Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 846

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 847

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 848

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 849

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 919

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 920

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 917

Warning: date(): It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected the timezone 'UTC' for now, but please set date.timezone to select your timezone. in /home/aim/public_html/index_en.php on line 918

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AIM :: Associação de Investigadores da Imagem em Movimento

PT/EN

The Association of Moving Image Researchers, AIM, came out of the desire to bring together in Portugal, in the same organism, a group of researchers sharing the same investigation interests. The VII AIM Annual Meeting will take place at University of Minho (Braga), from 10 to 13 May 2017. Please also visit Aniki : Portuguese Journal of the Moving Image, AIM's cientific journal.
[Know more] [Join AIM]

News


Job: Lecturer in Film Studies, University of Leicester



The School of Arts at the University of Leicester is recruiting a full-time Lecturer in Film Studies.

Ref: SAH01440 Closing date: 10 May 2017

Please follow the link for further details: https://www2.le.ac.uk/offices/jobs/opportunities/jobsearch

Informal enquiries are welcome and should be made to Professor Martin Halliwell on mrh17@le.ac.uk <mailto:mrh17@le.ac.uk> or 0116 252 2645.


Lecturer in Film Studies

Ref SAH01440
Department School of Arts
Job Type Academic and Teaching
Specific Location
Contract Type Full Time
Salary Range
.

Job Purpose



Lecturer in Film Studies

College of Social Sciences, Arts & Humanities

School of Arts

Salary Grade 8 - £38,183 to £46,924 per annum

Permanent contract

Together our staff and students are discovering innovative ways to change the world for the better and there has never been a more exciting time for you to join us. We are ranked in the top 1% of universities worldwide and have an international reputation for excellence in teaching and research. We are led by discovery and innovation, with the synergy between research and learning at the core of our activity.

We are seeking an outstanding researcher and teacher in Film Studies to join our successful School of Arts. In this role you will develop the School’s research profile in International Film, and engage in research and publication in this area. You will be teaching and supporting students on the BA Film and Visual Arts and related degree streams, and offer at least one undergraduate option in American Cinema, as well as supervising undergraduate and postgraduate dissertations.

With a PhD in Film Studies, you will have a proven track record of published research, which gives proof that it attains international excellence. You will have experience in designing and delivering relevant modules, and an ability to generate external funding to support your research.

Click here for further information and details regarding this position

Informal enquiries are welcome and should be made to Professor Martin Halliwell on mrh17@le.ac.uk or 0116 252 2645.

The closing date for this post is midnight on 10 May 2017

We anticipate that interviews will take place on 31 May 2017

(info actualizada em 01/01/1970)

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TRANS TV: Call For Papers

Transformations of Television Industries

Transformations of Television Consumption Practices
Transformations of Televisual Aesthetics, Narratives and Identities
21^st Century Transnational and Transmedia Television Practices

Wednesday the 13^th of September to Friday the 15^th of September, 2017, University of Westminster, 309 Regent St, London.


Organised in Collaboration with the CREAM and CAMRI research centres and the Faculty of Media, Arts and Design at the University of Westminster.


Organising Committee: Dr Michael Goddard, Dr Christopher Hogg, Jane Thorburn, Paul Dwyer, Ged Maguire, Robert Benfield, Simon Passmore.



Confirmed Academic Keynotes:

Professor Amanda Lotz (University of Michigan)

Professor Matt Hills (University of Huddersfield)

Professor Jaap Kooijman (University of Amsterdam)

The conference will also feature key television industry guests TBC.


This conference proposes an examination of contemporary television under the impact of new platforms for production, dissemination and consumption such as Netflix and Amazon, coming after earlier technological and cultural dislocations of television such as cable, satellite, and home recording practices. These shifts have already displaced television from a stable technological apparatus, conventional television institutions and networks and schedule-based viewing. The latest turn of this ongoing series of transformations, poses questions of whether this is leading to a wider transformation of the very definition of the medium itself, as well as facilitating new forms of transmediality and transnationality in television production and consumption practices.


Are series produced by, disseminated on and/or consumed via these new platforms still television and if so in what senses? Is television now only understood in terms of audiovisual digital content with a serial form, and if so what distinguishes it from other digital content such as web series that may also be serial and audiovisual? Finally, is it useful to refer in this context to ‘post-television’ in line with the recently proposed term of ‘post-cinema’ in order to understand the radical technological and cultural transformations of what is nonetheless still widely recognised and understood in terms of televisual form?


Drawing attention especially to the appearance of more Trans as well as LGBTQ figures within such recent US series as /Orange is the New Black, Transparent, Sense8/ and others, this conference will propose the idea that television itself is going through its own ‘trans’ period, an unpredictable metamorphosis of its identity, arguably allowing for richer post-network complexity in televisual narratives, characterization, style and aesthetics. At the same time, it is important to look closely at how these aesthetic shifts are related to industrial practices like commissioning, international co-productions and modes of consumption in an era in which television content may be primarily designed to be consumed via these new platforms, even if produced by a more conventional television organisation. In order to address these shifts in both industrial practices and television aesthetics, the conference will consist of both theoretical/analytic and industry/production studies streams, as well as roundtables bringing these streams together.

Potential topics include but are not limited to:

* Transformations of television production practices in the
Netflix/Amazon//era
* Transformations of television consumption practices encompassing but
not limited to binge viewing
* New forms of transnational collaboration and television co-production
* New modes of narrative complexity in comedy and drama series
* Trans, LGBTQI, queer and other liminal figures in contemporary
televisual narratives
* Contemporary transformations of television aesthetics
* New forms of commissioning and marketing television series
* Transmedia approaches to contemporary television and digital narratives
* Queer critical approaches to contemporary television series (/Orange
is the New Black, Sense8, Transparent, Orphan Black /and others)
* Transformations of television drama and comedy genres and subgenres
* Transformations of television authorship
* Transformations of gender and ethnicity in television production and
consumption practices
* Transformations of gender and ethnic representations in contemporary
television series
* Transformations of online and offline television criticism
* Transformations of television studies in theory and pedagogy
* Television and ‘post-television’ in digital forms such as music
video and ‘user generated television’, as well as on platforms from
YouTube to Netflix
* Future directions and understandings of television in a digital
transmedia context

We envisage several publication outputs from the conference as well as other forms of impact.


Please submit a 250-word abstract for a 20 minute presentation and a maximum 100 word bionote to: *m.goddard@westminster.ac.uk* <mailto:m.goddard@westminster.ac.uk>*and **c.hogg@westminster.ac.uk* <mailto:c.hogg@westminster.ac.uk>*by the 8^th of May, 2017.


Registration will be 100£ for academics with permanent positions and 50£ for students and underemployed participants

Acceptance of proposed papers will be confirmed by the 29^th of May, 2017

(info actualizada em 01/01/1970)

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



Encontro Cinema e Educação na Cinemateca Portuguesa entre 20 e 22 de Abril
Num contexto em que volta a ser tema de discussão alargada a relação entre a educação e as artes – não apenas o ensino artístico mas o universo mais vasto da educação pela arte e do papel das artes em todo o âmbito educativo –, num contexto em que vários novos projetos sobre a iniciação ao cinema percorrem a Europa e têm eco no nosso país (CinED, Moving Cinema, Cinéma cent ans de jeunesse), e num contexto em que está, aliás, em desenvolvimento mais uma iniciativa governamental em que se procura a inserção do cinema nos percursos escolares (o Plano Nacional de Cinema), a Cinemateca junta-se à Associação Os Filhos de Lumière para organizar um encontro dedicado às múltiplas vertentes da relação entre o Cinema e a Educação. Coincidindo com as comemorações dos 10 anos da Cinemateca Júnior, o objetivo é integrar a nossa própria reflexão sobre o papel que nos cabe neste âmbito numa reflexão mais ampla sobre o cinema enquanto experiência educativa e sobre o trabalho educativo feito com o cinema. Neste encontro, autores e investigadores de várias áreas – tanto do lado da educação como do lado do cinema – serão convidados a levantar questões e a debater o tema, cruzando experiências e ideias numa agenda de discussão aberta, que permita acima de tudo ampliar o âmbito conceptual normalmente tido em conta neste campo. Não esquecendo experiências passadas inovadoras – muitas delas descontinuadas ou até esquecidas, na área do cinema como na área da pedagogia – o objetivo será o de trabalhar o cinema como um dos contributos possíveis para rasgar as fronteiras mais convencionais da experiência educativa, ao mesmo tempo que se trabalha a experiência educativa como área exploratória de novos caminhos cinematográficos. De um e do outro lado, o desafio é portanto o da própria intensificação da experiência, assim como o da máxima exigência e abertura no decurso dela.

O encontro, aberto a todos os interessados, decorre na Sala M. Félix Ribeiro nos dias 21 e 22 de abril (21 de abril entre as 10h e as 17h; 22 de abril entre as 10h e as 13h) e é também o contexto da apresentação de RÉVOLUTION ÉCOLE 1918-1939 e “A PROFESSORA DA ALDEIA” nas sessões das 21h30 de 20 e das 19h de 21 de abril.

Quinta-feira, 20 de abril, 21h30

RÉVOLUTION ÉCOLE 1918-1939, de Joanna Grudzinska
França, 2016 - 85 min / legendado eletronicamente em português | M/12

Com a presença de Joanna Grudzinska
Projeção seguida de debate

Sexta-feira, 21 de abril, 10h00-13h00

PEDAGOGIA, ARTES, CINEMA:
INTERESSAR A ESCOLA / TRANSFORMAR A ESCOLA

Intervenções:
Miguel Honrado, Secretário de Estado da Cultura
Maria Emília Brederode Santos
José Manuel Costa
Pierre Marie Goulet
Teresa Garcia
João Mário Grilo
Alain Bergala

Sexta-feira, 21 de abril, 14h00-17h00

ESTUDOS DE CASO:
PROJETOS NACIONAIS E TRANSNACIONAIS / A SENSIBILIZAÇÃO AO CINEMA DENTRO E FORA DA ESCOLA

Intervenções:
João Costa, Secretário de Estado da Educação
Elsa Mendes (Plano Nacional de Cinema)
Ana Eliseu / Rossana Torres (Associação “Os Filhos de Lumière”)
Neva Cerentola (Cinemateca Júnior)
Nathalie Bourgeois (Le Cinéma, cent ans de jeunesse)
Lena Rouxell (CinEd)
Jacques Lemière (Université Lille 1)
Guilherme de Oliveira Martins

Sexta-feira, 21 de abril, 19h00

SELSKAYA UCHITELNITSA (“A PROFESSORA DA ALDEIA”),
de Mark Donskoy
com Vera Maretskaia, Pavel Olenev, Daniil Sagre
União Soviética, 1947 - 100 min / legendado eletronicamente em português | M/6

Sábado, 22 de abril, 10h00-13h00

A UTILIZAÇÃO DO CINEMA NO SEIO DO SISTEMA ESCOLAR:
O PONTO DE VISTA DOS PROFESSORES

Intervenções:
Entre outros, professores das escolas Marquesa de Alorna, Pintor Almada Negreiros, Luis António Vernay (Lisboa), Escola Secundária de Pinhal Novo, Agrupamento de Escolas de Mértola e Escola Secundária Damião de Goes (Alenquer)
(info actualizada em 01/01/1970)

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



CFP: Teenage Kicks - Global teenage cultures, representations and practices

Kingston University, London

Conference: Teenage Kicks: Global teenage cultures, representations and practices (Extended Deadline)

Event date: Saturday 9 September - Sunday 10 September 2017
Deadline for Proposals: 30th April 2017

Keynote Speaker: Dr Kate E. Taylor-Jones, School of East Asian Studies, Sheffield University


The popular contemporary representation of a teenager is someone who stays in their bedroom with their tablet and phone, only venturing out for sustenance. Media panics around violence and videogames, online pornography and extreme television and film also construct the teenager as a passive victim of the mass media. The purpose of this two day conference is to interrogate popular representations, cultures and sub-cultures, and practices of teenagers on a global level.
This interdisciplinary conference seeks 20 minute papers and panel proposals which interrogate popular conceptions and misconceptions of the teenager. Papers and panels will approach the teenager from a global perspective are particularly welcome.

Themes include:

• Bedroom Cultures

• Fan practices and cultures

• Blogs/Vlogs and other internet practices

• Selfie culture

• Fashion and beauty

• Music and sub-cultural identities

• Constructions of the 'girl' or constructions of the 'boy' in popular culture

• Teenage cinema
• Online dating and sexting

• K-Pop/J-Pop and hybridity

• Teenagers and the ideology of anti-social behaviour

• Religion and the teenager

• Histories of the teenager

• Young Adult literature

• Young Adult television and film

• The law and the teenager

Please email abstracts (250-300) words to Colette Balmain (c.balmain@kingston.ac.uk) or Lucy Williams (l.williams@kingston.ac.uk) by no later than April 30th 2017 and don't forget to include your name, email address and institutional affiliation if applicable. We look forward to hearing from you.

For further information about this event contact: Dr Colette Balmain at: c.balmain@kingston.ac.uk.
Updated details will appear on the conference website:
http://www.kingston.ac.uk/events/item/2444/09-sep-2017-teenage-kicks-global-teenage-cultures-representations-and-practices/
(info actualizada em 01/01/1970)

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



Call for papers: TMG - Journal for Media History



Special issue _New Cinema History in the Low Countries


Deadline proposal (approximately 300 words): 1 June 2017

In 2006 /TMG – Journal for Media History/ published the special issue “Cinema in Context”. It contains some of the earliest theoretical reflections on and results of the broad approach of cinema historiography that is currently often labelled as “New Cinema History”. In 2003 an international group of film historians created the platform HoMER (/History of Moviegoing, Exhibition and Reception/). Instead of taking films as the starting point and focus of research, these scholars shifted the agenda to the contexts of film production, distribution and consumption, broadening the perspective to social and economic aspects. Digital data collections and methods (databases, GIS) are often part of New Cinema History research.


Over a decade after the special issue, New Cinema History has developed into a substantial sub field of media history, as is evidenced in series of conferences, research projects and many publications. At the end of 2017 the/ Routledge/ /Companion for New Cinema History/ is expected to appear. The editors of /TMG – Journal for Media/ /History/ view this as a suitable moment to reflect on the question what this broad contextualizing approach has taught us about the cinema history of the Low Countries. Where are the blind spots and lacunae of New Cinema History? Which new research questions have arisen or should be introduced in the current debates? In brief, an evaluation of results and methods, and a prospect to the future research programme of New Cinema History. Contributions can consist of concrete (comparative) case studies or can be more theoretical or historiographical reflections.

Editors: Clara Pafort-Overduin (c.pafort-overduin@uu.nl <mailto:c.pafort-overduin@uu.nl>) & Thunnis van Oort (thunnisvanoort@yahoo.co.uk<mailto:thunnisvanoort@yahoo.co.uk>)

Deadline proposal (approximately 300 words): 1 June 2017

Deadline article (6.000-8.000 words): 1 November 2017

Publication date: 1 May 2018

Language: Dutch and English

About the journal: /TMG – Journal for Media History/ wants to promote research in media history and publish the results of that research. It offers a platform for original research and for contributions that reflect theory formation and methods within media history.//The journal is published online in open access, twice a year. /TMG – Journal for Media History/ uses a double blind peer review procedure: the authors do not know the identity of the reviewers, and vice versa. See: www.tmgonline.nl <http://www.tmgonline.nl/>.
(info actualizada em 01/01/1970)

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Spatial storytelling: discussing the future of cinema - Vol. 2, No. 1. International Journal of Film and Media Arts - CFP



International Journal of Film and Media Arts - CFP open: Vol. 2, No. 1. Spatial storytelling: discussing the future of cinema

The call for full papers and book reviews for vol. 2, no. 1 (to be published August 2017) on spatial storytelling is open. Visit: http://revistas.ulusofona.pt/index.php/ijfma/announcement/view/59 <http://revistas.ulusofona.pt/index.php/ijfma/announcement/view/59>


Today, interactive user-oriented narrative is overtaking story structures traditionally linked to linear time-based narrative. Unlike time-based media, which are often single-authored, and presented to its audience, digital space based narrative evolves through user motivated use of the media affordances in different contexts. The user, unlike the audience, co-creates the story while playing it, but also helps in reshaping the media.


For its third issue, the International Journal of Film and Media Arts welcomes contributions in the form of full articles that deal with the theoretical and empirical implications of spatial storytelling for both film and other media. We would particularly like to receive contributions that would focus on:

- The role of spatial based narrative in the transformation of film form;

- Case studies on the application of spatial narrative in different media namely those that cross film and videogames;

- Spatial narrative structures and models;

- Mix media used of spatial narrative.



Issue editors: Manuel José Damásio; Sylke Rene Meyer


Publication schedule

Call for papers: 21 November to 5 May 2017. Early submission is highly encouraged.

Communication of decision to authors: June

Publication: August 2017


Submit paper here: http://revistas.ulusofona.pt/index.php/ijfma/about/submissions <http://revistas.ulusofona.pt/index.php/ijfma/about/submissions>



The International Journal of Film and Media Arts is an online semiannual publication, written in English and Portuguese, promoted by the Center for Research in Applied Communication, Culture and New Technologies (CICANT / CIC.Digital) and the Department of Film and Media Arts (DCAM) from ECATI, Universidade Lusófona de Humanidades e Tecnologias (Lisbon, Portugal). The IJFMA focuses on all areas of film and media arts research and critique, namely animation, television, media arts, videogames, fine arts, sound and their varied social and cultural forms of expression and materialisation.


The International Journal of Film and Media Arts Volume: 1, Number: 2 (2016) http://revistas.ulusofona.pt/index.php/ijfma/issue/current<http://revistas.ulusofona.pt/index.php/ijfma/issue/current> is now available.
(info actualizada em 01/01/1970)

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CFP: Interaction and Digital Media. /Hipertext.net/



en español después / en català al final]

Call for papers: Interaction and Digital Media. Hipertext.net, number 15, 2017
Guest editor: Joan Soler-Adillon, Royal Holloway, University of London
http://raco.cat/index.php/Hipertext/
Deadline: June 20th, 2017
Peer review journal. Authors notified: September 20th, 2017

Author guidelines: http://raco.cat/index.php/Hipertext/about/submissions

Contact: Juan Linares, executive editor juan.linares@upf.edu <mailto:juan.linares@upf.edu>

Papers will be accepted in English, Spanish or Catalan

Presentation
Over last two decades interactive communication has taken an increasingly central role in most journalism and communication processes. There is a demand for professionals who can design and lead on the implementation of scenarios in which users engage with information à la carte, becoming active communicators that generate content which feeds back to the system. Digital communication cannot be understood with a sound knowledge of concepts such as interactivity and participation, and of how these play a central role in it.
Interactive communication professionals are those who provide tools that allow users to, in a nutshell, communicate with each other and disseminate information through the net. But they are also responsible for the innovation in these communicative processes: Designing and implementing them successfully not only in the well established channels and contexts, but also in these which appear –and sometimes disappear- at a rate much higher rate than that to which the pre-digital professional was used to. These new channels and contexts will complement or expand existing ones, while others will end up replacing them entirely.

Digital media have allowed for a scenario where all these forms of communication are possible. The interactive communication professional becomes here a key specialist who can understand the potential of digital media and, in turn, become a creator or, at least, a facilitator of stories.

At the same time, media itself has radically changed, adapting at different rates –and with varying success—to the context in which concepts such as ubiquity, active user (as opposed to passive viewer) or user generated content have reshaped the landscape. It is a context where social media has gone from being a space for dialogue on ‘main’ media (second screen) to become the main context in which stories are accessed and disseminated, often replacing the media platforms themselves.

Given all this, and at a time when we the fundamental concepts around communication, media and journalism are being reshaped, we deemed appropriate to call for a debate on what we understand to be a central concept in the new digital paradigm that dominates the present: Interaction, understood from a broad stroke that includes many different perspective, as a key idea of the new relations among the communication agents.

Therefore, for the next issue of Hipertext.net we call for researchers, academics and practitioners to send their original research related to one of the following research topics, which are not exclusive:

. Interactive design and digital media: theoretical approaches, definitions and history
. Digital media and the digital ecosystem
. Learning interactive communication. A multidisciplinary effort
. Trending digital formats and media.
. Play strategies in digital media
. New interactive digital narratives
. Journalism, communication and social media
. Television as digital media
. Emergent formats in digital communication
. Art and experimentation in digital media
. Information customization and communication bubbles


*****
[Español]

Llamada a artículos:
Medios digitales e interación. /Hipertext.net/, número, 15, 2017
Editor invitado: Joan Soler-Adillon, Royal Holloway, University of London
http://raco.cat/index.php/Hipertext/
Data límite de envío: 20 de junio 2017
Revisión por pares. Notificación de aceptación: 20 septiembre 2017

Pautas para autores: http://raco.cat/index.php/Hipertext/about/submissions

Contacto: Juan Linares, editor ejecutivo: juan.linares@upf.edu <mailto:juan.linares@upf.edu>

Se aceptan originales escritos en español, inglés o catalán

Presentación
En las dos últimas décadas la comunicación interactiva ha tomado un papel cada vez más central en la mayoría de procesos comunicativos y periodísticos. Las empresas reclaman profesionales capacitados para liderar, idear y diseñar escenarios en los que los usuarios se informan a la carta, se comunican con el medio o aportan contenidos y experiencias que retroalimentan todo el engranaje. La comunicación digital no puede desligarse de un conocimiento sólido de lo que representan conceptos como interactividad o participación, y de cómo estos se presentan en este tipo de contextos.

Los especialistas en interacción son profesionales que facilitan herramientas que permiten que los usuarios, simplemente, se comuniquen entre ellos y hagan transitar información por las redes sociales. Pero también son los responsables de innovar en estos procesos comunicativos: De diseñar y aplicarlos de manera acertada no sólo en aquellos canales ampliamente conocidos, sino también aquellos que aparecen –y a veces desaparecen- a un ritmo mucho más alto de lo que el profesional pre-digital estaba acostumbrado. Unos nuevos canales que tanto pueden expandir, como complementar, como a veces terminar sustituyendo los ya existentes.

Los medios digitales han posibilitado el asentamiento de un escenario donde todas estas formas de comunicación son posibles. El profesional de la comunicación interactiva se convierte aquí una pieza clave, un especialista capaz de comprender las potencialidades del medio digital y, al mismo tiempo, convertirse en un relator o, al menos, un facilitador de historias.

A su vez, los mismos medios han cambiado radicalmente, adaptándose con diferentes ritmos, y con más o menos acierto, al contexto digital donde conceptos como ubicuidad, el usuario como agente activo (en vez de mero receptor), o generación de contenidos han reconvertido el paisaje. Un contexto donde las redes sociales han pasado de ser un espacio de diálogo (segunda pantalla) a ser el escenario principal donde se difunden y se accede a las noticias, sustituyendo en muchas ocasiones la plataforma propia de los medios.

Ante todo esto, y en un momento de fuerte replanteamiento de los fundamentos de la comunicación y, particularmente, del periodismo, es adecuado plantear un debate en torno a un concepto que entendemos central en el nuevo paradigma digital que domina el presente: la interacción, entendida desde un punto de vista amplio que incluye miradas muy diversas, como eje vertebrador de las nuevas relaciones entre todos los actores de la comunicación.

Así pues, para el próximo número de Hipertext.net se propone a investigadores, académicos y profesionales el envío de trabajos de investigación originales relacionados con alguna de estas líneas de investigación, que no son exclusivas:

. El diseño de interacción y los medios digitales: aproximaciones teóricas, historia y definiciones
. Los medios digitales, el ecosistema digital
. Aprendizaje de comunicación interactiva. Una especialidad entre fronteras
. Formatos digitales y medios. tendencias
. Estrategias de juego en medios digitales
. Nuevas narrativas digitales interactivas
. Periodismo, comunicación y redes sociales
. La televisión como medio digital
. Formatos emergentes en comunicación digital
. Arte y experimentación en medios digitales
. Personalización de la información y burbujas comunicativas

*****
[Català]

Crida d’articles: Mitjans digitals i interacció. /Hipertext.net/, número, 15, 2017
Editor invitat: Joan Soler-Adillon, Royal Holloway, University of London
http://raco.cat/index.php/Hipertext/
Data límit d’enviament: 20 de juny 2017
Revisió per parells. Notificació d’acceptació: 20 setembre 2017

Pautes pels autors: http://raco.cat/index.php/Hipertext/about/submissions

Contacte: Juan Linares, editor ejecutiu: juan.linares@upf.edu <mailto:juan.linares@upf.edu>

Es poden presentar originals escrits en castellà, anglès o català

Presentació
En les dues últimes dècades la comunicació interactiva ha pres un paper cada vegada més central en la majoria de processos comunicatius i periodístics. Les empreses reclamen professionals capacitats per liderar, idear i dissenyar escenaris en els que els usuaris s’informen a la carta, es comuniquen amb el mitjà o aporten continguts i experiències que retroalimenten tot l’engranatge. La comunicació digital no pot deslligar-se d’un coneixement sòlid del que representen conceptes com interactivitat o participació, i de com aquests es presenten en aquesta mena de contextos.
Els especialistes en interacció són professionals que faciliten eines que permeten que els usuaris, simplement, es comuniquin entre ells i facin transitar informació per les xarxes socials. Però també són els responsables d’innovar en aquests processos comunicatius: De dissenyar i aplicar-los de manera encertada no només en aquells canals bastament coneguts, sinó també aquells que apareixen –i a vegades desapareixen— a un ritme molt més alt del que el professional pre-digital estava acostumat. Uns nous canals que tant poden expandir, com complementar, com a vegades acabar substituint els ja existents.

Els mitjans digitals han possibilitat l’assentament d’un escenari on totes aquestes formes de comunicació són possibles. El professional en comunicació interactiva esdevé aquí una peça clau, un especialista capaç de comprendre les potencialitats del mitjà digital i, alhora, esdevenir un relator o, almenys, facilitador d’històries.

Alhora, els mateixos mitjans han canviat radicalment, adaptant-se amb diferents ritmes, i amb més o menys encert, al context digital on conceptes com ubiqüitat, l’usuari entès com a agent actiu enlloc de mer receptor, o generació de continguts han reconvertit el paisatge. Un context on les xarxes socials han passat de ser un espai de diàleg (segona pantalla) a ser l’escenari principal on es difonen i s’accedeix a les notícies, substituint en moltes ocasions la plataforma pròpia dels mitjans.
Davant de tot això, i en un moment de fort replantejament dels fonaments de la comunicació i, particularment, del periodisme, és adient plantejar un debat al voltant d’allò que entenem central en el nou paradigma digital que domina el present: la interacció, entesa des d’un punt de vista ampli que inclou mirades molt diverses, com a eix vertebrador de les noves relacions entre tots els actors de la comunicació.

Així doncs, per al proper número de Hipertext.net es proposa a investigadors, acadèmics i professionals l’enviament de treballs d’investigació originals relacionats amb alguna d’aquestes línies de recerca, que no són exclusives:

. El disseny d’interacció i els mitjans digitals: aproximacions teòriques, història i definicions
. Els mitjans digitals, l’ecosistema digital
. Aprenentatge de comunicació interactiva. Una especialitat entre fronteres
. Formats digitals i mitjans. Tendències
. Estratègies de joc en mitjans digitals
. Noves narratives digitals interactives
. Periodisme, comunicació i xarxes socials
. La televisió com a mitjà digital
. Formats emergents en comunicació digital
. Art i experimentació en mitjans digitals
. Personalització de la informació i bombolles comunicativas

(info actualizada em 01/01/1970)

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

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

Mais informações disponíveis em
https://www.facebook.com/O-Cinema-e-as-outras-Artes-Cinema-and-others-Arts
http://labcom-ifp.ubi.pt/files/ocinemaeasoutrasartes

A Comissão Organizadora
Anabela Branco de Oliveira - UTAD | LabCom.IFP
Ana Catarina Pereira - LabCom.IFP
Liliana Rosa - IFILNOVA, FCSH.UNL
Manuela Penafria - LabCom.IFP
Nélson Araújo - CEAA/ ESAP
Rita Bastos - LabCom.IF
(info actualizada em 01/01/1970)

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CFP: PRIDE Revisited: Cinema, Activism and Re-Activation



Abstract Deadline: 31 May, 2017


Following the success of the symposium PRIDE and its Precursors: Political Mimesis, Nostalgic Dissidence and Popular Film <https://medianostalgia.org/2015/11/26/4-5-december-pride-and-its-precursors-political-mimesis-nostalgic-dissidence-and-popular-film/>, held at the Birkbeck Institute for the Moving Image in December 2015, we invite submissions for an /Open Library of Humanities/ journal <https://olh.openlibhums.org/> special collection on /Pride/, the LGBTQ and coalfield cinema that preceded, influenced and coincided with it, and the diverse forms of activism inspired by the film. This call is posted online here: https://about.openlibhums.org/2017/03/27/cfp-pride-revisited-cinema-activism-and-re-activation-abstract-deadline-31-may-2017/ <https://about.openlibhums.org/2017/03/27/cfp-pride-revisited-cinema-activism-and-re-activation-abstract-deadline-31-may-2017/>

/Pride/ (dir. Matthew Warchus) was the most prominent of a number of films released in 2014 to coincide with, or commemorate, the 30th anniversary of the 1984-5 UK Miners' Strike. Based on a real-life support group for South Wales miners forged by London-based lesbian and gay activists (Lesbians and Gays Support the Miners, or LGSM <http://lgsm.org/>), /Pride/ helped to inspire new solidarity activism (including the reformation of LGSM) and stimulated widespread discussion. This special collection will explore the impact, success and popular film aesthetics of /Pride/ as a political drama-comedy, as well as its connections to earlier LGBTQ and miners’ activist and community films and videos (including /Framed Youth: Revenge of the Teenage Perverts/, 1983/1987, /All Out: Dancing in Dulais/, 1984/1986, and /The Miners’ Campaign Tapes/, 1984/1985), and other more recent audio-visual commemorations of the Miners’ Strike and 1980s queer activism (including /Still the Enemy Within/, 2014, and /Re/framed Youth: From Perverts to Pioneers/, 2013). We would like to address questions of historical re-enactment, or re-activation, exploring how this mainstream British feature film was able to draw on the forms and energies of earlier representations and figurations of real people and events.

In the first instance, we are soliciting short written abstracts/proposals for full length written articles (7,000-8,000 words); these will be subject to double-blind peer-review. But we would also welcome proposals for audiovisual essays, or for shorter written works (of up to 1,000 words). The shorter pieces of writing might offer space for reflection on “the year of /Pride/,” and the kinds of activist and media forms and discourses engendered by the film’s making or release, or more broadly by the anniversary of the Miners’ strike.

Submissions are welcome from a range of disciplinary backgrounds and topics may include, but are not limited to:

* /Pride/ and questions of cinematic nostalgia
* /Pride/ as historiography
* /Pride/ as Melodrama
* /Pride/ as Comedy
* /Pride/ as a “feel-good movie”
* Individual and collective protagonists in the cinema and beyond
* Solidarity Cinema
* /Pride/ and Cinematic Intertextuality
* /Pride/ and Intersectionality
* Music and dance in “political film”
* /Pride/ and its representations of place and translocal connections
* /Pride/ and the miners’ strike film
* Popular Film as/in activism
* LGSM and the year of /Pride/
* /Pride/ online
* The activist influence of LGSM (e.g. on Lesbians and Gays Support
Migrants)

Please send abstracts/proposals (up to 500 words max.) for all formats of submission to Catherine Grant <http://www.sussex.ac.uk/profiles/183852> (University of Sussex) and Diarmaid Kelliher <http://www.gla.ac.uk/schools/ges/pgresearch/diarmaidkelliher/> (University of Glasgow) (priderevisited@gmail.com) by 31 May 2017. We expect to reply with our selection decisions by 15 June 2017. Final articles of 7,000-8,000 words for double-blind peer review (please contact the editors if you wish to propose or discuss an alternative format), including references and bibliography, will be due by 30 November 2017.

The OLH is an Andrew W. Mellon Foundation <https://mellon.org/>-funded open-access journal with a strong emphasis on quality peer review and a prestigious academic steering board. Unlike some open-access publications, the OLH has no author-facing charges and is instead financially supported by an international consortium of libraries <https://about.openlibhums.org/libraries/supporting-institutions/>.

To learn more about the Open Library of Humanities please visit: https://www.openlibhums.org/.

(info actualizada em 01/01/1970)

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Cinema&Storia CfP extended


CALL FOR PAPERS EXTENDED (20^th April 2017)

From Public to Private. The History and Histories of Audiences in the Global Era

«Cinema e Storia. Rivista di studi interdisciplinari» n. 1/2018

Special issue, edited by Mariagrazia Fanchi & Damiano Garofalo

The study of cinema audiences has always been considered as an ancillary area of interest: marginalized and considered to be a trivial subject, and in any case easily studied through text-centric analysis (the spectator as a semiotic construction), a marketing system approach (the spectator as the final result of film industry strategies), or as an outcome of political propaganda operations (the spectator as a tool of consensus). Moving away from this marginal position, in the last few years the study of cinema audiences has obtained a new relevance, assuming a particular significance thanks to the several multidisciplinary investigations of social and cultural history, such as the history of consumption, the history of tastes and, above all, the history of cinema and TV audiences.

Several causes have contributed to this recent renewal: the birth of European associations that are devoted specifically to cinema audiences (e.g. ECREA, HOMER, the “Audience” workgroup in NECS) has energized researches in this sense; the shift in focus towards non-Western audiences, has led to the emergence of of a new World History approach and the post-colonial perspective; experiments in new instruments from experimental psychology and statistical sciences (big datas) have contributed, as has the upgrading of traditional media historiography to include archaeological or oral-historical approaches. This positive circumstance has driven a reprise of the historiographical reflection on audiences, and the expansion of studies and projects (among others, the Italian Cinema Audiences project, launched by a pool of British Universities).

Beginning with this new perspective, it is necessary to enlarge our frame of work and to adopt a wide and inclusive approach to media consumption, to include cinema, TV and visual and audiovisual experiences broadly. The study of audiences necessitates an intermedial and multidisciplinary approach in order to encompass the complexity of media experiences: the plethora of forms that this assumes (and assumed), their changes through space and time, the multiplicity of connections to cultural, social, economic and identity processes. The challenge is to legitimate audience as essential field of investigation within film, media, communication studies, and, at the same time, to adopt audiences as a historical source in a wider sense.

Reflecting on these topics and following this line, the «Cinema e Storia» Journal aims to focus its following issue (1/2018) to history of cinema audiences.

We welcome essays that address (though are not limited to) the following topics: **

·Cinema audiences and historiographical questions;

·New approaches of cinema audience history: methods, frames, designs;

·Cinema audiences and microhistory (biographical, genealogical, communitarian histories);

·Cinema audiences and cultural consumption;

·Cinema audiences and production studies;

·Cinema audience, sociability and social processes;

·The history of reception (movies, stars, genres...);

·Fandom and stardom;

·History and identity construction (gender, generational, sexual social, cultural, political, national identities);

·Histories of movie theatres; histories of movie-going and urban spaces;

·Histories of cinema audiences and World History;

·Neuroscientific histories of audiences;

·Media debates and media representations of movie-goers, movie-going and cinema experiences.

Deadlines & Guidelines

**

To propose an article please send an abstract and short biographical note to the address redazione@cinemaestoria.it <mailto:redazione@cinemaestoria.it> by 20^th April 2017.

Abstracts must be between 200 and 300 words, and may be presented in English or Italian.

The proposal should include: five key-words, names of author(s), institution(s) and contact details (email, telephone), together with a short bio for each author.

If the proposal is accepted, the author/s will be asked to send the complete article to the same e-mail address by July 31, 2017. Contributions will be sent to two independent reviewers in a double-blind peer review process prior to the final publication decision. Authors may be requested to change or improve their articles if suggested by reviewers.

Articles should be between no more than 35,000 characters in length, spaces and notes included, but shorter articles will be also considered.

For info, please send an email to:

mariagrazia.fanchi@unicatt.it <mailto:mariagrazia.fanchi@unicatt.it>and/or damiano.garofalo@uniroma1.it <mailto:damiano.garofalo@uniroma1.it>
(info actualizada em 01/01/1970)

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22nd International Bremen film Conference 2017


The 22nd International Bremen film Conference 2017 will take place from May 3rd to May 7th, 2017 at Bremen’s communal cinema CITY 46.

Using film for research and deriving a method from this can take very different forms and directions. In natural sciences and the humanities, for example, film produces visual evidence by way of recording, visualizing and archiving motion sequences. Similarly to the philosophy essay, a film essay can be used as a method of thinking and writing. Furthermore, film can become a source for contributing to historiography or displaying a history of human ideas and desires. Finally, in the context of artistic research, film offers methodological approaches to linking science and art, ranging from experimental film to documentary and fiction film as well as to contemporary forms such as interactive documentaries and video essays. The 22nd International Bremen Film Conference aims to address the interdisciplinary implications of film as a research method. It is open to scholars in film, cultural studies and history, as well as to scholars working in related fields. During the conference, films will be screened at our local cinema, discussed with filmmakers and examined in relation to their research value.

Keynotes:

Paolo Favero (Antwerp)
Sylvie Lindeperg (Paris)
 Catherine Russell (Montreal)

The 22nd International Bremen Film Conference offers a platform for interdisciplinary exchange on historic and contemporary approaches to film with the intention of determining how the medium can be used as a research method. The conference will combine talks, panel discussions, film screenings, and Q&As with artists.

Full programme available online at:

(German) http://www.city46.de/symposium.html

(English) http://www.film.uni-bremen.de/en/film-conference/current-conference.html

(info actualizada em 01/01/1970)

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CFP Women in Iberian Cinema - Lisbon, 11-12 September, 2017


International Symposium


WOMEN IN IBERIAN CINEMA
University of Lisbon School of Arts and Humanities
Lisbon, Portugal, 11-12 September, 2017


Keynote speakers:
Begoña Soto (Universidad Rey Juan Carlos, Madrid, Spain)
Hilary Owen (Oxford/Manchester University, UK)


The call for papers is now open for the International Symposium ‘Women in Iberian Cinema’, an interdisciplinary event organized by the research group ‘Cinema and the World – Studies on Space and Cinema’, to be held at the Centre for Comparative Studies in the University of Lisbon School of Arts and Humanities, Lisbon, Portugal, on 11^and 12 September 2017.


Women have always occupied a peripheral position within the world of film. While female characters, particularly protagonists, are scarce, and women’s subjects tend to be framed through a male gaze, significant contributions made by women to film production and criticism are often dismissed and/or underrepresented in film canons, historical archives and official narratives. For instance, according to the “Celluloid Ceiling” report conducted by the Centre for the Study of Women in Television and Film at San Diego State University, USA, only 4% of the 100 highest earning movies in 2016 were directed by women, and 29% were led by female characters.

Despite the international visibility of filmmakers including Isabel Coixet, Iciar Bollaín and Teresa Villaverde, to name but a few, in Spain, barely 8% of the films produced every year are directed by women. In Portugal, only 40 feature-films were directed by women between 1946 and 2009: that is less than one film per year. Focused on the cinemas of Portugal and Spain, this symposium aims to bring together researchers from different disciplines working on women and their status in relation to any aspect of Iberian cinemas. Our aim is to launch a debate about the position of women in cinema that draws insight and at the same time contributes to study fields as varied as Film Studies, Comparative Studies, Cultural Studies, Feminist Studies, Queer Studies and Postcolonial Studies.

This symposium will contribute to expanding debates about the position of women in the cinemas of Portugal and Spain through a revision of feminist and postfeminist theory, as well as new accounts of film history. It also aims to promote comparisons between Iberian cinemas from all regions, a topic that is almost unexplored in academia, despite the similar histories of the two countries, particularly throughout the twentieth century.

We welcome proposals for 20-minute presentations and/or pre-constituted panels of max. 3 speakers. The event’s working languages will be English, Portuguese and Spanish. Early-career researchers are especially encouraged to apply. Topics may include (but are not limited to):

·Female characters, subjects and representations in specific regional, national and/or transnational contexts;
·Gender and genre in the cinemas of Portugal and Spain;
·The role of women in the film industry, from early to contemporary cinema;
·Case studies of women directors, producers, screenwriters and below-the-line staff;
·Female stars in Portugal and Spain;
·Feminist and postfeminist approaches to film studies in different eras;
·Women and censorship, propaganda, or politics more generally.

Please send 300-word abstracts and a brief biographical note to the organizers, Elena Cordero and Mariana Liz, to womeniniberiancinema@gmail.com by 9 June 2017. The symposium will also include a roundtable on women in Portuguese cinema, with guest directors, producers and programmers. 


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CFP The Moving Form of Film: Exploring Intermediality as a Historiographic Method


THE MOVING FORM OF FILM: EXPLORING INTERMEDIALITY AS A HISTORIOGRAPHIC METHOD

6-8 November 2017, University of Reading, UK

As part of the AHRC/FAPESP-funded IntermIdia Project (www.reading.ac.uk/intermidia), led by investigators from the University of Reading (UoR), UK, and the Federal University of São Carlos (UFSCar), Brazil, this international conference seeks to invite discussion of intermediality as a historiographic method.

Conference Convenor: Prof Lúcia Nagib

UoR Investigators: Prof Lúcia Nagib (PI); Alison Butler

(Co-I); Prof John Gibbs (Co-I); Dr Lisa Purse (Co-I); Dr Albert

Elduque (PDRA); Dr Stefan Solomon (PDRA).

UFSCar Investigators: Dr Luciana Corrêa de Araújo (PI);

Dr Flávia Cesarino Costa (Co-I); Dr Samuel Paiva (Co-I); Dr

Suzana Reck Miranda (Co-I); Dr Margarida Adamatti (PDRA).

Administrator: Richard McKay.

Confirmed Guest Speakers

Keynote Speakers:
- Alain Badiou – French philosopher, former Chair of Philosophy, Université de Paris VIII

- Robert Stam – University Professor of Cinema Studies, New York University

- Ismail Xavier – Professor of Film Studies, University of São Paulo

Plenary Speakers:
- Ágnes Pethő – Professor of Film Studies, Sapientia Hungarian University of Transylvania in Cluj-Napoca

- Lisa Shaw – Reader in Portuguese and Brazilian Studies, University of Liverpool


From its birth, the film medium has fuelled debates around its possible specificity versus its obvious connections with other arts and media. In recent days, with the advent of digital technologies that trigger and depend on media convergence, it has become indisputable that film is inherently intermedial, giving scope for reconsidering film history in light of the medium’s moving, all- encompassing form. As Alain Badiou summarises, it is impossible to think cinema outside of a general space made of its connections to the other arts. He says: 'Cinema is the seventh art in a very particular sense. It does not add itself to the other six while remaining on the same level as them. Rather, it implies them – cinema is the “plus-one” of the arts. It operates on the other arts, using them as its starting point, in a movement that subtracts them from themselves’ (2005: 79). This conference will build on such an understanding by investigating the ways in which intermediality, rather than obstructing, enhances film’s artistic endeavour. More pointedly, it will ask: how can intermediality help us to understand the history of cinema as a whole?

Broadly speaking, ‘intermediality’ refers to theinterbreeding of artistic and technical medial forms. The uses of the term hark back to the 1960s and Higgins (1966; 1981), who applied it to an array of countercultural artistic phenomena of the time. Through the years, the concept has evolved to encompass an ‘inflation’ of definitions (Pethö 2010), which concur in the celebration of ‘hybridisation’, ‘transnationalism’, ‘multiculturalism’ and cross-fertilisations of all sorts. As for cinema, intermediality has gained prominence among other more established approaches, such as comparative, intertextual, adaptation and genre-based studies, for its wider premise that keeps the interrogation into the properties of the medium constantly on the critic’s horizon (Rajewsky 2010).

This conference will look at medial interstices, intercultural encounters and creative clashes where the specificities of cinema are questioned and re-fertilised into new forms. Its ultimate aim will be to stimulate an overarching exploration of and theorising on the uses of intermediality as a historiographic method.

We welcome proposals which explore the following issues, with particular emphasis on histories and historiographies of cinema and the film medium:

* Intermediality and historiography;

* Intermediality and the history(ies) of cinema

* Intermedial and intercultural encounters;

* Intermediality as hybridity;

* National cinema(s) and intermediality;

* Experimental cinema and intermediality;

* Early Cinema and intermediality;

* Multi-mediality in New Cinemas;

* Border-crossings in genres and genders;

* Intermediality and new technologies;

* Comparative medial approaches across regional, national and transnational cinemas.



Submission Guidelines

All proposals should be on subjects relevant to the objectives of the conference, as described above. Proposals must be submitted in English. Please submit your title, abstract (max. 300 words), short bio (max. 150 words), e-mail address and institutional affiliation.

Proposals should be submitted by e-mail to intermidia@reading.ac.uk. Deadline for submissions is Friday 30 June 2017. Please use the same e-mail address for general information.

Notification of accepted proposals will be given by Monday 31 July 2017.

Details of the registration fee, the conference programme, and the registration process will be announced shortly thereafter on the IntermIdia Project website:

http://www.reading.ac.uk/intermidia/

Support: AHRC, FAPESP, University of Reading.

The Arts and Humanities Research Council (AHRC) funds world-class, independent researchers in a wide range of subjects: ancient history, modern dance, archaeology, digital content, philosophy, English literature, design, the creative and performing arts, and much more. This financial year the AHRC will spend approximately £98m to fund research and postgraduate training in collaboration with a number of partners. The quality and range of research supported by this investment of public funds not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please go to: www.ahrc.ac.uk

Founded in 1962, the São Paulo State Research Foundation (FAPESP) is one of Brazil’s most important science and technology funding agencies. Maintained by the transfer of 1% of the state’s tax revenue, FAPESP selects and supports research projects submitted by scientists affiliated with higher education and research institutions in São Paulo State in all knowledge areas. Projects are selected by peer review based on assessments by Brazilian and foreign researchers not associated with FAPESP. For more information go to: www.fapesp.br/en



(info actualizada em 01/01/1970)

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eNTERFACE17 - Call for Participation (Porto, Portugal)


eNTERFACE’17
the 13th Intl. Summer Workshop on Multimodal Interfaces
Porto, Portugal, July 3th – 28th, 2017


Call for Participation – May 2, 2017


The eNTERFACE 2017 Workshop is being organized this summer in Porto, Portugal, from July 3th to 28th, 2017. The Workshop will be held at Digital Creativity Centre, (http://artes.ucp.pt/ccd ), Universidade Catolica Portuguesa.

The eNTERFACE Workshops present an opportunity of collaborative research and software development by gathering, in a single place, a team of senior project leaders in multimodal interfaces, PhD students, and (undergraduate) students, to work on a pre-specified list of challenges, for the duration of four weeks. Participants are organized in teams, assigned to specific projects. The ultimate goal is to make this event a unique opportunity for students and experts all over the world to meet and effectively work together, so as to foster the development of tomorrow’s multimodal research community.

Senior researchers, PhD, or undergraduate students interested in participating to the Workshop should send their application by emailing the Organizing Committee at enterface17@porto.ucp.pt on or before May 2, 2017. The application should contain:

- A short CV

- A list of three preferred projects to work on

- A list of skills to offer for these projects.



Participants must procure their own travel and accommodation expenses. Information about the venue location and stay are provided on the eNTERFACE’09 website (http://artes.ucp.pt/enterface17). Note that although no scholarships are available for PhD students, there are no application fees.

eNTERFACE'17 will welcome students, researchers, and seniors, working in teams on the following projects


#01
How to Catch A Werewolf, Exploring Multi-Party Game-Situated Human-Robot Interaction

#02
KING’S SPEECH Foreign language: pronounce with style!

#03
The RAPID-MIX API: a toolkit for fostering innovation in the creative industries with Multimodal, Interactive and eXpressive (MIX) technology

#04
Prynth

#05
End-to-End Listening Agent for Audio-Visual Emotional and Naturalistic Interactions

#06
Cloud-based Toolbox for Computer Vision

#07
Across the virtual bridge

#08
ePHoRt project: A telerehabilitation system for reeducation after hip replacement surgery

#09
Big Brother can you find, classify, detect and track us ?

#10
Networked Creative Coding Environments

#11
Study of the realty level of VR simulations*

#12
Audiovisualy Experience Through Digital Art Holography*



The full detailed description of the projects is available at 

(info actualizada em 01/01/1970)

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International Symposium Women in Iberian Cinema
Date: September, 11th - 12th, 2017
Venue: University of Lisbon | School of Arts and Humanities (Anf III)

The call for papers is now open for the International Symposium “Women in Iberian Cinema”, an interdisciplinary event organized by the research project “Cinema and the World – Studies on Space and Cinema”, to be held at the Centre for Comparative Studies in the University of Lisbon School of Arts and Humanities, Lisbon, Portugal, on the 11th and 12th of September 2017. This symposium will contribute to expanding debates about the position of women in the cinemas of Portugal and Spain through a revision of feminist and postfeminist theory, as well as new accounts of film history. It also aims to promote comparisons between Iberian cinemas from all regions, a topic that is almost unexplored in academia, despite the similar histories of the two countries, particularly throughout the twentieth century.

More information about the CFP here http://www.comparatistas.edu.pt/en/call-for-papers/call-for-papers/call-for-papers-international-symposium-women-in-iberian-cinema.html

ORGANIZATION
Anabela Morais (CEC, FLUL)
Elena Cordero (CEC, FLUL)
Mariana Liz (ICS-UL)
Filipa Rosário (CEC, FLUL)

Activity organised by the research project Cinema and the World: Studies on Space and Cinema, from the group THELEME.
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Sensing Collectivities—Rethinking the Haptic: Touch, Movement, and Surfaces
A five-day international summer school and international workshop organised by the Phd Program "Loose Connections" at Hamburg University
Dates: June 14-18 2017
Venues: Sociology Department University Hamburg
Submission Deadline: April 3

Organisers:
Prof. Dr. Urs Stäheli, Department of Sociology, University of Hamburg, urs.staeheli@wiso.uni-hamburg.de
Dr. Michael Liegl, Department of Sociology, University of Hamburg, michael.liegl@wiso.uni-hamburg.de
Elena Beregow, Department of Sociology, University of Hamburg elena.beregow@wiso.uni-hamburg.de

This year’s summer school of cultural transformations has a two-part format: the PhD-course on “Sensing Collectivities” and a workshop on “Thermal objects”. Students will have the opportunity to participate in both events and are able to gain 5 ECTS credits for the Summer School and an additional 3 ECTS for participating in the workshop on “Thermal Objects”.

Confirmed Speakers Workshop "Theorizing Temperatures and the Social" - 14-15 June 2017, University of Hamburg

Nigel Clark (Lancaster)
John Hockey (Gloucestershire)
Helmut Lethen (Vienna)
Wolfgang Ernst (Berlin)
Esther Leslie (London)
Gunnar Schmidt (Trier)

Confirmed Speakers Summer School "Sensing Collectivities—Rethinking the Haptic: Touch, Movement, and Surfaces", 16-18 June 2017, University of Hamburg

Nerea Calvillo (Warwick) University, UK
Anna Harris (Maastricht )
Hanna Göbel (Hamburg)
Mark W.D. Paterson (Pittsburgh)
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Call for essays: collection on Ousmane Sembène - Edinburgh University Press

ReFocus: The Films of Ousmane Sembène

deadline for submissions:
August 1, 2017

contact email:
sdiasbranco@fl.uc.pt


Senegalese Ousmane Sembène was one of the most important African artists of the 20th century as a writer and a film director. Yet there are only a handful of studies on his cinematic body of work. They usually adopt the same structure: the analysis of his films in chronological order. This essay collection tackles his work and legacy in a deeper way. Sembène articulated his observations in fiction films instead of documentaries, embracing the African tradition of telling and transmitting stories that creatively reflect the circumstances of a people. His films have strengthened the cause of liberation from colonial domination and other forms of oppression. His cinema portrayed economic, social, racial, gender, and religious tensions with a keen political awareness rooted in the knowledge of the history, culture, and reality of Senegal, a former French colony.

We are currently soliciting 150-250 word abstracts for essays to be included in an essay collection on Ousmane Sembène to be published by Edinburgh University Press as part of ReFocus, a series of film studies anthologies edited by Robert Singer (CUNY) and Gary D. Rhodes (Queen’s University Belfast) that examines overlooked directors.

This book will follow an interdisciplinary approach to Sembène’s cinema that critically situates and examines him as an African filmmaker and a political artist. We encourage proposals connected with three general topics (but proposals somehow unconnected to them will also be considered):

• the (post-)colonial reality of Senegal and the historical and political demands placed upon artists, according to Sembène;

• Sembène’s vision of culture as embodying the condition of being human, as he conveyed in a lecture at Indiana University-Bloomington and demonstrated in his own creations;

• the analytical style of Sembène’s filmmaking in particular films — since “it is not enough to see, one must analyze,” as he once said to Jean Rouch.

Essays included in the refereed anthology will be approximately 8,000 words, referenced in Chicago endnote style.


Please attach a CV with your abstract and email them by 1 August 2017 to:

Sérgio Dias Branco

Faculty of Arts and Humanities

University of Coimbra

sdiasbranco@fl.uc.pt
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CFP: Lexington Studies in Communication and Storytelling


LEXINGTON STUDIES IN COMMUNICATION AND STORYTELLING, EDITED BY KATHLEEN M. RYAN AND DEBORAH A. MACEY

This series engages scholarship in mediated storytelling: be it the traditional book or television program, the performed oral narrative, or the emerging media platform. Interdisciplinary in scope, this series looks at the myriad theoretical and practical approaches to the story, broadly defined. From the audience member-turned creator to new narrative, this series explores what storytelling means in the twenty-first century. We are looking for book proposals for this series.

We are looking for book proposals to be published in 2018 and 2019. Edited collections as well as books by single author(s) are welcomed.
If you are interested in submitting a proposal, please contact Kathleen M. Ryan at kathleen.ryan@colorado.edu <mailto:kathleen.ryan@colorado.edu> and Deborah A. Macey at deborahmacey@gmail.com <mailto:deborahmacey@gmail.com>

Kathleen M. Ryan, Ph.D.
Associate Professor
Department of Journalism
College of Media, Communication, and Information
University of Colorado Boulder
Book Review Editor, Electronic News
UCB 478, 1511 University Avenue
Boulder, CO 80309
kathleen.ryan@colorado.edu <mailto:kathleen.ryan@colorado.edu>
(info actualizada em 01/01/1970)

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CFP - Cinema Journal of Philosophy and the Moving Image


CINEMA 9 CFP: ISLAM AND IMAGES

edited by
Patrícia Castello Branco (IFILNOVA)
Saeed Zeydabadi-Nejad (SOAS University of London)
Sérgio Dias Branco (University of Coimbra/IFILNOVA/CEIS20)

In recent times, due to significant political, mediatic and social, but also aesthetic and artistic factors, we have witnessed an awakening of interest in Islamic aesthetics and imagery.

Islamic art is intrinsically connected with religion, ethics, politics, and social structures, as Islam is, for Muslims, not only a religion, but a way of life. So, tackling the issue of “Islam and Images” is also, necessarily, a gesture that includes all these spheres that, in our Western secular culture, are often taken as separated fields.

This issue aims at discussing and analysing Islamic art and aesthetics, with a special focus on the “modes of sense perception” embodied in particular images, taken politically as forms of organization, encompassing forms of visibility, ways of doing and making, and ways of conceptualizing. In proposing this topic, we are particularly interested in: discussing the philosophical understandings of Islamic imagery production; their roots in the history of philosophy; the Islamic tradition of aniconism and anti-ocularcentrism; its influences on styles and movements in the history of art, namely abstract imagery; their development in contemporary societies dominated by new technologies of the moving image; the relationships between the classical and the contemporary, the manual and digital, artefacts and technologies; as well as the connections between Islamic art and secular art in Muslim-majority countries.

Particular themes of interest include (but are not restricted to) the following topics:

- philosophical roots of Islamic visual aesthetics. (e.g., Plato, Aristoteles, Al Ghazali, Avicenna, Averroes, Ibn Arabi, et al.);

- the philosophy of Islamic artistic visual practices;

- aniconism, abstraction and representation in Islamic art;

- aniconism and the status of photographic and filmic images;

- influences of Islamic aesthetics in Western art (classical and contemporary), particularly painting and film;

- verbal/visual divide in Islamic aesthetics and arts;

- haptical dimensions of aesthetic experience in Islamic visual works;

- different regimes of visibility in Islamic art tradition;

- aesthetic experience and transcendence in Islam;

- connections and interdependence between philosophy, theology, art, politics and society in Islamic traditions.

Plus:

- specificities of Islamic thought and aesthetics in the Iberian Peninsula;

- connections between Islamic and Christian aesthetics in the Iberian Peninsula;

- mysticism in Islam and in Christianity, the Sufi tradition and early Christian mystics, particularly in the Iberian Peninsula.

The submission deadline is April 30 (for 500-word abstracts). Prospective authors should submit a short CV along with the abstract. A selection of authors will be invited to submit full papers according to the journal guidelines. Acceptance of the abstract does not guarantee publication, since all papers will be subjected to double blind peer-review. Submissions are accepted only in English.

Cinema also invites submissions to its special sections: interviews, conference reports and book reviews. Please consult the web site of the journal (http://cjpmi.ifilnova.pt/about <http://cjpmi.ifilnova.pt/about>) for further details.

Feel free to contact the editors for this issue, Patrícia Castello Branco (ps.castellobranco@gmail.com <mailto:ps.castellobranco@gmail.com>) or Sérgio Dias Branco (sdiasbranco@fl.uc.pt <mailto:sdiasbranco@fl.uc.pt>).
(info actualizada em 01/01/1970)

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SEMINÁRIO "CINEMATIC IDENTIFICATION AND USES OF THE PAST" - FCSH, Lisboa, 6 de Abril


A próxima sessão do seminário aberto Oficina de História e Imagem (organizado pelo Instituto de História Contemporânea) terá lugar no dia 6 de Abril, às 16h, na Faculdade de Ciências Sociais e Humanas. A investigadora alemã Maria Brock vai discutir a relação entre o cinema e o modo como é imaginada a memória da antiga Alemanha de Leste.


A sessão, intitulada 'Cinematic Identification and Uses of the Past', contará com a moderação e comentário de Catarina Alves Costa.


Mais informações neste link: Seminário "Cinematic Identification and Uses of the Past"
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Workshop Cinema Directo - Cinemateca/ANIM/SÚBITA



A Cinemateca/ANIM - museu da imagem em movimento e a Associação SÚBITA práticas de criação e composição criaram um workshop de intervenção directa/pintura em filme de 16mm com emulsão e transparente, nas suas instalações em Loures a partir de 13 de Abril até 8 de Junho às quintas feiras das 10h-17h.

Informamos que para todos os alunos, professores e sócios da AIM haverá um desconto de 35€ na inscrição.

Para mais informações poderão consultar: www.subita.eu


Exemplo de um workshop realizado em Fevereiro: https://www.youtube.com/watch?v=26i-b07okbA

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Queer Screens 2017 - CFP Reminder


QUEER SCREENS CONFERENCE 2017

September 2nd and 3rd 2017

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

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

We invite submissions which tackle diverse aspects of queer representation, and that question the extent to which the new influx of queer on-screen visibility works at once both to liberate and obfuscate certain queer identities and cultures. How, for example, should we perceive representations of the legalization of gay marriage in numerous countries, while taking into account that these changes in law also mark the entrance of queer individuals into reproductive and familial time? In England and Wales, 2017 marks the 50th anniversary of the Sexual Offences Act, which decriminalized private homosexual acts between male individuals aged 21 or over. As such, this anniversary comes at what is arguably a troubling time; one where right-wing nationalism spreads across the US and Europe and ‘homonationalism’ (Puar, 2007) allows for the appropriation of queer and feminist discourses so as to legitimize xenophobia and contemporary colonialism.
We encourage submissions dealing with queer representation in any on-screen form (ranging from the established forms of film and TV to gaming, music videos, advertisement, web-series, and social media, amongst others) in what can be broadly defined as a contemporary context, promoting both explorations of the historical development of queer visibility and of its recent media examples. Additionally, we welcome further explorations of what it means to be ‘queer’ on screen, to gaze queerly, and the value of queerness as not only a political but aesthetic term. Topics may include yet are not limited to:

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


Organizers: Anamarija Horvat (anamarija.horvat@northumbria.ac.uk <mailto:anamarija.horvat@northumbria.ac.uk>)&
Inmaculada N. Sánchez-García (inmaculada.garcia@northumbria.ac.uk <mailto:inmaculada.garcia@northumbria.ac.uk>)

Please send 200-300 word abstracts for 20-minute presentations or for panel proposals and a biographical note to queerscreens2017@gmail.com<mailto:queerscreens2017@gmail.com> by May 1st 2017. A selection of papers will be eligible for publication.

For further information check our website: https://queerscreens2017.wixsite.com/conference

<https://queerscreens2017.wixsite.com/conference>
Follow us on:
https://twitter.com/queerscreens17

https://www.facebook.com/queerscreens17/<https://www.facebook.com/queerscreens17/><https://www.facebook.com/queerscreens17/>

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PhD course on Future Media

PhD course

Future Media – Technologies and Markets

Time: 6 - 8 September 2017

Place: Center for Communication, Media and Information technologies (CMI), Aalborg University Copenhagen, Denmark


Description:

The development of the audio/visual media sector from technology, market and policy perspectives

Media landscapes have gone through fundamental changes and will continue to do so in the coming years. The changes have intensified in the last two decades starting with the digitalization of broadcast infrastructures and presently with the development of streaming platforms and the development of broadband infrastructures and cloud platforms that most likely will result in the end of dedicated infrastructures for media distribution. Time shifting, place shifting, video and audio on demand, and global networks for distribution of audio visual content are just a few examples of these changes. The implications are, e.g., the disruption of the traditional media distribution and delivery forms, distribution of content markets, disruption of home video markets, and disruption of the record and music industry. Furthermore, there are major changes in the usage and consumption behavior connected with terminal devices and the combination of audio visual applications and services with social networking applications.

These changes are driven by the interplay between technological developments, market developments and new business models and the policy and regulatory environment. The aim of this course is to discuss the driving forces for such changes and to examine the implications for the market, industry, users and the technological development.

The course will address the following topics:

·ICT convergence

·New business models

·Standardization processes

·Dedicated TV and radio infrastructures - the current status and future perspectives

·Linear and nonlinear audio-visual services

·Over the Top (OTT) and hybrid platforms

·Development of fixed and mobile broadband infrastructures, including LTE and 5G as platform for audio visual services

·Market developments

*Organizers: Anders Henten and Reza Tadayoni,

*Lecturers: *Anders Henten, Reza Tadayoni, Knud Erik Skouby, and Jannick Kirk Sørensen

*ECTS: 3

*Number of seats: 20

*Deadline for registration: 15. August 2017

*Website for registration: *https://phd.moodle.aau.dk/

*Contact: Anders Henten, e-mail Henten@es.aau.dk <mailto:Henten@es.aau.dk>, tel. +45 99402512 and Reza Tadayoni, e-mail reza@es.aau.dk<mailto:reza@es.aau.dk>, tel. +45 99402510
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New posts at the Department of Theatre, Film and Media, University of York


Please find below 3 new FT posts available at the Department of Theatre, Film and Television, University of York. Please do forward to any interested colleagues.

Each post is available from 1 September 2017. The successful candidate for each post will work in a dynamic department that spans theory and practice, creative and critical research in a Russell Group university ranked among the leading institutions in the UK for research.

*Lecturer (Teaching and Scholarship) in Web Development and Interactive Media
https://jobs.york.ac.uk/wd/plsql/wd_portal.show_job?p_web_site_id=3885&p_web_page_id=306116


*Lecturer in Film, Television and Digital Culture

https://jobs.york.ac.uk/wd/plsql/wd_portal.show_job?p_web_site_id=3885&p_web_page_id=306126


*Lecturer in Screen Production / Post Production

https://jobs.york.ac.uk/wd/plsql/wd_portal.show_job?p_web_site_id=3885&p_web_page_id=306121


The closing date for applications is 5th April 2017.



(info actualizada em 01/01/1970)

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CFP: Cinema e Storia. Rivista di studi interdisciplinari


«Cinema e Storia. Rivista di studi interdisciplinari» n. 1/2018

From Public to Private. The History and Histories of Audiences in the Global Era

Special issue, edited by Mariagrazia Fanchi & Damiano Garofalo

The study of cinema audiences has always been considered as an ancillary area of interest: marginalized and considered to be a trivial subject, and in any case easily studied through text-centric analysis (the spectator as a semiotic construction), a marketing system approach (the spectator as the final result of film industry strategies), or as an outcome of political propaganda operations (the spectator as a tool of consensus). Moving away from this marginal position, in the last few years the study of cinema audiences has obtained a new relevance, assuming a particular significance thanks to the several multidisciplinary investigations of social and cultural history, such as the history of consumption, the history of tastes and, above all, the history of cinema and TV audiences.

Several causes have contributed to this recent renewal: the birth of European associations that are devoted specifically to cinema audiences (e.g. ECREA, HOMER, the “Audience” workgroup in NECS) has energized researches in this sense; the shift in focus towards non-Western audiences, has led to the emergence of of a new World History approach and the post-colonial perspective; experiments in new instruments from experimental psychology and statistical sciences (big datas) have contributed, as has the upgrading of traditional media historiography to include archaeological or oral-historical approaches. This positive circumstance has driven a reprise of the historiographical reflection on audiences, and the expansion of studies and projects (among others, the Italian Cinema Audiences project, launched by a pool of British Universities).

Beginning with this new perspective, it is necessary to enlarge our frame of work and to adopt a wide and inclusive approach to media consumption, to include cinema, TV and visual and audiovisual experiences broadly. The study of audiences necessitates an intermedial and multidisciplinary approach in order to encompass the complexity of media experiences: the plethora of forms that this assumes (and assumed), their changes through space and time, the multiplicity of connections to cultural, social, economic and identity processes. The challenge is to legitimate audience as essential field of investigation within film, media, communication studies, and, at the same time, to adopt audiences as a historical source in a wider sense.

Reflecting on these topics and following this line, the «Cinema e Storia» Journal aims to focus its following issue (1/2018) to history of cinema audiences.

We welcome essays that address (though are not limited to) the following topics:

·Cinema audiences and historiographical questions;

·New approaches of cinema audience history: methods, frames, designs;

·Cinema audiences and microhistory (biographical, genealogical, communitarian histories);

·Cinema audiences and cultural consumption;

·Cinema audiences and production studies;

·Cinema audience, sociability and social processes;

·The history of reception (movies, stars, genres...);

·Fandom and stardom;

·History and identity construction (gender, generational, sexual social, cultural, political, national identities);

·Histories of movie theatres; histories of movie-going and urban spaces;

·Histories of cinema audiences and World History;

·Neuroscientific histories of audiences;

·Media debates and media representations of movie-goers, movie-going and cinema experiences.

Deadlines & Guidelines

**

To propose an article please send an abstract and short biographical note to the address redazione@cinemaestoria.it <mailto:redazione@cinemaestoria.it> by April 3, 2017.

Abstracts must be between 200 and 300 words, and may be presented in English or Italian.

The proposal should include: five key-words, names of author(s), institution(s) and contact details (email, telephone), together with a short bio for each author.

If the proposal is accepted, the author/s will be asked to send the complete article to the same e-mail address by July 31, 2017. Contributions will be sent to two independent reviewers in a double-blind peer review process prior to the final publication decision. Authors may be requested to change or improve their articles if suggested by reviewers.

Articles should be between no more than 35,000 characters in length, spaces and notes included, but shorter articles will be also considered.

For info, please send an email to:

mariagrazia.fanchi@unicatt.it <mailto:mariagrazia.fanchi@unicatt.it>and/or damiano.garofalo@uniroma1.it <mailto:damiano.garofalo@uniroma1.it>

Mariagrazia Fanchi

Coordinatore CIMO. Comunicazione per l’Impresa, i Media e le Organizzazioni Complesse

Prof. Associato di Media Studies and Cultural History

Dipartimento di Scienze della Comunicazione e dello Spettacolo

Università Cattolica del Sacro Cuore
(info actualizada em 01/01/1970)

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