

Visual and Cultural Studies, PhD

University of Rochester
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CfP - Symposium on Exploitation Cinema in the 21st Century

Symposium: Exploitation Cinema in the 21st Century

Canterbury Christ Church University

Date: June 9th 2017
Deadline for proposals: 3^rd March 2017

Keynote Speaker: Dr Johnny Walker, Northumbria University

In relation to cinema, the term “exploitation” has been adopted by various individuals and institutions over time, from opportunistic film producers and marketers of the 1920s to contemporary online distributors releasing new films in the 21^st century. There is a current wave of exciting and productive scholarship on the historical developments of exploitation cinema, and its famous, and not so famous, films and filmmakers. Much of this research focuses on exploitation before the year 2000, with a particular focus up to and including the VHS era of the 1980s. Less research exists on the inflections of exploitation in the 21^st century, and the trends and developments that have taken place since the turn of the century. This one-day symposium seeks to shed new light on the embodiments of exploitation cinema since 2000, with particular emphasis on current waves and cycles, the way in which they are now consumed (such as online rather than in theatres), and which particular exploitation filmmakers stand out as being important in contemporary times.

Topics might include (but are not limited to);

·Analysis of single films

·Studies of current waves or cycles of exploitation

·Exploitation cinema from global national contexts (in particular from non-English speaking countries)

·The re-emergence of old cycles since 2000 (Rape-Revenge, the Biker movie, etc.)

·Individual filmmakers

·New genres, sub-genres, and hybrids

·High budget exploitation (such as that produced by Quentin Tarantino and Robert Rodriguez)

·Patterns of exhibition and distribution

·Studies of industrial models or modes

·Exploitation studios (The Asylum etc.)

·Exploitation online

·Exploitation fandom and audiences

We invite proposals of up to 300 words for 20 minute papers, plus a short bio (up to 150 words) by March 3^rd 2017.

We also welcome video essays to be submitted with a 300 word proposal/150 word bio, sent to us by March 3^rd 2017. Final video submissions should be sent by June 2^nd 2017 via Vimeo link. Video submissions should aim to be 10 minutes maximum running time.

All proposal (and any queries) should be sent to Dr James Newton at <>

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CFP: Studies in Visual Arts & Communication


STUDIES IN VISUAL ARTS AND COMMUNICATION – an international journal <>
ISSN 2393 – 1221

Vol4, No1 June 2017, No2 December 2017

An international initiative group from the academic realm has established a bi-annual scientific journal, whose profile is focused on the theory of art and visual communication. We publish articles written in English, French, Spanish. Articles submitted for publication are subject to a peer-review process of evaluation.

The mission of “Studies in Visual Arts and Communication – an international journal” is to endorse and promote the scholarly research in the academic fields related to Arts and Communication, as reported by academics, scholars, researchers, scientists from around the world. The Journal welcomes original high-quality papers, theoretical articles/studies, research reports and review articles which debate erudite and contemporaneous ideas, topics and issues of academic relevance, to be published and disseminated. “Studies in Visual Arts and Communication – an international journal” encourages research perspectives which result in either deeply specialised contributions or engage research across the entire range of the (classical) academic domains, but notably with a focus on Visual Arts and Communication.

Research published by the Journal encompasses (but not limited to) topics from:
* visual arts theory, criticism, history, curatorship;
* visual studies;
* hermeneutics of visual arts;
* artistic research in visual arts (reports on visual art-based research);
* aesthetic theory;
* critical theory;
* visual arts and (hard / soft) science;
* issues on creativity in the arts;
* arts related communication studies, communication theory, media theory,

seeking congruence between the traditional (disciplinary) approaches and the contingent methods of academic investigation.

We invite you to contribute an article in accordance with the profile and the editorial policy of the Journal / see on-line<>

The papers should be 4000 – 6000 words in length. We accept submissions in English, French and Spanish. Papers are solicited under the stated aims and scope of the Journal. Citations and references: Chicago (MLA and APA also accepted). Bibliography is a separate final section. However, we reserve the right to decline articles, if no prior agreements have been made.

Figures: please send print quality figures with caption specifying copyright; image copyright and permission for publication is the concern of the author.

Please send Abstract (200-300 words and 5-10 keywords, author affiliation /and/ research interests) or/and full-text paper to *journal.on.arts [at]* <>.


Important dates:
*For the June 2017 issue:

Abstract due: February 28^th 2017 [full text paper also, if available]
Acceptance notification based on Abstract: March 15^th 2017
Full text submission deadline: April 15^th 2017
Acceptance notification based on full-paper: May 30^th 2017
Revisions (if required): June 15^th 2017
Publication (online): June 30^th 2017

*For the December 2017 issue:

Abstract due: August 30^th 2017 [full text paper also, if available]
Acceptance notification based on Abstract: September 15^th 2017
Full text submission deadline: October 15^th 2017
Acceptance notification based on full-text paper: November 15^th 2017
Revisions (if required): November 30^th 2017
Publication (online): December 30^th 2017

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Call for Papers: BIANCO E NERO journal, n. 3/2017

Latin Lovers in Contemporary Italian Cinema

Edited by Enrico Biasin and Catherine O’Rawe

In March 1994 Silvio Berlusconi, then a businessman, was elected to
the Italian parliament, becoming immediately Prime Minister (Ginsborg,
Asquer 2011). The presence of the Mediaset boss at the apex of
governmental power has been perhaps most widely discussed in terms of
its carnivalesque aspects, and Berlusconi’s political persona has been
most frequently understood as a contemporary variation of the Latin
Lover archetype (Rodotà 2005). His tenure saw a series of tensions
emerge, between Berlusconi as supporter of Family Days and as
protagonist of the murky bunga bunga parties at his Arcore residence
(cf. Travaglio, Gomez, Lillo 2009). Berlusconi removed distinctions
between the public sphere and the domestic one, endangering his
‘bourgeois respectability’ (Mosse 1985, 1998), and compromising his
gender identity in two major ways: firstly, by showcasing his sexual
and emotional difficulties, he contributed to the ‘feminization’ of
Italian popular culture. Secondly, by exaggerating his reputation as a
lover, he contributed to the excessive ‘masculinization’ of the
private sphere.

Bearing in mind this reshaping of the masculinity of one of the most
high-profile figures of the Italian social scene of the last two
decades, a similar process, activated by contemporary Italian popular
film with regard to its male protagonists, can be noted. The reluctant
spearhead of a national cinema ‘in transition’ (Zagarrio 2000), and
marked by an endemic lack of a robust industrial structure (Zagarrio,
2006), popular production – in particular the lucrative filone of the
cinepanettone (O’Leary 2013) – seems to illustrate one possible
pitfall that Mediterranean virility encounters: ‘A machismo which
denies even a suspicion of femininity in males [but that] often
oscillates with festivals of male transvestism or with other
manifestations of an insecure male identity’ (Gilmore 1982). In this
way the emblematic figure of the Latin seducer – ‘a model of masculine
identification so widely disseminated by the media as to become a
cliché through which Italians and non-Italians understand one another’
(Malossi 1996) – undergoes a dynamic reconfiguration (cfr. Reich 2000;
Reich 2006; O’Rawe 2014; Reich and O’Rawe 2015). The Latin Lover of
contemporary Italian cinema battles ever-present threats to his
phallic supremacy, and must engage in a bitter struggle against
himself, as well as against hostile societal and cultural forces,
giving rise to a ‘masquerade’, which, to paraphrase Joan Rivière (1986
[1929]), aims to conceal his femininity and to escape the
repercussions that its discovery might bring.

This issue of BIANCO E NERO n. 3/2017 brings together articles that
have as their focus the figure of the Latin Lover in Italian cinema
since the 1980s. Without wishing to limit prospective analyses, some
possible topics for exploration are:

- Textual representations of the Latin Lover. Ways in which films
represent, parody, and rework the figure of the Latin Lover, drawing
on acting styles from the 1960s, ’70s and ’80s (from Rossano Brazzi to
Marcello Mastroianni, from Adriano Celentano to Jerry Calà, from Diego
Abatantuomo to Guido Nicheli and Christian De Sica).

- Gender performance through a national lens. The notion of ‘male
masquerade’ in relation to cultural features conventionally associated
with the Latin Lover tradition, and to their function in disavowing
the anxiety of the contemporary Italian male.

- Star performances. The construction of models of male stardom (Jerry
Calà, Diego Abatantuomo, Andrea Roncato, Christian De Sica, Ezio
Greggio, Massimo Ghini, Alessandro Siani, Raoul Bova) centred on the
figure of the Latin Lover and on the negotiation of the industrial
dynamics of cinematic, television and media production.

- Intermedial dimensions of the actor. The historical overlap through
different media forms of acting styles associated with the Latin Lover
character, with specific focus on the connections between cinema,
television and variety shows. //

- Social, political and class dimensions. The possibile relationship
between the figure of the Latin Lover as constructed by cinema, and
political, social and class-based discourses – see, for example,
Renato Vallanzasca/Kim Rossi Stuart in “Vallanzasca: Angels of Evil”
(2010) by Michele Placido.

- Gossip, magazines, paratexts//as venues for the articulation of
socio-cultural discourses around the Latin Lover, focused on the
permeability between private and public, and fuelled by digital gossip
sites and tabloid journalism (“Chi”, “Gente», “Novella 2000”, “Eva
3000”, “Grand Hotel”, “Vip”, “DiTutto”).

- Fans, memorabilia, collecting. Items and products (such as diaries
or informal writing, tertiary texts, fan scrapbooks, digital
remediations etc.) that testify to spectators’ authentic engagement
with the figure of the Latin Lover and his media representation.


David D. Gilmore, Anthropology of the Mediterranean Area, “Annual
Review of Anthropology”, vol. 11, n. 11, 1982, pp. 175-205.

Paul Ginsborg, Enrica Asquer (eds.), Berlusconismo. Analisi di un
sistema di potere, Laterza, Rome-Bari 2011.

Giannino Malossi (ed.), Latin Lover. A sud della passione, Charta,
Milan 1996.

George L. Mosse, The Image of Man: The Creation of Modern Masculinity,
Oxford University Press, New York 1998.

George L. Mosse, Nationalism and Sexuality: Respectability and
Abnormal Sexuality in Modern Europe, Howard Fertig, New York 1985.

Alan O’Leary, Fenomenologia del cinepanettone, Rubettino, Soveria
Mannelli 2013.

Catherine O’Rawe, Stars and Masculinities in Contemporary Italian
Cinema, Palgrave MacMillan, London 2014.

Jacqueline Reich, Undressing the Latin Lover: Marcello Mastroianni,
Fashion, and La dolce vita, in Stella Bruzzi, Pamela Church Gibson
(eds.), Fashion Culture, Routledge, London 2000, pp. 209-220.

Jacqueline Reich, Beyond the Latin Lover: Marcello Mastroianni,
Masculinity, and Italian Cinema, Indiana University Press,
Bloomingtom-Indianapolis 2006.

Jacqueline Reich, Catherine O’Rawe, Divi. La mascolinità nel cinema
italiano, Donzelli/Centro Sperimentale di Cinematografia – Cineteca
Nazionale, Rome 2015.

Joan Riviere, Womanliness as a Masquerade, in Victor Burgin, James
Donald, Cora Kaplan (eds.), Formations of Fantasy, Methuen, London
1986, pp. 35-44.

Maria Laura Rodotà, La finnica e l’ultimo latin lover, “Corriere della
Sera”, 23 giugno 2005,

Marco Travaglio, Peter Gomez, Marco Lillo, Papi. Uno scandalo
politico, Chiarelettere, Milan 2009.

Vito Zagarrio (ed.), Il cinema della transizione. Scenari italiani
degli anni Novanta, Marsilio, Venice 2000.

Vito Zagarrio (ed.), La meglio gioventù. Nuovo cinema italiano
2000-2006, Marsilio, Venice 2006.

Proposals – consisting of a brief abstract (no more than 200 words),
five keywords and a concise author biography – should be sent by 28
February 2017
to the following email addresses:
< <>>;
< <>>;
< <>>. Once the
proposal has been approved, the deadline for the complete essay will
be 31 May 2017. The issue will be published on December 2017. Articles
should be between 20,000 and 25,000 characters, and they will undergo
a double blind peer review.

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