PT/EN

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 IX Encontro Anual da AIM irá decorrer de 13 a 16 de maio de 2019, na Universidade de Santiago de Compostela - Faculdade de Geografia e História. 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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NOTÍCIAS

CFP: The Youthification of Television and Screen Culture



Biannual Conference of the Television Studies Section of ECREA
(European Communication Research and Education Association)

24-25 October 2019, University of Groningen, NL

Confirmed keynote speakers:

Prof. Jeanette Steemers (King's College London)

Dr. Vilde Schanke Sundet (Inland Norway University, Lillehammer)

Television is constantly testing its definitional boundaries. What was
formerly defined by ways of transmission and screen technology, is more
and more in dissolution in today's mediated landscape. Young people,
especially, are turning away from traditional broadcast television - and
turning towards other screens and formats. This development is forcing
established structures to react and adapt to this new viewing culture.
Novel formats, such as the Norwegian teen drama series 'SKAM' or the
Spanish talent show 'Operación Trriunfo/Star Academy', proved to be
extremely successful in overcoming the traditional boundaries of the
medium, amongst others by including multi-platform technology and
storytelling via social networks.

How can we understand television today as a 'young' medium and
audiovisual culture? As a connected screen culture, not constrained
anymore by a singular screen and fixed location in households, the
medium continues to play a key role in people's everyday lived
realities. How is television understood by young audiences as part of
their wider screen culture? A clear contradiction seems to be a part of
this trend, with older viewers leading traditional television audiences,
and younger populations increasingly connected through other audiovisual
devices and contents.

And how should scholars of audiovisual culture try and make sense of
television production and use by/for these younger audiences? The
conference 'The Youthification of Television and Screen Culture'
therefore also provides a platform to reflect on 'young', contemporary,
and intersectional approaches to the study of television and connected
audiovisual media on multiple platforms and screens. The conference has
as its key goal to overcome 'narrow' definitions of the medium
television, inviting reflections from wider and intersectional
perspectives studying the medium's production, reception and/or
cross-platform programming in different European contexts.

*We invite papers addressing comparative studies of television,
audiovisual culture and screen culture, international research on new
and/or multi-platform modes of production, distribution and consumption;
and related to challenges of television (studies) in Europe, including:*

* Formats for young audiences
* Specific challenges that come in connection with 'young TV'
* New practices of traditional TV channels in platforms, apps and
social networks
* 'Young' approaches to studying television and screen culture as
media in transition
* Examples of past collaborations, present and future of European
co-productions for younger audiences
* Intersectional approaches to studying youth screen culture, platform
culture, gender and ethnicity
* New 'young' methods and recent approaches to the medium, including
digital humanities, in order to clarify the medium's relevance among
the youngest audiences
* Storytelling across media and mobility of screens for younger viewers
* Media literacy: tech skills of youngsters and adults
* TV and education in the era of streaming and cross-platform culture

*Beyond the thematic specific contributions we invite papers that deal
with:*

* Theoretical and methodological approaches to the study of European
television, especially devoted to the new era of audiovisual
consumption
* Production Studies, specifically how television content creators
currently do audience studies, and broadcasters and content creators
are at present part of academic research
* Reflections on the future of television

*Special panel hosted by ECREA Film Studies:*

The conference will also host a special panel organized by the ECREA
Film Studies section. The section invites paper proposals devoted to
explore new film-TV hybrid forms boosted by young people. The section
welcomes submissions that explore theoretical explorations, comparisons
of case studies and innovative approaches, in order to shed light on the
future of film and cinema in its merging with TV platforms and the new
cultural practices emerging within the new generations.

Proposals for individual papers or panels can be submitted to the ECREA
Television Studies Vice Chair, dr. Berber Hagedoorn at
b.hagedoorn@rug.nl <mailto:b.hagedoorn@rug.nl> until 13 May 2019.
Abstracts should be written in English and contain a main
question/argument, theoretical framework, methodology, results and
reflection on key conference question(s). The length of individual
abstracts should be between 300 and 500 words maximum plus key
references, institutional affiliation and a short bio (max 150 words). A
panel proposal should include a panel presentation (max 300 words) along
with four or five individual abstracts and a short biographical note of
each author.

Key dates

/CFP/: 11 February 2019

/Deadline for submissions/: 13 May 2019

/Notification of acceptance/: 2 July 2019

/Registration/: until 15 September 2019

/ECREA TV Studies Section Conference/: 24-25 October 2019

For more information visit our conference website at
https://ecreatelevisionstudies2019.wordpress.com

Conference organizers: Berber Hagedoorn (University of Groningen, the
Netherlands), Juan Francisco Gutiérrez Lozano (University of Málaga,
Spain), Susanne Eichner (Aarhus University, Denmark).
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CFP: vista - visual culture journal



“Visual, digital and media culture: Images among generations”

Social context determined by the culture of media convergence, together
with the proliferation of digital devices connected to the Internet and
their penetration among citizens, has given relevance, more than ever,
to the media and visual culture. Digital media and images have conducted
visual field towards the study of consumer´s practices and producer´s
image, in accordance with the social aspects and the cultural contexts
that characterize them.

To the multidisciplinary approach of media and digital literacy,
intergenerational issue is added as the starting point of this issue,
which seeks to delve into the fact that the media experience occurs in
differentiated conditions, characterized by different cultural (media
and digital) competences between generations: analogical and digital
citizens, emigrants and digital natives. From the family portraits to
the /selfies /of our smartphones, from soap opera and TV series to
social networks. Images produced and consumed get increased from a
diversity of experiences and memories, from a multiplicity of lifestyles
and media uses, which is worth to be rethought from the idea of
​​"generations".

Which are the visual environments of socialization for the different
generations? What influences do they exercise in their daily lives, in
their experience, and in their memory? What is the role of visual and
media literacy in the process of understanding the relationship between
different generations and the different media? How visual culture
contributes to the pedagogical processes? Does the generational
perspective contribute for the understanding of the image transformation
and impact in contemporaneity? Is the visual culture an approaching
element among generations? Which are the more suited proposals and
theoretical reflections in the current context? Is the visual culture an
inspiring element to favor participative methodologies in this
field? Can digital age and its visual culture favor generational
barriers? Does the digital visual culture assume an intergenerational
perspective?

*vista - visual culture journal* is a peer-reviewed journal and operates
under a double blind review process. Each submitted work will be send to
two reviewers previously invited to evaluate it, in accordance with the
academic quality, originality and relevance for the objectives and scope
of the issue of this edition of the journal. Articles can be submitted
in English, Portuguese, Spanish and French to the e-mails of the invited
editors: apepanda@gmail.com <mailto:apepanda@gmail.com>;
britesmariajose@gmail.com
<mailto:britesmariajose@gmail.com>;inesamaral@gmail.com
<mailto:inesamaral@gmail.com>. Guidelines for authors can be found here
<http://vista.sopcom.pt/pag/en#call>.

Invited editors: Ana Pérez-Escoda (UNIR/Universidad Nebrija), Maria
José Brites (Lusófona University of Porto/CICANT) and Inês Amaral
(University of Coimbra)

Deadlines

Submission: 15 March 2019
Notification: 29 April 2019

Date of publication: 31 July 2019

The full call for papers and author
guidelines:*http://vista.sopcom.pt/pag/en#call
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CFP: Eyes Unclouded: The Films of Hayao Miyazaki and Studio Ghibli



University of Sussex and the Lewes Depot Cinema present the 2019
Contemporary Directors Symposium

Eyes Unclouded: The Films of Hayao Miyazaki and Studio Ghibli
May 8^th 2019, Lewes Depot Cinema, Lewes, East Sussex, UK

Keynote speaker: Dr Rayna Denison

(University of East Anglia, author of /Anime: A Critical Introduction/)


“You must see with eyes unclouded by hate. See the good in that which is
evil, and the evil in that which is good. Pledge yourself to neither
side, but vow instead to preserve the balance that exists between the two”

— Princess Mononoke


Hayao Miyazaki is an unusual figure. Only Walt Disney rivals him in for
closeness of his association with the studio he co-founded. Unlike
Disney, however, Miyazaki was also a director, further complicating
distinctions between individual and industrial authorship in the works
he helmed for Ghibli. Often fantastical, his films are also intimately
bound up with very real social and historical questions, ranging from
environmentalism, to the cultural politics of girlhood, to Japan’s role
in World War Two. Though identifiably Japanese, Ghibli is also nothing
if not transnational. The studio has developed adaptations of novels by
Mary Norton, Diana Wynne Jones, and Ursula K. Le Guin, and its
characters have acquired an on- and offline life of their own in
multiple languages and markets; Hello Kitty is arguably Japan’s only
culture industry export to compete with Ghibli for global penetration
and recognition. Finally, Miyazaki’s anime blurs the boundaries that are
often imposed on the form both inside and outside the academy. Films
such as the Oscar and Golden Bear-winning /Spirited Away/ challenge
(western) perceptions of the cartoon as children’s entertainment, and
contemporary expectations of animation as a digital endeavor, all while
achieving both market success and critical acclaim. Perhaps part of
their appeal lies in their resistance to easy categorization.

**

This one-day symposium seeks to bring together scholars to discuss the
work of Miyazaki and Studio Ghibli. We are open to proposals on all
aspects of this topic, and from a broad variety of perspectives. These
could include issues of industrial and studio authorship; the cultural
politics of representation; material culture (e.g. the Ghibli Museum,
merchandising); the transnational circulation, reception, and influence
of these films; or their digital afterlives. This is just a small
selection of potential examples.

Please send proposals for 20-minute papers to the organizer, Dr Luke
Robinson (luke.robinson@sussex.ac.uk
<mailto:luke.robinson@sussex.ac.uk>) by March 31st 2019. Proposals
should include a title, a 250-word abstract, and a brief author biography.
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CFP: Visual Culture in Argentina



Symposium on Visual Culture in Argentina,
23rd April 2019,
Maynooth University Arts and Humanities Institute, Ireland
Keynote Speakers:
Dr Jordana Blejmar, University of Liverpool, UK
Dr Tzvi Tal, Sapir College, Israel

Call for papers

Since the time of nation building Argentine art and visual culture has
been inextricably linked to the social and political changes that took
place in the country. Painting, sculpture, photography, posters, film,
television, video art, digital art, graphic novels and architecture not
only reveal the wounds and conflicts left by the past but they also
shape the present of Argentina. This symposium aims at bringing together
scholars from different areas to share their interest in and research on
Argentine visual culture and art.

Proposals for papers are invited on any topic related to art and visual
culture in Argentina. Abstracts should be no more than 200 words and
include name, title, affiliation and four key words. Please note that
presentations can be in English or Spanish. Closing date for submissions
is 15th March 2019.

Please email your abstract to mirna.vohnsen@mu.ie
The symposium will take place in Maynooth University Arts and Humanities
Institute on Tuesday 23rd April 2019 and registration will be free of
charge.

Symposium organiser:
Dr Mirna Vohnsen (MU)

SVCA is funded by Maynooth University Arts and Humanities Institute

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CFP: Women in East Asian Cinema

A Chinese Film Forum UK Conference

HOME, Manchester <https://homemcr.org/>

4 – 6 December 2019

Keynote Speaker: Dr Jinhee Choi, King's College London

Recent interventions into global film and processes of canonisation have
worked to highlight the contributions of women in spaces and discourses
previously dominated by men. Yet, despite these social and academic
movements, women remain under-represented across vital areas of film
culture as recent discussions of the 2019 Oscars and the 2018 Cannes
Film Festival have shown. This event aims to highlight the increasing
English-language research of contributions by self-identifying women in
East Asian cinema and to interrogate questions of representation,
labour, and production contexts. For English speaking fans, academics
and researchers based outside of East Asia, this work is all the more
important as a counter to the limiting and selective problems of
international film festivals and regional distribution.

This three-day conference seeks to bring together researchers of women
in East Asian cinema for a mix of panels, workshops, and film events
with industry guests to continue and develop these ongoing
conversations. The event is hosted as a collaboration between the
Chinese Film Forum UK (CFFUK), a Manchester-based collective, and HOME,
Manchester's leading independent cross-art venue and cinema. 2019 marks
ten years since “Visible Secrets: Hong Kong's Women Filmmakers”: a film
season that was organised by a nascent CFFUK at HOME's old Cornerhouse
venue. This year also marks HOME's year-long programming initiative
“Celebrating Women in Global Cinema” which continues the celebratory,
research-led and consciousness raising work of that original Visible
Secrets project.

This conference invites papers on a variety of topics concerning women
in East Asian cinema. We take a loose definition of “East Asia” -
including considerations of diaspora, for example – to encourage
submissions from those who may feel limited by narrow geographical
boundaries.

Topics include though are not limited to:

* Case studies of directors, producers, and crew members
* Case studies of significant industry figures
* Case studies of stars
* Representation
* Historiographies and redressing the canon
* Generations – i.e. old age, girlhood
* Spaces for women's voices
* Questions of labour and industry practices
* Production histories
* Herstories
* Women in East Asian diasporas

150-200 word proposals for a 20-minute paper presentation and a short
biography, or queries, should be sent by Monday 29th April 2019 to
Felicia.Chan@manchester.ac.uk <mailto:Felicia.Chan@manchester.ac.uk>
with “WEACconf” in the email’s subject line. Panel submissions welcome.

Conference organisers for the CFFUK are Dr Felicia Chan, University of
Manchester; Dr Fraser Elliott and Rachel Hayward, HOME; and Professor
Andy Willis, University of Salford.
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CFP: Imago Special Issue Surfaces, Boundaries, Formats of Contemporary Images



Imago - Studi di cinema e media/, n. 20/2019

Surfaces, Boundaries, Formats of Contemporary Images

Ilaria A. De Pascalis and Lorenzo Marmo

Contemporary visual culture investigates the materiality of images and
their status as objects, as well as their structure, their boundaries,
and their points of contact with other experiences and phenomena. The
/Imago 20/ dossier aims to address the multifarious ways images permeate
the current mediascape (Pinotti-Somaini). The ever-increasing
changeability that connotes the surfaces of digital images demands a
thorough interrogation of pixel culture, shedding light upon the
mobility, ductility, and reversibility of contemporary devices
(Casetti). At the same time, a stronger awareness seems to be emerging
about the issue of the aspect ratio, whose fluidity plays a primary role
in both social and authorial practices (Doane).

Such an awareness has given the term “format” renewed
relevance. On the one hand, in connection to cinema, it concerns the
geometric configuration of images, i.e. the shape through which they
frame the world. Recent mainstream cinema seems to be playing with
horizontal, vertical and square frames, in order to produce complex
creative and theoretical discourses; and the development of such a trend
might be connected to the new frames implemented by smartphones and
mobile devices. On the other hand, the term “format” suggests the
extension of the image file, i.e. the quantity of information it
contains, with direct consequences on its resolution and visual quality.
In this sense, the notion of format might occasion a wide-ranging
reflection on the new configurations of high- and low-definition, as
well as on the atmospheric dimension of images (Griffero), hence
contributing to the investigation on the materiality of contemporary
images and screens (Bruno). We would like to propose an interaction
between these two meanings of the term “format”, that might become both
metaphor and instrument to map out the new theoretical production on images.

The dossier aims to tackle the boundaries and limits of
contemporary images, addressing their ability to mold our imaginaries
(Bertetto), to deploy spaces and environments (Heise), and to function
as cultural techniques (Siegert) producing complex subjective and
relational configurations. In which ways and to what extent does the
creative dimension pervade social practices in everyday life? And, vice
versa, what are the implications of the reuse of pre-existent materials
in artistic production? In the multifaceted current situation, different
media practices and experiences intertwine with one another developing
original synergies, and it is possible to intercept brand-new models of
vision. The dossier will not focus exclusively on the dynamics of the
web; rather, it also aims at exploring other aspects of the contemporary
mediascape, addressing the ways the recent reflection on images
contaminates and rewrites the configuration of cinema in the traditional
sense. What role is envisioned today for film and traditional
projections? And what new opportunities are opened by the diffusion of
ever-more diversified devices and platforms for image production and use?

The proposals may either consider the theoretical scenario of these
models of creation and reception or focus on case studies that might
enlighten the new forms and the original status of contemporary images.
Submissions may consequently deal with (but are not limited to), the
following topics:

* aspect ratio: contemporary devices allow us to rotate images and
transform their proportions, and such a play with formats also finds
a new expressive role in mainstream cinema and tv (one can think of
the stylistic choices of Xavier Dolan or Wes Anderson, as well as
the recent Amazon series /Homecoming/);
* the diffusion of image-modification-oriented practices on a social
medium such as Instagram (Manovich), the specific modes of
representation implied in the different image proportions (for
instance, the relationship between cover and profile images in
microblogging platforms), and the new role for vertical images in
the arts (as in the “Vertical Cinema” project);
* resolution: high- or low-definition images, media temperatures
(McLuhan), the notion of “pixel” (Cubitt), and its comparison with
the grain of analog photography;
* issues of format in relation to the work of authors, concerning both
shooting practices and distribution options, as a challenge to the
divide between film and digital images (consider for instance the
works by Alejandro González Iñárritu, Alfonso Cuarón or Christopher
Nolan);
* the renewal and hybridization of psychoanalytic approaches to the
study of the relationship between images and subjectivity: the
recent reconfigurations of fetishism, possessivity, and other
dynamics of interaction and interpellation between images and their
users (Mulvey);
* new experiences in the realm of cinephilia (Keathley): on the one
hand, its unflinching investment in film projection; on the other
hand, its metamorphosis in relation to the redefinition of the
cinematic experience and the practices of archival collecting
brought about by new formats and interfaces;
* the idea of carnal images (Sobchack), the dimension of synesthesia,
and the renewed role of tactility (Strauven) in the configuration of
the experience of media;
* the atmospheric quality of images (Böhme), namely their ability to
question ontological theories in the direction of an ongoing
negotiation between objectivity and subjectivity;
* the implications of the relationship between immersive images (IMAX,
3D, virtual reality, etc.) and their audiences: the experiences of
spectatorship and their boundaries, the spectacular connotation of
images, the dynamics of distribution, preservation and use of these
new models of vision (from museums to domestic devices), as well as
their ideological consequences;
* the redefinition of the distinction between amateurs and
professional creators of images, and how such a reconfiguration
questions contemporary reuse practices (Kuhn), from found footage
films to the fragmentation of images in reaction or comment GIFs;
* the specific manipulation of duration and length, considering both
pre-existing and original images. The cinematic time that dominated
the 20th century is now being rewritten and reoriented, for example
through the production of ephemeral videos for online circulation,
and in general towards a blurring of the border between still and
moving images (as detailed by the reflection of the /Still Moving/
field: Bellour; Røssaak).

Proposals of no more than 2500 characters, in Italian or English, and
accompanied by an essential bibliography (five items max), five
keywords, and a biography, should be submitted to
_ilariaantonella.depascalis@uniroma3.it
<mailto:ilariaantonella.depascalis@uniroma3.it> and
lorenzomarmo@gmail.com by March 11th, 2019.

The editors will communicate the selection results by the end of March,
and the essays (40.000 characters, accompanied by a 1500 characters
abstract, five keywords and a 500 characters bio) should be completed by
June 20th, 2019, to be sent to the peer reviewers.

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CFP: EURONOIR - Producers, distributors and audiences of European crime narratives
International conference

EURONOIR: Producers, distributors and audiences of European crime narratives


30 September to October 2, 2019

Venue: Aalborg University


*Confirmed keynote speakers

Robert Saunders (Farmingdale State College, SUNY)

Arne Dahl (penname for Jan Arnald)

Annette Hill (Lund University)

Gunhild Agger (Aalborg University)

Anna Estera Mrozewicz (Adam Mickiewicz University)

Katrine Vogelsang (head of fiction, TV 2 Denmark)

Jennifer Green (executive producer, TV 2 Denmark)

*Submissions are welcome as open call papers and pre-constituted panels.
Submit your proposal (max 300 words) to through this website:
https://www.en.cgs.aau.dk/research/conferences/euronoir/abstracts/.

Although a widely popular genre for over a century, crime narratives are
presently experiencing an unprecedented popularity all across Europe. In
the fields of literature and television, we are witnessing a deluge of
episodes and series utilizing crime and violence as a central source of
inspiration. Reaching into the shadows of societal construction, these
narratives do more than simply fascinate readers and viewers with
fantasies of extreme brutality; at best, they express a remarkable
tension in social engagement worthy of a critical and scholarly
response. More than any other narrative genre, the crime genre has
proven able to travel across the European continent and beyond, becoming
a vehicle for cultural exchange and debate (Nestingen 2008).

As a result, the generic concept noir is now common among producers,
distributors and audiences of crime fiction, and increasingly noir
narratives have been located in recognizable places and regions across
Europe. Several labels have been coined in order to identify different
strands of EURONOIR by means of geographical qualifiers such as
Mediterranean, Tartan, Catalan, Nordic etc. (Hansen, Turnbull and
Peacock 2018). Besides evoking transborder cultural exchange, crime
narratives are today a strategic means in European place branding on
local, regional, national and transnational levels of communication.

Such spatial labels evoke local and regional narrative/visual styles
that, carefully built by authors, publishers and producers, at the same
time may achieve transnational success in foreign markets. Exchange
between different strands of EURONOIR is creating new opportunities for
generic and cultural hybridization. The international appropriation of
certain stylistic features of Nordic Noir (possibly the most popular
cross-media production strand on the continent for the past decade) in a
great number of European crime narratives is a most interesting case in
point.

Through especially the 1990’s, producers and distributors turned to
international collaboration and circulation as a significant way of
funding increasingly expensive film and television, here with the crime
genre as an especially exploitable vehicle for international attention.
In the increasing demand for crime film and television, producers turned
to the vast European traditions of crime literature and utilized
familiar franchises in crime narrative adaptations. The popularity of
EURONOIR has since been fueled by a plethora of translations,
co-production agreements, local, regional and transnational policy
changes as well as transnational distribution channels and services.

Although EURONOIR is historically linked to the degrading notion of
Euro-pudding, “a co-production determined by the necessities of funding”
(Eleftheriotis 2001) or even “a perversion of the system” (Liz 2015),
there has been a steady rise in successful trans-European
co-productions, especially within film and television production. As a
result, crime narratives are now rather labelled “natural transnational
cop stories” (Bondebjerg 2016), since the topicality of the genre works
very well with transborder activities. Significant transborder
television crime fiction titles are Eurocops (1988-94), Crossing Lines
(2013-) and The Team (2015-). As a concept, then, EURONOIR has gone from
being a critical perspective on funding methods to now involve neutral
references to cross-media crime fiction from somewhere in Europe
(Forshaw 2013). Conceivably, EURONOIR is merely crime literature,
television and film from anywhere in Europe, fostering potential social
debates on a continental level.

In the new millennium, the “digital revolution” (Levy 2001) and “the
Netflix effect” (McDonald and Smith-Rowsey 2016) has disrupted both
production and distribution, challenging traditional distribution
channels and providing new transnational opportunities for producers and
audiences. In this context, written and screened crime fiction is one of
the most important market drivers of transnational cultural exchange in
Europe and beyond. Besides distributing dozens of crime titles, SVOD
services also engage directly in producing crime films and serials,
singling out crime narratives as an important way of penetrating local
markets as well as reaching global audiences through digital streaming
services.

The organizers invite speakers to present work on the production,
distribution and reception of explicitly transnational European crime
narratives as well as more local strands of European crime narratives
production, distribution and reception. This includes significant market
players and institutions in/across Europe, transcontinental creative and
culture industrial processes and practices as well as more locally and
regionally successful and less successful crime narratives. The
conference invites papers on European crime narratives from 1989 until
today.

*Thematic concerns of the conference include, but are not limited to the
following topics:*

LABELS AND CONCEPTS

• What do we conceptualize as EURONOIR?

• What does EURONOIR mean for producers, distributors and audiences?

• What are the major failures and pitfalls of EURONOIR?

• In which ways do the production, distribution and reception of crime
narratives forge a spatial negotiation of Europe and European cultures
and identities?

• What will be the future major tendencies in European crime narratives?

• What role does national cinemas play within EURONOIR?

PRODUCERS AND MARKETS

• What are the significant contemporary European market players in crime
production and distribution?

• How has the production and distribution of the crime genre changed
during the past three decades?

• How has changing funding and media policies affected the production of
crime narratives?

• How has production and distribution of crime narratives been affected
by new transnational streaming services?

• Where are the crime stories located, and has the location strategies
of crime narratives changed?

• Do writers and producers of crime fiction have specific European
audiences in mind?

AUDIENCES AND RECEPTION

• (How) do the audiences of crime narratives conceive of Europe?

• How has the European consumption of the crime genre changed during the
past three decades?

• How do audiences experience European crime fiction?

• In which ways has the critical reception of crime narratives changed?

• How does audiences’ reception of crime narratives affect the
production the crime genre?

• How do audiences creatively engage with European crime narratives?

The conference will include industry and keynote panels with invited
speakers from European crime production and crime narratives research.

*Deadlines and practicalities*

Abstracts: Deadline: 15 April 2019
Feedback: 15 May 2019

Registration deadline: 1 August 2019 (online on the conference website)

Conference website:
https://www.en.cgs.aau.dk/research/conferences/euronoir/.

Conference fee: €240

Early bird registration: €175

PhD students: €125

Conference dinner: €80 (not included in the fee)

Other costs: Participants cover costs for travel, accommodation etc.

Organizing committee: Kim Toft Hansen (Aalborg University), Lynge
Stegger Gemzøe (Aalborg University), Pia Majbritt Jensen (Aarhus
University) and Anne Marit Waade (Aarhus University).

Academic board: Stefano Baschiera (Queens University of Belfast), Anna
Keszeg (University of Debrecen), Jacques Migozzi (University of
Limoges), Valentina Re (Link Campus University of Rome).

The conference is hosted by the Horizon 2020 research project DETECt:
Detecting Transcultural Identity in European Popular Crime Narratives
and co-financed by Aarhus University and Aalborg University.

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CFP: Italian Film, Costume Design and Fashion from the Silent Era to the Present - JICMS



Special Issue of the Journal of Italian Cinema and Media Studies,
on “Italian Film, Costume Design and Fashion from the
Silent Era to the Present” to be edited by Eugenia Paulicelli and
Giuliana Muscio.


Italian Film/Costume Design/Fashion from the Silent Era to the Present.


Fashion and film share a highly interactive quality. As two of the most
popular and widespread commercial industries to grow out of modernity,
cinema and fashion have always had a synergetic relationship, both using
the technology of the camera and that of the body and performance.
Costume is integral both to the actor’s performance and to the cinematic
rendition of visual narratives and experience. Since the birth of cinema
in the late nineteenth century, the film scene has constituted a virtual
shopping window for clothes, exhibiting and making desirable the newest
fashions and goods available at the department stores. Film costume has
not only borrowed from fashion and haute couture; it has also inspired
the production of the newest fashions. Costumes in cinema have also been
used as narrative tools for telling stories on screen that emphasize
character identity and development while also attracting a larger
audience. More recently, the digital genre of “fashion film” has become
a widespread advertising and storytelling tool for fashion luxury brands
as Ferragamo, Prada, Louis Vuitton, Dior amongst the others.

Although fashion and film costume have always been vital
to the totality of the cinema industry, they did not attract academic
attention until the 1990s. That is not to say that the topic was
completely neglected, however, as one of the first books on the
relationship between fashion and cinema, /La moda e il costume nel
film/, was published in 1950 in Italy, edited by the university
professor and critic Mario Verdone, father of actor Carlo Verdone. The
book contains a homage to the costume designer Gino Carlo Sensani, who
was praised by Antonioni. Costume design only began to be recognized as
a profession in the world of Italian cinema in the 1930s, but
costume/cinema and fashion were soon to establish a close link with the
global launch of Italian fashion in the post-war years.

In the United States, film scholars Jane Gaines and
Charlotte Herzog edited their landmark collection /Fabrications/in 1990,
and in 1996 and 1997, UK-based film scholars Pam Cook and Stella Bruzzi
published monographs on fashion in British cinema (Cook: 1996) and on
film, gender, and identity (Bruzzi: 1997). These seminal books offered a
reflection on methodology and histories (of gender and nation), and
paved the way for new interpretations of film, body and performance,
masculinities, fashion, popular culture, and stardom and, at the same
time, challenged age-old hierarchies in the humanities.

The intersection between fashion and film and the growing
scholarship dedicated to it are now becoming a very fertile terrain.
More attention is now being dedicated to the role of costume and costume
design in cinema and its interrelation with fashion, Italian style and
the made in Italy. Nevertheless, the combined study of fashion and film
and the particular focus on Italy is still at an early stage of
development within film studies and especially Italian cinema and media
studies.

We invite scholars, costume and fashion designers, archivists, museum
scholars and experts to participate in a special issue of the journal
focusing on film/fashion/costume design with the aim of mapping the
intermedial and transnational history of Italian film/costume
design/fashion and screen media from the silent era until the present.
All film genres are of interest.

Topics to be considered include but are not limited to are:

Silent cinema and costume

Italy and Hollywood

Hollywood in Italy

Italian actors in Hollywood

Transnational impact of cinema-mediated fashion

Italian costume designers in Hollywood and elsewhere

Fashion Houses, sartorie and archives in Italy

Film and photographic archives in Italy and elsewhere

Cities of film and cities of fashion

Branding and film/fashion/costume

Fashion film in historical perspectives

International stars in Italy

Well known and less known costume designers

The role of craftsmanship in costume and fashion

Costume drama

Women directors and the work of women whose work has been neglected

Film/Costume/Fashion and pedagogy, interdisciplinary courses; designing
curriculum

Each abstract should include the following information:

a) a clear title

b) a 500-word description outlining:

- the topic

- the critical approach of the proposed article—whether theoretical or
historical

- a cohesive description of the proposed article’s argument and objective

- relevant bibliography and filmography

In addition to a 500-word abstract, authors should send to the guest
editors a 150-word biographical note, followed by a detailed list of
their academic publications, and commitment that, if the proposal is
accepted, the article will be submitted within 8 weeks from the official
invitation to submit the article.

Please send your proposal with a Bio by February 28, 2019 to the editors:

Prof. Eugenia Paulicelli, Queens College and The Graduate Center, The
City University of New York, email address:
Eugenia.paulicelli@qc.cuny.edu; and Prof. Giuliana Muscio, University of
Padua, Emerita, email address: giulianamuscio@gmail.com

*The accepted proposals will be notified by March 15th 2019; completed
essays should be sent by May 30th , 2019 for peer review; authors will
be notified of the results of the peer-review by June 30th 2019

(info atualizada em ~~~ItemPubShortDate~~~)

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CfP: Superheroes in Contemporary Media



Journal: Panic at the Discourse: An Interdisciplinary Journal
Email: panicatthediscourse@gmail.com
website: http://www.panicdiscourse.com/
CfP: Superheroes in Contemporary Media

In common superhero mythos, unearthly, other-than-human, or
more-than-human figures use their many extraordinary abilities to
restore order, do battle with evil, uphold justice, and protect the
innocent. Acting as guardians, protectors and defenders of Earth and its
people, these courageous figures have long captured both our attention
and imagination. However, with the rise of several notable media
franchises, superheroes have become a ubiquitous part of our present
popular cultural moment.

In this premiere print and online edition of /Panic at the Discourse: An
Interdisciplinary Journal/, the editors invite submissions on topics
including, but not limited to:

* How modes of representation (gender, race/ethnicity, religion,
(dis)ability, sexual orientation…) have evolved in recent years in
superhero genre
* The superhero’s evolving relationship to the nation state as both
defender and terrorist
* How BIPOC authorship is influencing superhero narratives
* How audiences for superheroes are being reimagined
* How anti-heroes may function as the new heroes within superhero
narratives/culture
* How globalization is expanding the definition of superheroes outside
of the DC/MCU
* The posthuman superhero body and its relationship to human agency
and identity
* How digital platforms are expanding the superhero universe

Accepted submissions include: articles (max 5000 words) and reviews (max
750 words). Reviews should be on works from January 2017 onward. These
works can be: Comics, Video Games, Artistic Work, Manga, Films, TV
Series, Graphic Novels, Theatrical Performances, Fan/Slash Fiction,
Academic Works, or Web Series.

*Email the publication or title if you have a work you are unsure about.


All submissions will undergo a review process by the publication
editorial team. Works selected for publication will receive editorial
queries for revision. Publication will be contingent on satisfactorily
resolving all queries. Included images must be high resolution and have
accessible descriptions. It is the author’s responsibility to obtain
image permissions. Use Chicago style endnotes for any citations. Please
include a brief author bio of no more than 50 words. Authors retain all
rights to their work.

Send all submissions to panicatthediscourse@gmail.com
<mailto:panicatthediscourse@gmail.com> with the subject line
“Submission: Article Title” by February 15, 2019.
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CFP: Beyond Netflix Studying the diversity of practices and platforms in the era of over-the-top television


Call for article proposals

Edited by Audrey Bélanger and Stéfany Boisvert

The deadline for submissions for this issue is February 28th, 2019.
_Theme_

Not unlike other media, television is undergoing major changes. The
Internet, as well as the possibilities of digitisation and storage, has
contributed to the transnational circulation of content and, most
importantly, the development of over-the-top (OTT) media services. These
new digital portals (Lotz 2017), or streaming services, offer a library
of audio-visual productions online without the intermediary of a
distribution or broadcasting company. OTT services therefore act as
gateways to a wide range of audio-visual content, without having to rely
on a schedule (Lotz 2017; Wayne 2017; Johnson, 2018), which changes our
perception of the medium and deeply influences the modes of production,
distribution and reception of /television/ itself.

In the new industry of Internet-distributed television (Lotz 2017), it
goes without saying that the multinational company Netflix currently
occupies the most enviable position. Even though contents offered by
this streaming company are not only “televisual”, Netflix’s influence on
contemporary TV productions is undeniable, and has even been documented
by a significant number of scholars. Several topics have already been
addressed, such as the question of algorithms and Netflix’s system of
recommendations (Gomez-Uribe et Hunt 2015); Netflix’s role in the
broader history of television (Jenner 2014, 2018); the multinational
company’s production/distribution strategies and their impact on viewing
habits (Matrix 2014); or the brand image and branding strategies of
streaming platforms (Wayne 2018). Whole books are dedicated to the study
of Netflix and its history (Keating 2012), its specific modes of
production and distribution, its users’ viewing patterns (Barker et
Wiatrowski 2017), or its impact on the television industry (McDonald et
Smith-Rowsey 2016, Jenner 2018, Johnson 2018).

However, this centrality of Netflix within academic publications conveys
a rather restrictive view of our media ecosystem, almost as if Netflix
was the /only/ platform available. Indeed, publications on new forms of
Internet-distributed television mostly focus on Netflix, even when they
are published outside the United States. This situation leads us to ask:
what about other OTT media services or streaming platforms? What about
local media industries? What is the situation of other portals, whether
they originate from the United States or elsewhere, and how do they
manage — or not — to secure a position in the new industry? On the
flipside, how do traditional broadcasters –– which, it must be reminded,
are still in operation today – are influenced by streaming services and
their in-house productions, and how do they try to secure (or preserve)
a position for their own company? Also, in this era of multi-platform
viewing practices, what are the various consumption and viewing habits
adopted by viewers?

This issue of /Kinephanos/ seeks to better understand the advent of OTT
media services (portals) and the new ways of viewing/distributing TV
productions, by trying to look beyond (or beneath) Netflix in order to
provide a more complete picture of our current TV industry. By
deliberately putting aside the most popular platform, trying to think
“outside the box”, this issue wants to encourage reflection on other
streaming services and topics related to OTT, and, by doing so, to
promote diversity (whether geographic, cultural, or generic). This issue
of /Kinephanos/ is multi-disciplinary, and therefore open to many
different forms of analysis and approaches (institutional, aesthetic,
sociological, narratological, political, cultural, feminist, queer,
reception-based, etc.).

Articles may cover, but are not limited to, the following topics:

* Other streaming platforms and websites, their economics, operations,
catalog, etc.,
* The state of national televisions in the context of increasing
competition with streaming services;
* The regulations in different territories regarding streaming services;
* The state of linear/traditional television (broadcasting, cable
industry). The viewing habits related to linear television, and/or
those adopted for streaming services and websites;
* The circulation of contents on different platforms and websites;
* Economic, political, or social issues related to new forms of
over-the-top television;
* Thematic, aesthetic, narrative (etc.) analyses of TV shows developed
for portals other than Netflix, and/or their influence on other media;
* The development of original content for streaming services, that is,
TV shows commissioned and/or produced by those companies in order to
be distributed exclusively (or primarily) on their platform;
* Since “failure studies” can also help us better understand our media
industry, we are also interested in articles documenting cases of
streaming services that failed or went bankrupt –in other words,
that did not find their audience.

_How to submit?_

Please send an abstract, between 300 and 500 words (excluding
references), in English or French, by *February 28th, 2019*, to
belanger.audrey@uqam.ca <mailto:belanger.audrey@uqam.ca> and
boisvert.stefany@uqam.ca <mailto:boisvert.stefany@uqam.ca>

The abstract must specify the topic and the object(s) of study, along
with the preferred methodology. Don’t forget to indicate key
bibliographical references, your name, email address, and your
institutional affiliation.

Selected contributors will be advised by email. Full papers will be
submitted by summer 2019, and the exact calendar will be communicated to
the accepted authors. The issue will be released at the beginning of 2020.
(info atualizada em ~~~ItemPubShortDate~~~)

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CFP: Aniki v7n1 - Dossier Temático: 'Mulheres e espaço no cinema contemporâneo'


(please scroll down for English version/ Véase abajo la versión Española)



Aniki v7n1

    NOVA CHAMADA DE TRABALHOS



    Mulheres e espaço no cinema contemporâneo/
    Women and space in contemporary cinema/
    Mujeres y espacio en el cine contemporáneo

    ed. Mariana Liz, Marina Tedesco

deadline: 15.06.2019
Publication date: 01.2020
+info and submission guidelines: http://www.aim.org.pt/aniki


Mulheres e espaço no cinema contemporâneo
Dossier temático organizado por Mariana Liz e Marina Tedesco


A segunda metade do século XX foi marcada, em muitos países, por novas relações entre mulheres e espaço. O incremento do acesso ao mercado de trabalho e aos diferentes níveis de ensino foram importantes conquistas para as mulheres, ainda que atravessadas por assimetrias de classe, raça e região. Um pouco por todo o mundo, enquanto lutavam por mais direitos sociais, laborais e sexuais, as mulheres foram não só abandonando, e ocupando de diferentes formas, o espaço doméstico, como começando a habitar, de forma crescente, o espaço público e mediático.

Tais transformações não demoraram a se fazer sentir no cinema. Não por acaso, em diferentes filmes produzidos nos anos 1960 e 1970, vemos nas telas mulheres que flanam, trabalham ou lutam pela sua sobrevivência nas ruas de diferentes cidades. O espaço natural, muitas vezes usado como metáfora para a condição feminina, porque imbuído de valores tradicionalmente associados às mulheres, como pureza, emoção e irracionalidade, torna-se também espaço de contestação. As mulheres ocupam ao mesmo tempo os espaços de representação e de produção do cinema. No Brasil, nos anos 70, pela primeira vez houve um aumento significativo de diretoras. Algumas delas conseguiram não só realizar uma segunda obra como se mantêm em atividade até hoje. Em Portugal, após 30 anos de intervalo, e do trabalho de Bárbara Virgínia nos anos 40, surgem novamente, nos anos 70, algumas mulheres cineastas. O número crescente de mulheres que têm vindo a ocupar lugares de destaque nas mais diversas áreas da indústria cinematográfica não se restringe a estes dois países.

Neste momento, uma vez mais verificamos uma intensificação das discussões sobre mulheres e cinema. Trata-se de um fenômeno que certamente tem particularidades locais, mas pode ser considerado global, como o demonstram os movimentos estadunidenses Time’s Up e #MeToo, que dialogam com bandeiras levantadas dentro de outras nacionalidades. Diante de tal contexto, o presente dossiê buscará reunir textos que contemplem as múltiplas formas de se aproximar do tema mulheres e espaço no cinema contemporâneo. Desta maneira, convidamos à submissão de artigos que se debrucem sobre os seguintes temas, ou tópicos relacionados:



· Contribuições teóricas sobre mulheres e espaço no cinema do século XXI

· Espaços ocupados por mulheres dentro e fora do écran no cinema do século XXI

· Mulheres e espaço urbano no cinema contemporâneo

· A natureza e o feminino no cinema do século XXI

· O arquivo enquanto espaço feminino

· Os espaços de distribuição do cinema feito por mulheres

· Mulheres e espaços de visionamento de cinema

· Novas abordagens ao espaço ocupado pelas mulheres na história do cinema e na crítica cinematográfica

· As escalas do cinema de mulheres: o feminino e os espaços locais, nacionais e globais no cinema contemporâneo



Este Dossier Temático é coordenado por Mariana Liz (Universidade de Lisboa) e Marina Tedesco (Universidade Federal Fluminense).


Mariana Liz é Investigadora de Pós-Doutoramento no ICS-ULisboa, o Instituto de Ciências Sociais da Universidade de Lisboa. Concluiu um doutoramento em Estudos Cinematográficos no King’s College London em 2012, e deu aulas no King’s, na Queen Mary e na Universidade de Leeds, no Reino Unido, antes de se mudar para Portugal em 2016. É autora de Euro-Visions (2016) e coordenadora do volume Portugal’s Global Cinema (2018). Coordenou, com Hilary Owen (Oxford/Manchester), o projecto Portuguese Women Directors, financiado pela Fundação Calouste Gulbenkian. Actualmente, trabalha sobre a representação audiovisual das cidades na Europa contemporânea.


Marina Cavalcanti Tedesco é cineasta e diretora de fotografia. Atua como professora do Departamento de Cinema e Vídeo e do Programa de Pós-graduação em Cinema e Audiovisual da Universidade Federal Fluminense (Niterói, Brasil). Pesquisadora das questões de gênero e sexualidade no audiovisual, entre suas principais publicações se destacam a co-organização dos livros Feminino e plural: mulheres no cinema brasileiro (2017) e Corpos em projeção: gênero e sexualidade no cinema latino-americano (2013), o capítulo sobre cinema no livro Explosão feminista: arte, cultura, política e universidade (2018) e diversos artigos sobre estes temas em revistas brasileiras e internacionais.


O prazo para submeter os artigos termina a 15 de junho de 2019. Todos os artigos recebidos serão sujeitos a um processo de seleção e revisão cega por pares. Antes de submeter o seu artigo completo, consulte as Políticas de Secção, as Instruções para Autores e a Política de Revisão por Pares.

Para submeter uma proposta, por favor clique aqui.


                                     -------------------------------------------------------------


(English version)

Aniki v7n1

NEW CALL FOR PAPERS

Women and space in contemporary cinema
ed. Mariana Liz, Marina Tedesco


deadline: 15.06.2019
Publication date: 01.2020
+info and submission guidelines: http://www.aim.org.pt/aniki


Women and space in contemporary cinema
Special Issue edited by Mariana Liz and Marina Tedesco

The second half of the 20th century was characterized, in many countries, by the emergence of a new relationship between women and space. Easier access to the labour market, as well as to higher levels of education, were important victories for women, even if these were defined by obvious asymmetries in terms of class, race and location. Across the world, while fighting for fairer social, workplace and sexual rights, women not only abandoned, and occupied in new ways, the domestic space; they also began to inhabit, in a more affirmative manner, the public space, as well as that of the media.

It wasn’t long before such changes had an impact on film. It is not a coincidence that in many films of the 1960s and 1970s we see on screen women walking, working or fighting for their survival in the streets of different cities. Nature, often used as a metaphor for women, because attributed values traditionally associated with the feminine condition, such as purity, emotion and irrationality, also became a space for contestation. Women simultaneously came to occupy the spaces of representation and of production of film. In Brazil, in the 1970s, there was, for the first time in history, a growing number of women directors. Many of these have not only been able to direct more than one film since beginning their careers, but are also still active. In Portugal, three decades after Bárbara Virgínia, conventionally known as the country’s first woman filmmaker, active in the 1940s, women filmmakers finally re-emerged in the 1970s. The growing number of women that have been playing important roles in the most diverse areas of the cinematographic industry is not, of course, restricted to these two countries.

Today we witness once again vivid debates on the relationship between women and cinema. This is a phenomenon that certainly has local specificities, but can be considered to be global, as testified by the US movements Time’s Up and #MeToo, which dialogue with similar campaigns emerging in other national contexts. As such, this special issue aims to bring together essays that discuss the multiple ways in which women and space can be examined in contemporary film. Hence, we seek pieces that address the following, and other, similarly related, topics:


· Theoretical contributions on women and space in 21st century cinema

· The spaces occupied by women on- and off screen in 21st century cinema

· Women and urban space in contemporary film

· Nature and the feminine in 21st century cinema

· The archive as a feminine space

· Film distribution spaces occupied by the cinema directed by women

· Women and film viewing spaces

· New approaches to the space occupied by women in film history and film criticism

· The different scales of ‘women’s cinema’: the feminine and the local, national and global spaces of contemporary film


This special issue is edited by Mariana Liz (University of Lisbon) and Marina Tedesco (Universidade Federal Fluminense).

Mariana Liz is a Postdoctoral Research Fellow at ICS-ULisboa, the Institute of Social Sciences at the University of Lisbon, in Portugal. She completed a PhD in Film Studies at King's College London in 2012 and taught at King's, Queen Mary and at the University of Leeds in the UK before moving to Portugal in 2016. She is the author of Euro-Visions (2016) and editor of Portugal's Global Cinema (2018). She coordinated, with Hilary Owen (Oxford/Manchester), the Calouste Gulbenkian funded project Portuguese Women Directors, and is currently working on the screen image of contemporary European cities.

Marina Cavalcanti Tedesco is a filmmaker and cinematographer. She teaches at the Film and Video Department and at the postgraduate programme in Film and Media Studies of Universidade Federal Fluminense (Niterói, Brazil). Her research areas include gender and sexuality in the media. She co-edited the books Feminino e plural: mulheres no cinema brasileiro (2017) and Corpos em projeção: gênero e sexualidade no cinema latino-americano (2013). Her publications include a chapter on film in the book Explosão feminista: arte, cultura, política e universidade (2018). She has published on these topics in both Brazilian and international journals.


The deadline for submitting completed papers is June 15, 2019. All the articles submitted to Aniki will be the object of a double-blind peer review process. Authors must refer to Section Policies, Author Guidelines and Peer Review Process, both available at the journal website.

To submit your proposal, please visit Aniki website.

                                     -------------------------------------------------------------


(Versión Española)

Aniki v7n1


CONVOCATORIA

Mujeres y espacio en el cine contemporáneo
ed. Mariana Liz, Marina Tedesco


Inscripción hasta: 15.06.2019
Publicación: 01.2020
para más informaciones: http://www.aim.org.pt/aniki


Mujeres y espacio en el cine contemporáneo
Dosier Especial editada por Mariana Liz y Marina Tedesco

En muchos países, la segunda mitad del siglo XX estuvo marcada por nuevas relaciones entre las mujeres y los espacios. El aumento del acceso al mercado laboral y a los diferentes niveles de enseñanza fueron importantes conquistas de las mujeres, aunque atravesadas por asimetrías de clase, raza y región. En gran medida, por el mundo entero, mientras luchaban por más derechos sociales, laborales y sexuales, las mujeres fueron no solamente abandonando, pero ocupando de formas distintas, el espacio doméstico, a la vez que iban habitando, de manera creciente, el espacio público y mediático.

Esas mismas transformaciones no tardaron en surgir en el cine. No por casualidad, en distintas películas producidas en los años 1960 y 1970 se pueden ver en las pantallas mujeres que deambulan, trabajan o luchan por sobrevivir en las calles de muchas ciudades. Por estar impregnado de valores tradicionalmente asociados a las mujeres, como pureza, emoción e irracionalidad, el espacio natural -muchas veces usado como metáfora de la condición femenina- se vuelve, igualmente, en un espacio de contestación. Las mujeres pasan a ocupar, a la vez, los espacios de representación y producción en el cine. En Brasil, en los años 1970, por primera vez hubo un significativo aumento de directoras. Algunas de ellas lograron realizar una segunda obra y se mantienen activas hasta hoy. En Portugal, tras un período de 30 años, y del trabajo de Bárbara Virgínia en los años 1940, otra vez surgen cineastas en los años 1970. El número creciente de mujeres que empiezan a ocupar lugares de destaque en las más distintas áreas de la indústria cinematográfica no se restringe a esos dos países.

Ahora mismo, se puede verificar, una vez más, una intensificación de las discusiones acerca del tema mujeres y cine. Se trata de un fenómeno que seguramente tiene particularidades locales, pero puede considerarse global, como lo demuestran los movimientos estadounidenses Time’s Up y #MeToo, que dialogan con banderas enarboladas desde otras nacionalidades. Ante este contexto, el presente dosier buscará reunir textos que contemplen las múltiples formas de acercarse al tema mujeres y espacio en el cine contemporáneo. De esta manera, invitamos al envío de artículos que aborden los siguientes temas o tópicos relacionados:


· Contribuciones teóricas acerca de las mujeres y el espacio en el cine del siglo XXI

· Espacios ocupados por mujeres dentro y fuera de la pantalla en el cine del siglo XXI

· Mujeres y espacios urbanos en el cine contemporáneo

· La naturaleza y el femenino en el cine del siglo XXI

· El archivo como espacio femenino

· Los espacios de distribución del cine organizados por mujeres

· Mujeres y espacios de asistencia de cine

· Nuevos abordajes del espacio ocupado por mujeres en la história del cine y en la crítica cinematográfica

· Las escalas del cine de mujeres: el femenino y los espacios locales, nacionales y globales en el cine contemporáneo


Este dosier está bajo la coordinación de Mariana Liz (Universidade de Lisboa) y Marina Tedesco (Universidade Federal Fluminense).

Mariana Liz es una investigadora postdoctoral del ICS-ULisboa (Instituto de Ciências Sociais da Universidade de Lisboa). Doctora en estudios cinematográficos por el King’s College de Londres (2012), ha trabajado como profesora en el King’s College, el Queen Mary y la Universidad de Leeds. Ha publicado la monografía Euro-Visions (2016) y editado el volumen Portugal's Global Cinema (2018). También ha coordinado, junto con Hilary Owen (Oxford / Manchester), el proyecto de investigación Portuguese Women Directors financiado por la Fundação Calouste Gulbenkian. Trabaja actualmente sobre la representación audiovisual contemporánea de distintas ciudades europeas.

Marina Cavalcanti Tedesco es cineasta y directora de fotografía. Trabaja como profesora en el Departamento de Cine y Video y en el Programa de Posgrado en Estudios de Cine y Audiovisual de la Universidade Federal Fluminense (Niterói, Brasil). Su línea de investigación tiene que ver con cuestiones de género y sexualidad en el audiovisual. Ha co-editado los libros Feminino e plural: mulheres no cinema brasileiro (2017) y Corpos em projeção: gênero e sexualidade no cinema latino-americano (2013). Sus publicaciones también incluyen un capítulo sobre cine en el libro Explosão feminista: arte, cultura, política e universidade (2018), así como diversos artículos sobre estos mismos temas en distintas revistas brasileñas e internacionales.


Fecha límite de presentación: 15 de junio de 2019. Todos los artículos recibidos serán sujetos a un proceso de selección y revisión ciega por pares. Para enviarnos una propuesta, lea atentamente nuestra página de políticas editoriales y acceda a nuestra plataforma de envíos en Aniki website.

Para enviar una propuesta, por favor haga clic aquí.



(info atualizada em ~~~ItemPubShortDate~~~)

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CFP: CITAR Journal / Escola das Artes Católica Porto / Special Issue

"On Cinema: New perspectives of research"


Editors: Nuno Crespo and Daniel Ribas
Associated editor: Carlos Sena Caires


Deadline for submissions: June 15, 2019. 


+info: http://artes.ucp.pt/citarj/pages/view/OnCinema


CITARJ is an Scopus-indexed journal on artistic practice.

(info atualizada em ~~~ItemPubShortDate~~~)

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CFP: II Coloquio Internacional Latin American Women's Filmmaking: Modos de hacer: cines y mujeres de América Latina



*ENGLISH BELOW*

II Coloquio Internacional Latin American Women’s Filmmaking: Modos de hacer: cines y mujeres de América Latina

Fecha: 11, 12 y 13 de septiembre de 2019
Lugar: Universidad Autónoma de Madrid (España)

Hemos abierto hasta el 30 de marzo el plazo de propuestas para el II Coloquio Internacional Latin American Women’s Filmmaking: Modos de hacer: cines y mujeres de América Latina, que tendrá lugar en la Universidad Autónoma de Madrid (España) los días 11, 12 y 13 de septiembre de 2019.

Esta convocatoria pretende incentivar la reflexión sobre un conjunto de ejes que permitan seguir abriendo enfoques y perspectivas. El primero de ellos es la atención prioritaria a los procesos y condiciones materiales de producción frente a las obras, en tanto espacios de coproducción de lo social, lo político y lo estético. Este punto vendría acompañado de un desvío del foco en el largometraje ficcional hacia otras prácticas audiovisuales (cortos, mediometrajes, documentales, tv, videografías…), donde, como alertaba Paulo Paranaguá (Tradición y modernidad en el cine de América Latina, 2003), se hacía evidente la amplia y masiva feminización de la profesión desde los años 1970-1980.


El segundo objetivo es pensar América Latina desde perspectivas transterritoriales o desterritorilizadas e identidades transculturales que pongan en tensión la identidad histórica y geo-política de la región; y desde posiciones que problematicen el campo de los estudios (cinematográficos) latinoamericanos como un ámbito de especialización acrítico respecto a las tradiciones teóricas e historiografías sobre las que se han asentado y las relaciones (desiguales) de poder en ellas inscritas.


Finalmente, “modos de hacer” pretende ser una expresión inclusiva respecto a un amplio y plural conjunto de prácticas, desbordar el ámbito del hacer de las cineastas para integrar otras actividades, acciones y profesiones ejercidas en femenino (activistas, archiveras, organizadoras de eventos cinematográficos y festivales, actrices, gestoras, programadoras, espectadoras, etc.) sin las que no es posible comprender el cine y el audiovisual como campo extendido y en todas sus dimensiones, los cines en plural.


Desde estas premisas, el coloquio tendrá como ejes temáticos prioritarios:

Descolonizar/feminizar la teoría y la historiografía del cine latinoamericano.

Colectivos y hacer colaborativo

Relatos y experiencias a través del Atlántico.

Performatividad, teatralización, memoria.

Autorías en femenino, creatividad distribuida y nociones expandidas de autoría y creatividad.

Discursos virtuales y online del audiovisual feminista y decolonial.

Los archivos y el hacer de las archiveras.

Las propuestas en español, portugués o inglés (máximo 3.000 caracteres, contando espacios) serán remitidas a la dirección de correo electrónico coloquio.modos.de.hacer@uam.es antes del día 30 de marzo de 2019.


Para más información lee la llamada a comunicaciones (CFP) en anexo y en la web https://coloquiomodosdehacer.tumblr.com/CFP


---------------------------------------------------------*** VERSIÓN EN ESPAÑOL ARRIBA***

II International Conference "Ways of Making and Doing. Women and Cinemas of Latin America"

Date: 11, 12 and 13 September, 2019
Venue: Universidad Autónoma de Madrid (Spain)

We are now accepting submissions for the II International Conference "Ways of Making and Doing. Women and Cinemas of Latin America", to be held at the Universidad Autónoma de Madrid (Spain) on September 11-13, 2019. Deadline on March, 30.

This call for papers aims to encourage reflection on a number of strands that might open up and expand on existing methodological approaches and theoretical perspectives on Latin American Women’s Filmmaking. The first strand prioritises attention paid to the material conditions of film production over and above textual aspects, understanding the former as spaces for the co-production of the social, the political and the aesthetic. This point would be accompanied by a move away from the usual focus on the fictional feature film towards other audiovisual practices (short and medium-length films, documentaries, TV, video production ...), where, as Paulo Paranaguá warned (Tradición y modernidad en el cine de América Latina, 2003), the massive feminisation of the profession has become evident since the 1970s and 1980s.

The second objective is to think Latin America from transterritorial or deterritorialised perspectives and transcultural identities, which puts in tension the traditional historical and geopolitical identity of the region. Moreover, we aim to problematize those Westernised positions in the field of Latin American film studies which are acritical towards the power relations inscribed in the theoretical and historiographic traditions on which they have settled.

Finally, “ways of making and doing” means to be an inclusive expression with respect to a broad and plural set of practices, going beyond the scope of the directing work to integrate other types of labour and action conducted and led by women (archival work, event and festival organisation, film activism, acting, management, programming, spectatorship, etc.) without which it is not possible to understand the extended field of the audiovisual — or of cinemas in plural.

Possible topics include (but are not limited to):

Decolonisation / depatriarchalisation of the theory and historiography of Latin American cinema.

Collectives and collaborative work.

Journeys across the Atlantic.

Performativity, dramatization, and memory.

Women’s authorship, distributed creativity, and expanded notions of authorship and creativity.

Feminist and decolonial audiovisual online discourses.

Archives and archiving. 

The deadline for submissions (max. 3.000 characters, counting spaces) is the 30 March 2019. The proposals should be sent in English, Spanish or Portuguese to coloquio.modos.de.hacer@uam.es

For more information see the annexed CFP and the web https://coloquiomodosdehacer.tumblr.com/CFP
--
Elena Cordero Hoyo
Responsable de comunicación / Communication Adviser

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CFP: Feminist Pedagogies - special issue of MAI: Feminism and Visual Culture



Calling contributions to a special issue of MAI: Feminism and Visual
Culture on Feminist Pedagogies

The intersectional feminist and LGBTQI journal /MAI/ is seeking
contributions to a special issue on feminist pedagogies. Across the
board, feminist research and teaching in Higher Education is
increasingly vulnerable to ideological attack. The recent “prank”
conducted by Pluckrose, Lindsay and Boghossian to make fun at so-called
“grievance studies” systematically works to undermine scholarly work in
feminist, queer, critical disability and critical race studies and other
fields. This context makes feminist teaching both more vital, and more
vulnerable, than ever, as revealed by open letters such as that
published in the second issue of MAI.
<https://maifeminism.com/collective-letter-in-support-of-feminist-pedagogy/>
This special issue aims to explore the place of feminism in the
classroom, revealing pleasure and resistance, complaint and celebration.

We welcome contributions that address the strategies, obstacles and
opportunities of feminist pedagogy in a range of contexts from classroom
discussions and syllabi to faculty committee meetings, screening rooms
and activist spaces. Feminist teaching happens everywhere. Contributions
might range from conventional academic articles (6000-8000 words) to
interviews (1000-3000 words), creative writing (poems, short stories,
creative responses, max 3000 words), video essays (5-10 mins with brief
supporting statement of 800-1000 words), and photographs,
visual/audiovisual or interactive art.

Abstracts should be 200-250 words, and be accompanied by a short bio.
Please email abstracts to /MAI /editorial board member Clara
Bradbury-Rance (clara.bradbury-rance@kcl.ac.uk
<mailto:clara.bradbury-rance@kcl.ac.uk>) by 8th March 2019. Contributors
will be notified of the status of their proposal in early April and full
submissions will be due by 31st August 2019 (see here
<https://maifeminism.com/submissions/> for guidelines).
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CFP: Research Methods in Film Studies: Challenges and Opportunities


18-19 October 2019, Ghent, Belgium

Keynote speakers:

Catherine Grant (Birkbeck, University of London)

Barbara Flueckiger (Zurich University)

The academic study of film has involved looking at generic conventions,
authorial features, and the use and function of different aspects of
film language, including mise-en-scène, narrative, editing and sound.
Film Studies has also examined the relationship between film and
society, by contemplating issues such as race and gender, the on- and
off-screen construction of stardom, the association between cinema,
ideology and propaganda, and the way in which films mirror and shape
national and transnational identities. The industrial features of film,
film policy and legislation, as well as matters of film reception,
distribution and exhibition, venues and audiences (cf. the New Cinema
History Movement) have also been extensively considered by scholars,
within and beyond the discipline.

Research questions and methodologies from the humanities and social
sciences have often been used in conjunction in the analysis of this
multitude of topics. The history of Film Studies is thus one of
transdisciplinarity. As the discipline moves forward, and its future is
called into question – both in relation to debates about the
post-cinematic era (Denson and Leyda 2016) and the changing academic
context (Fairfax 2017) – methodological considerations have been given
greater attention in academic discussions. This is at least partly
connected to the rise of the Digital Humanities, which has afforded the
study of film with a variety of new digital sources, tools and methods,
as well as a growing interest in quantitative data, which allows for new
forms of analysis of film texts, industries, audiences and cultures. At
the same time, more traditional methods, such as the multiple approaches
to textual analysis, the use of interviews and surveys, as well as
archival research, retain their important place within Film Studies. The
wide variety of methodologies adopted by researchers of film across the
globe have meant the discipline is now faced with a series of challenges
and opportunities.

Aiming to explore a wide range of approaches, this conference invites
contributions that engage with current methodological challenges and
opportunities in Film Studies. We welcome theoretical contributions on
methodological issues in Film Studies, papers or workshop sessions on
specific methods, as well as research papers paying considerable
attention to the methodological framework at stake.

Abstracts are invited on topics related to research methods in Film
Studies, including but not limited to:

*Statistical methods for textual analysis

*Film Studies and big data

*Text mining in Film Studies

*CAQDAS and Film Studies

*Cinema and social network analysis

*Audience research

* Methods in New Cinema History

*Production analysis and film policy research

*Film and video as methodological tools

*Narrative analysis

*Archival research

*Methodological issues in specific schools of film analysis (e.g.
feminism, phenomenology, neoformalism, auteurism, post-structuralism,
critical theory, cultural studies, political economy …)

*Neurocinematics and neuroscience of film

The conference will also host a special panel organized by the ECREA
Television Studies section. The section invites paper proposals devoted
to new methodologies in the research of television fiction and
non-fiction content. The section welcomes submissions that explore
comparisons, international approaches and examples of concrete and
innovative case studies, in order to shed light on the future of TV
Studies in the new digital context.

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: 12 May 2019.
Proposal acceptance notification: 21 June 2019.

Please send your abstract/panel proposals to the conference email
address: filmstudiesecrea@gmail.com <mailto:filmstudiesecrea@gmail.com>

ECREA membership is not required to participate in the conference. The
conference fee will not exceed 70 EUR and will include coffee breaks,
lunches and receptions.

The conference takes place in Ghent and is hosted by Ghent University
and the University of Antwerp. The conference is organised by the ECREA
Film Studies Section in co-operation with DICIS (Digital Cinema Studies
network), the Research Center for Visual Poetics at the University of
Antwerp, the Centre for Cinema and Media Studies at Ghent University,
theVisual and Digital Cultures Research Center at the University of
Antwerp, and the Popular Communication division of NeFCA.

Conference organisers: Gertjan Willems (University of Antwerp/Ghent
University), Sergio Villanueva Baselga (Universitat de Barcelona),
Mariana Liz (University of Lisbon)

Conference website: https://ecreafilmstudies2019.wordpress.com/

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Job opportunity: Senior Lecturer in Film and Gender Studies, University of Stirling



The University of Stirling seeks to appoint a Senior Lecturer (Grade 9)
in Film and Gender Studies with a demonstrable interest and expertise in
gender.

The appointee will contribute to doctoral, masters and undergraduate
provisions within Stirling’s highly regarded film and media programme
(ranked 8th in the UK in the latest Guardian rankings). The appointee
will also take leadership of the MSc/MLitt in Gender Studies. While
Stirling has always encouraged scholars with a diverse range of
interests within the broad ambit of film and screen studies, we would be
particularly interested in building capacity within the Division in
areas such as science fiction and film theory.

The MSc/MLitt in Gender Studies (Applied) at the University of Stirling
is unique in the UK and is attracting a growing number of students
interested in placing the application of learning to real-world contexts
which lies at the heart of the course. The course awards two
scholarships annually specifically for students studying the MSc/MLitt
in Gender Studies (Applied), the Dr Dee Amy-Chinn Gender Studies
Scholarship and the Gender Studies Community Bursary. The programme has
been co-ordinated since inception five years ago by the departing chair
and is proving particularly popular among third sector organisations
both as hosts of masters interns and as a platform for re-training.

Contract Type: Open Ended

Working Pattern: Full Time

Salary: Grade 9 £50,132-£58,089

Closing date: Midnight on Saturday, 9th February 2019
For further details please see:
https://www.stir.ac.uk/about/work-at-stirling/list/details/?jobId=1971&jobTitle=Senior%20Lecturer%20in%20Film%20and%20Gender%20Studies
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CFP - International Conference Powers of Sound (Brazil)



POWERS OF SOUND:

1st INTERNATIONAL CONFERENCE ON SONORITIES RESEARCH

June 5th to 7th, 2019

Universidade Federal de Santa Catarina, Florianópolis, Brazil

www.sonoridades.net <http://www.sonoridades.net/>

A man with a loudspeaker is more imperialistic than one without

because he can dominate more acoustic space”

(R. Murray Schafer, The Soundscape)

The 1st International Conference on Sonorities Research - Powers of
Soundis an initiative by the Image, Sonorities and Technology Studies
Group (GEIST), formed by researchers from six Brazilian institutions:
UFSC, UFES, IFRS, UFRGS, UNISINOS and UFF. The initiative seeks to
promote and develop discussion of sound and its intersections with
related fields – Technology, Audiovisual Media, Music, Anthropology,
History, Philosophy, Communication, Economy, etc – through a
multidisciplinary perspective, in different countries, expanding the
reach of the Sound Studies field in Brazil in dialog with foreign
institutions and researchers.

The possibility of sounds that never stop sounding or sounds that are
heard without us being able (or needing) to identify their origins
transforms the act of listening to and creating sounds into a relation
of power. Contemporary society not only fills the environment with an
incalculable number of new and powerful sounds, but simultaneously
inserts these sounds into modes of producing sense. In a moment of
ideological hardening where the state and society have seen often
violent disputes, sound has been shown to be an efficient instrument of
control and of the infliction of damage upon people and objects. Sounds
work with identities, whether in groups or individually; sounds
configure relations of power, among individuals or institutions; sounds
unveil historical structures of production; sounds are essential
components of the entertainment industry; sounds cause pain and death
and pleasure.

More than an object of research, sound should be thought of as an
instrument and as a method of investigation, as a mediator among
different models of listening and the relations of power, economy,
culture, aesthetics etc. that are constructed from those previously
mentioned phenomena. With this breadth in mind, the Powers of
Soundconference emphasizes materialities of sound — those that mobilize
practices of listening and sounding, or the artifacts and devices,
technological or not, that shape and make potent what can be
accomplished with sounds. For this first edition of the conference – to
be held at UFSC, Brazil, from June 5th to 7th, 2019 – we invite
researchers from across the globe for a three day discussion, arranged
in working groups with specific research themes, roundtables with
invited experts and international keynote speakers, and the exhibition
of sound performances relevant to the main theme of the conference.

Presentations will be organized according to the following themes:

a) Sound media archaeology

b) Sound, affect and signification

c) Sound technologies and sociocultural practices

d) Sound and culture

e) Sound art

Researchers, professors and undergraduate and graduate students can
participate as attendees or presenters. The abstracts must have: up to
300 words; 3 to 5 keywords; affiliation and degree of the authors;
suggestion of the theme it fits within (see below); written in
Portuguese, Spanish or English. They are to be received by February 8th,
2019
, and submitted to cipspoderesdosom@gmail.com
<mailto:cipspoderesdosom@gmail.com>. Detailed information about
registration and submission can be found on the eventwebsite
<http://sonoridades.net/>.

Streams descriptions:

Sound media archeology:This perspective takes a careful look at “sonic
objects” and its materialities. It includes the study of sound devices
in their machinic specificity and within the creation of a logic
inherent in the context in which they are used, problematizing
sociocultural approaches that tend to abstract or refuse aspects of the
physicality of objects. This streamwill accept proposals that deal with
different technological configurations, different sound apparatuses and
their particular existence in a given mediatic ecology.

Sound, affection, and significance: This stream concentrates researches
that investigate the sounds both as text and force, aiming for
possibilities of convergence between their somatic and cognitive
dynamics. Thus, it intends to understand the interfaces between what a
sound can do and what it can mean, with an emphasis on its aesthetic
dimension. We accept papers that promote analyzes of musical and sound
works, both from a hermeneutic perspective, and those that elicit the
effects of sonic vibrations on the bodies of their producers and listeners.
Sound technologies and sociocultural practices:Technologies can be
understood as a set of solutions developed and crystallized in different
objects designed to perform certain tasks. This definition may be
extended to incorporate the protocols and pragmatics cultivated in
certain human activities that, although not depending on specific
machines, propose an organization of actions and a certain logic
internal to those processes. Technologies are not dissociated from
sociocultural phenomena, but sometimes propose an autonomous and
uncritical discourse about their own functioning. This stream intends to
discuss different aspects of these relations.
Sound and culture: Sounds are mediators of social and cultural
processes. This stream deals with sounds as processes and dynamics of
circulation and symbolic consumption, as well as a means with which
socialization, transformation, maintenance, cohesion and organization of
social groups and their respective cultural paradigms takes place. It
receives papers on sociocultural phenomena from a perspective that
focuses on sonorities as a central tool for these practices.

Soundart: This stream is concentrated on the emerging field of sound
art, be it in its aspects of production or experiencing of sonic pieces.
It receives theoretical papers that critically analyze the tasks and
experiences related to the making and auditioning of installations and
sound performances, experimental pieces made from the use of sound
recordings, radiart, electroacoustic music, as well as poetic works that
focus the word as sonority, instead of its semantic aspects, etc.
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CFP: Special Issue of Northern Lights: Film and Media Studies Yearbook


Click here for more information >>
https://www.intellectbooks.co.uk/MediaManager/File/NL/Northern%20Lights%20(CFP)Europe%20at%20the%20Crossroads-%20Cinematic%20Takes.pdf

Guest editor: Temenuga Trifonova, Associate Professor of Cinema and
Media Studies, York University, Toronto

Europe at the Crossroads: Cinematic Takes The history of the idea of
‘European identity’ can be described in terms of, on one hand, a
constant oscillation between two poles, one instrumental or pragmatic
(the Europe of norms), the other affective (the Europe of values and
feelings) and, on the other hand, in terms of a continuous, unresolved
conflict between the belief in some ineffable European ‘spirit’ or
‘ethos’ and the outright rejection of any sort of ‘European identity’.
Indeed, a recurring theme in all critical writings on Europe and
European identity is the idea that to be European is to doubt that there
is something like a ‘European identity’. To illuminate the ambiguity
pervading attempts to define European identity one need only juxtapose
the traditional characteristics of Europeanness deriving from the
continent’s founding philosophical and religious traditions, including
Christianity, Roman law and the Enlightenment – here ‘Europeanness’ is
defined in relation to the concepts of the polis, citizenship, democracy
and participation, rationalism, universality and cosmopolitanism – with
the immense contradictions underlying the concept of Europeanness
defined in relation to political and economic circumstances.

Over the last couple of decades, Europe has seen a trend of populist
right-wing parties riding on the wave of multicultural backlash across
Europe, gaining widespread support with xenophobic nationalist-populist
slogans purporting to save ethno-nationalist culture from the threat of
immigrants. The Brexit referendum, following a prolonged political
campaign of heightened anxiety over border control, was simply the most
dramatic expression of the crisis of democracy Europe is facing. The
sweeping territorial recalibration following the establishment of the EU
has led many scholars to declare the emergence of a post-national
European identity and citizenship based on mobility and universal human
rights rather than on the rights of persons as members of nationstates.
In Tracking Europe: Mobility, Diaspora, and the Politics of Location
(2010) Ginette Verstraette claims that the notion of ‘imagined mobility’
has become more essential to the notion of European identity than
Benedict Anderson’s influential idea of ‘imagined community’, which is
still territorial in nature. However, while it might seem that we have
entered a post-national age marked by identities that are provisional,
fluid, incoherent and ephemeral, the nation state has not lost any of
its relevance or authority: regardless of the supposed dissolution of
borders under globalization, modern citizenship still embeds identity
and legal rights in the territorial nation-state.

The purpose of this special issue of Northern Lights: Film and Media
Studies Yearbook is to reflect on contemporary debates around the
concepts of ‘Europe’ and ‘European identity’ through an examination of
European films from 2000 to the present dealing with various aspects of
globalization (the refugee crisis, labour migration, the resurgence of
nationalism and ethnic violence, neoliberalism, transnational
commodification, post-colonialism, transnational capital etc.) with a
particular attention to the ambiguities and contradictory aspects of the
figure of the migrant and the ways in which this figure challenges us to
rethink European identity and its core Enlightenment values
(citizenship, justice, ethics, liberty, tolerance, and hospitality).
Migrants and refugees have become, in Rey Chow’s words, ‘the new
“primitives” of Europe’. On the other hand, however, the migrant/refugee
has also been celebrated as a 1) symbol of ‘nomadic excess’; 2) the
‘structural excess’ constitutive of law and morality; 3) a utopian
figure representing a model for rethinking the idea of ‘Europe’ and of
‘European identity’.

Please send a 300-word proposal and a short bio to the editor, Temenuga
Trifonova, at temenuga@yorku.ca <mailto:temenuga@yorku.ca> by 15
February 2019. Final papers will be due 15 August 2019.

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CFP: Ideologies in mass media

http://comunicacionypensamiento.org/simposios/simposio-04-analisis-del-discurso-mediatico/

University of Seville, 10, 11, 12 April, 2019.

Seville, Spain.

*We accept proposals in English, Portuguese and Spanish.

This call is an invitation to a three days international congress, out
of which it is proposed to prepare an edited collection of papers
arising from it, on the theme of ideology theory, politics and
representation. We are interested in receiving submissions from a range
of disciplines: social sciences, cultural studies, life science and others.

We invite papers that engage with and showcase your research on any or
all of the following topics:

* Ideologies in mass media.
* Ideologies in the digital environment.
* New interactive narratives.
* Critical Discourse Analysis (entertainment formats, information
formats, social networks. . . ).
* Analysis of discourse in mass culture (television series, comics,
cinema. . . ).
* Digital platforms and contents (Netflix, Amazon, Hulu. . . ).
* Propaganda: the discourse of power.
* Media effects.

Abstracts of no more than 400 words, a working title, and a short
proposer biography are invited for submission no later than February
25th , 2019
to http://comunicacionypensamiento.org/acceso/ Once you
are registered you can submit your paper by clicking on 'Symposium 4:
ideologías en la comunicación mediática'.

Papers accepted for the conference will be included in the edited
collection proposal although speakers are welcome to submit proposals
intended for the conference.

For detailed submission instructions, please visit
http://comunicacionypensamiento.org/ponente/
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CFP: Global Colour and the Moving Image Conference 2019




Global Colour and the Moving Image

10 - 12 July 2019

University of Bristol

*Keynote speakers:

*Professor Barbara Flueckiger, University of Zurich

*Professor Ranjani Mazumdar, Jawaharlal Nehru University

Special screening and Q&A at the Bristol Watershed with British film
director John Boorman CBE

Ten years on from the ‘Colour and the Moving Image’ conference in
Bristol, the study of film colour has grown impressively. While the
majority of research has been undertaken on early 20th century colour
processes, far less is known about the introduction and application of
colour technologies from the second half of the 20th century onwards. As
stocks such as Eastmancolor, Agfacolor, and Fujicolor became cheaper,
national film industries increasingly converted to colour, exhibiting a
variety of aesthetic, cultural, economic and intermedial approaches to
its application.

We are pleased to announce our call for papers for the*‘Global Colour
and the Moving Image’*conference which aims to attract speakers on
themes, countries and contexts that will add to our knowledge of the
origins and nature of colour film’s increasing ubiquity since the 1950s.
The conference is organised by the AHRC-funded ‘The Eastmancolor
Revolution and British Cinema, 1955-1985’ project between the University
of Bristol and University of East Anglia in an attempt to reach a
greater understanding of the multiple, comparative complexities of
global colour and the moving image.

We are seeking individual papers or panel proposals (consisting of three
or four papers) of up to*20 minutes*which are invited on, but are not
limited to, the following themes:

* Comparative histories and applications
* Film colour and its intermedial contexts
* Colour and genres
* Film stars and colour
* Histories and case studies of particular film stocks / processes
* Colour, avant-garde and experimental practices
* Colour and television
* Colour and advertising
* Technicolor after Three-Strip
* Costume and set design
* Methodologies for studying film colour
* Issues of preservation and restoration
* Digital colour technologies and aesthetics
* Colour theories and the moving image
* Colour and film industry economics
* Colour, audiences and reception
* Colour in amateur and industrial films
* Invisible labour in the colour industries – laboratories, etc.

Please visithttps://eastmancolor.info/conference/
<https://emea01.safelinks.protection.outlook.com/?url=https%3A%2F%2Feastmancolor.info%2Fconference%2F&data=02%7C01%7C%7C0830f2d06e0d46a96cf808d67a1c6759%7Cede29655d09742e4bbb5f38d427fbfb8%7C0%7C1%7C636830659742825115&sdata=NNxFTpsW27tXam5%2FxC1sCQ0FyisY5PF5l1YexXcuJQE%3D&reserved=0>for
guidance on how to download and submit an individual / panel proposal form.

Please return your proposal tocolour-conference2019@bristol.ac.uk
<mailto:colour-conference2019@bristol.ac.uk>by no later than 31 January
2019
.

Further details about the conference will be announced after the
submission deadline.

If you have any questions at this stage, please do not hesitate to
contact the project team atcolour-conference2019@bristol.ac.uk
<mailto:colour-conference2019@bristol.ac.uk>
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CFP: Shaping Knowledge: encounters between word and image



‘Shaping Knowledge: encounters between word and image’

Media Practice Education and MeCCSA Practice Network Annual Symposium 2019
Hosted by the School of Arts, University of Kent

Friday 14^th June 2019

This symposium will explore the interaction between word and image
within media-based practice research. As creative practice has
increasingly found a home within academia, and as digital technologies
have made possible new methodologies and forms of output, the hegemony
of the written word within arts and humanities scholarship has been
challenged from different directions. From curated exhibitions, through
audiovisual essays and interactive websites, to sound and Internet art,
practice research now challenges the logocentric focus of humanities
research across all media.

Yet media-based practice research cannot entirely escape the written and
spoken word. Words permeate it - for example, in the narratives of
podcasts, the voice overs of films, and the wall texts of artworks. They
also surround it – for example in the framing statements provided in
programme notes, catalogues, and websites, in the written components of
PhD dissertations, and in REF portfolio submissions.

The interplay between word and image that underpins much practice
research has opened new opportunities but also raised new challenges.
For example, how to translate detailed research into shortform or
non-durational media and artworks without simplifying it? How to put
words and images into non-hierarchical relationships? How to acknowledge
and articulate the process of research and creation?

The symposium will explore ways in which practitioners in various fields
engage with the interdependence of word and image. By bringing together
disciplines including film, photography, online video, sound art, radio,
graphic design, and digital and media art, it will aim to bring the
audiovisual strategies for ‘shaping knowledge’ adopted within different
media forms into conversation with each other, and allow them to
illuminate each other.

Themes for presentations may include:

* Essayistic practices (essay films, photo essays, video essays,
podcasts, etc.)**
* The human voice: the spoken and performed word
* The aesthetic and affective qualities of words
* Reflexivity into creative practice and practice research
* Abstracts, synopses and REF statements: articulating practice
research**
* The PaR PhD: articulating and contextualising research in the
‘write-up’**
* Impact: presenting practice research for non-academic audiences**
* Non-verbal knowledge: can creative research outputs ‘speak for
themselves’?

Proposals may take the form of scholarly papers on these or other
relevant themes, or presentation of practice-based work that works
through the relationship of word and image. Non-traditional forms of
presentation (for example, lecture-performances, videos, photo essays,
simple installations, interactive websites, etc.) are encouraged.

Papers presented at the symposium will be considered for a special issue
of/ Media Practice and Education/ in 2020.

Please send proposals (300 words approx.) for all presentations, papers,
artworks or screenings, outlining their aim and form, along with a short
biography to the symposium conveners: Richard Misek
(r.e.misek@kent.ac.uk <mailto:r.e.misek@kent.ac.uk>) and Maurizio
Cinquegrani (M.Cinquegrani@kent.ac.uk <mailto:M.Cinquegrani@kent.ac.uk>)
by Friday 29th March 2019.

Hosted by the Centre for Film and Media Research at the School of Arts,
University of Kent, the event will take place at the university’s
beautiful hilltop Canterbury campus, an easy 55-minute train journey
from Central London.

The MeCCSA Practice Network champions practice within the Media,
Communications and Cultural Studies Association, ensuring that those
that teach and research practice have a strong voice within the subject
association and beyond. We are dedicated to maintaining and developing
links with the creative industries and relevant national and
international networks and associations.
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Screenwriting Research Network (Porto, 2019): CFP and KEYNOTE SPEAKERS


In 2019, the SRN conference will be hosted by the Research Centre for Science and Technologies of Arts (CITAR), operating within the School of Arts, Universidade Católica Portuguesa (Porto). CITAR develops actions to foster both art-based and theoretical-based research in four subject fields: Cinema and Cinematic Art, Heritage and Conservation-Restoration, New Media Art, and Sound and Music. Following on the work that CITAR has been developing on complex narratives, the Cinema and Cinematic Art research group co-organizes the 2019 SRN's conference. We aim to offer participants an opportunity to deepen their knowledge on this issue and to broaden the discussion on screenwriting narratives to the interplay between chaos and order.


Submissions deadline: 15th January 2019
(Know more at: http://artes.porto.ucp.pt/en/SRN2019?msite=2 )


KEYNOTE SPEAKERS


Thomas Elsaesser 


Thomas Elsaesser is Professor Emeritus at the Department of Media and Culture of the University of Amsterdam. Since 2013 he is Visiting Professor at Columbia University. Among his recent books are German Cinema - Terror and Trauma: Cultural Memory Since 1945 (New York: Routledge, 2013), Film Theory – An Introduction through the Senses (with Malte Hagener, 2nd revised edition, New York: Routledge, 2015) and Film History as Media Archaeology (Amsterdam University Press, 2016). His latest book is European Cinema and Continental Philosophy: Film as Thought Experiment (London: Bloomsbury, 2018).


Christoph Bode

Christoph Bode was Chair of Modern English Literature at LMU Munich until March 2018 and Visiting Professor at UCLA and at UC Berkeley. He has published 28 books and some 80 scholarly articles. Former president of the German Society for English Romanticism, co-editor of three book series, permanent Fellow of LMU’s Centre for Advanced Studies and of the Academia Europaea, Bode is also the recipient of various research grants, among them a 1 million Euro Advanced Investigator Grant from the ERC for his project on Future Narratives. Bode was the first German Humanities scholar and the first English Studies person in Europe to receive such a grant. He was awarded the Order of Merit of the Federal Republic of Germany in 2013.


Maria Poulaki

Maria Poulaki is a lecturer in digital media arts and film studies at University of Surrey, United Kingdom. Her research has approached narrative complexity from the perspective of complexity theory. With a background in psychology and media psychology, Poulaki is further interested in applications of cognitive theory, psychology, and neuroscience to aesthetics, particularly in moving image media. Her work has appeared in journals such as Projections, Gestalt Theory, Screen, New Review of Film and Television Studies, Film-Philosophy, and Cinema et Cie and in a number of edited volumes, such as Hollywood Puzzle Films (2014) and Ubiquitous Computing, Complexity, and Culture (2015). She also coedited the volumes Compact Cinematics: The Moving Image in the Age of Bit-Sized Media (2017), and Narrative Complexity: Cognition, Embodiment, Evolution (2019).

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CFP: Anuário Internacional de Comunicação Lusófona


ANUÁRIO INTERNACIONAL DE COMUNICAÇÃO LUSÓFONA
CHAMADA DE TRABALHOS ATÉ 31 DE MARÇO

Informamos que está aberto o prazo para o envio de propostas para a edição 2017/2018 do Anuário Internacional de Comunicação Lusófona. O tema central desta edição é "Os desafios da pesquisa em comunicação no espaço lusófono", mas também poderão ser aceites artigos que tratem de outros temas no domínio da comunicação e cultura no espaço lusófono.

Data limite de envio de propostas (artigo completo): 31 de março de 2019.
Email para o envio de propostas: pserra@ubi.pt, secretariado@sopcom.pt
Data da resposta sobre a aceitação: 30 de abril de 2019.

Normas para publicação no Anuário
Os artigos deverão ser redigidos em formato Word, tamanho A4, tipo Times New Roman, tamanho de letra 12 e espaço 1,5.
Os gráficos e ilustrações deverão ser apresentados em jpg ou tif, com resolução de 300 dpi (mínimo), no final do texto e em páginas destinadas especificamente a esse fim.
Os artigos deverão incluir um resumo de no máximo 1000 caracteres (incluindo espaços) e palavras-chave num máximo de 5, em ambos os casos escritos num dos dois idiomas do Anuário (português ou galego) e também em inglês.
O texto completo tem como limite 50.000 caracteres (incluindo espaços).
Os elementos de identificação do(s) autor(es) deverão ser enviados numa página separada e deverão incluir: título do artigo, nome(s) do(s) autor(es), instituição(ões) de afiliação e endereço(s) de e-mail.
As citações e referências do artigo deverão ser feitas utilizando as normas APA, 6ª edição, disponíveis no site da APA (https://www.apastyle.org/) e nos seguintes tutoriais:
- Tutorial em inglês: https://owl.purdue.edu/owl/research_and_citation/apa_style/apa_formatting_and_style_guide/general_format.html
- Tutorial em português: https://repositorioaberto.uab.pt/bitstream/10400.2/4934/4/FormacaoRBibliograficasAPA_v%203_maio2016.pdf

J. Paulo Serra
Presidente da Direção da Sopcom

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CFP: View Journal - Canned Television Going Global?



VIEW Journal invites proposals for the upcoming issue on "Canned
Television Going Global?". This special issue of VIEW focuses on the
international circulation and distribution of ready-made content, in the
form of scripted products, considering both TV fiction and films.


Possible proposals are invited in (but not limited to) the following areas:

*The history of transnational TV content circulation;

*The TV distribution of films and ready-made content in the European
context and beyond;

*US content versus EU content in past and contemporary European TV;

*The role of emerging markets and nations in the production and
distribution of ready-made programs;

*The circulation of traditional and innovative ready-made genres: TV
movies, series, factual entertainment, etc.;

*New models for international distribution of content: the emerging
role of OTT services in the internationalisation of programs;

*International co-productions and their distribution policies;

*Practices of TV industry professionals in the area of international
distributions: markets, deals, professionals, routines;

*Localizing and adapting foreign ready-made content, for example
through dubbing, subtitling and voice-overs;

*The role of bottom-up circulation: fan-subbing practices and
communities, and the “shadow economy” of content.


Contributions are encouraged from authors with different kinds of
expertise and interests in media studies, television and media history.
Paper proposals (max. 500 words) are due on February 1st, 2019.
Submissions should be sent to the managing editor of the journal, Dana
Mustata at journal@euscreen.eu <mailto:journal@euscreen.eu>.

Visit our website for more information
http://viewjournal.eu/callforpapers/canned-television-going-global/


VIEW is an open-access e-journal dedicated to sharing research on
European Television History and Culture. VIEW is supported by the
EUscreen Network and published by the Netherlands Institute for Sound
and Vision in collaboration with Utrecht University, Royal Holloway
University of London, and the University of Luxembourg.
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CFP: Hispanics and Film - VI Academic Conference Tecmerin
International Conference
Hispanics and Film: Modernity and Social Emergency
VI Academic Conference Tecmerin, 2-5 July 2019, University Carlos III de
Madrid

Deadline: 1st April 2019
In the last years, the interest in Film Studies has grown within the
disciplines of Hispanics. It can be argued that film and other media
have contributed to the strength of Hispanics in times of cultural and
economic globalization.

This boom in the union between Film and Hispanic studies has occurred
in parallel with the establishment and consolidation of cinema as an
academic discipline. Several factors have favored this union. First, the
very notion of Hispanics has contributed to the reduction of distances
between the different cultural and geographical schools. Second, cinema
has proven itself as a useful tool for teaching Spanish as a second
language. Third, the epistemological and methodological modifications of
comparative literature studies have helped hispanists to analyse the
complexity of film. Scholars of film and Hispanic studies have welcomed
a great variety of proposals and theoretical frameworks from other
disciplines (from psychoanalysis to cultural studies, or gender studies,
to name just a few). Finally, scholars from different countries have
specialized in Hispanic cinemas, and have contributed with their PhDs
and other bibliographical works. This has been accompanied by the
proliferation and consolidation of national and international
institutions that have helped to welcome and give visibility to the
studies of Hispanics and cinema.

The geographical possibilities of Hispanics have been expanded too:
the cultural productions in the Iberian peninsula (including its
minority languages), in Latin America, the United States, other
diasporas... Cinema, with its many forms of circulation, has favored
intercultural communication in a world in which the coexistence of
modernity and globalization has displaced and questioned traditional
modes of representation.

We invite researchers from all over the world to present their work from
any of the perspectives offered by the collaborations between Hispanics
and Film Studies, including:

* Representation.
* Memory.
* Aesthetics and form.
* Gender and identity.
* Auteur cinema.
* Popular cinema.
* Industry.
* Star Studies.
* Coproductions and transnationality.
* Exile and migrations.
* Adaptations.
* Comparative Studies.
* Teaching film and hispanics.
* Civilization and culture.
* Post-colonial studies.
* The histories of Hispanic Studies.
* Internet and new media.
* Television Studies.


During the conference, there will be a tribute to some of the most
relevant associations and research groups of Hispanic Studies, such as
GRIMH and CRIMIC.

In addition, Filmoteca Española will program the film retrospective
"Hispanismo y Cine". It will be a collective proposal with the selection
of some of the most representative titles of film and Hispanic studies.
Each screening will be accompanied by a presentation and discussion.

Proposal must be submitted through the web:


http://cinehispanismo.uc3m.es



Contact: cinehispanismo@uc3m.es <mailto:cinehispanismo@uc3m.es>
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