AIM, the Association/Society of Moving Image Researchers, is a non-profit organisation. Its goals are to bring together researchers and to promote moving image studies. The III AIM Annual Meeting will take place at Coimbra University, from 9 to 11 May 2013. The conference programme is now available (online and pdf).
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Picturing Propaganda: A Study Day Sat 1 Jun 2013, 10.00-16.30 Conference Centre, British Library £25 / £15 concessions Effective propaganda relies as much on images as it does on words. This study day will explore the role of visual communication in influencing ideas and changing behaviour. Academics and curators will discuss the history of visual propaganda, using fascinating (and sometimes funny) examples from the British Library and British Film Institute collections. The event is aimed at students, researchers and anyone with an interest in 20th century history, design, film or communication studies. Entry to the exhibition is included in the price. Bryony Dixon - Curator of silent film BFI National Archive 21 Stephen St | LONDON W1T 1LN Tel: 00 44 20 7957 8951 (info actualizada em 17/05/2013) |
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Seminário Geografia, Cinema e Cultura Visual Seminário Geografia, Cinema e Cultura Visual Braga, 22 de Maio de 2013 Sala de Reuniões do Instituto de Ciências Sociais – Universidade do Minho 9:30 – Abertura 10:00 – Rosa Cerarols e Toni Luna, Universitat Pompeu Fabra Paisajes y género en el cine. Una aproximación histórica. 10:45 – Nathalie Kraft, Filmakademie Baden-Württemberg The couch: How to display a cultural identity of a country in a movie? 11:30 – Pausa para café 11:45 – Juliana Costa, Jacobs University Bremen Paisagens Fílmicas: Narrativas Visuais da Violência Urbana Criminal em um Contexto Estrutural 12:30 – Pedro Pereira, Universidade do Minho A cultura escolar e o cinema como moderador do processo de construção de conhecimento geográfico 13:15 – Almoço 14:30 – Pedro Maia, Universidade do Porto Mediação Tecnológica e Representação da Paisagem 15:15 – Catarina Miranda Basso, Universidade do Minho A representação da cidade de Braga no Arquivo Fotográfico Aliança (1910-1945) 16:00 – Juliana de Mello Moraes, Universidade de Lisboa Entre teatros, feiras, e salões: a difusão e o estabelecimento do cinema nas capitais distritais do Norte de Portugal entre 1896 e 1926 16:45 – Pausa para café 17:00 – Ana Francisca de Azevedo, Universidade do Minho A província metropolitana. Representações do Outro no cinema português. 17:45 – Cristian Pons Coll, Tramuntana Fotografia Mirar a través de la cámara para vivir intensamente Organização: Departamento de Geografia, ICS, Universidade do Minho Comissão de Organização: Ana Francisca de Azevedo Mónica Sofia Santos Ricardo Nogueira Martins Inscrições em http://geocinecvisual2013.wordpress.com/ (info actualizada em 16/05/2013) |
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POIESIS 1º Colóquio de Lisboa, Portugal 28 e 29 de Setembro de 2013 «O Sonho na Psicanálise de Casal e Família» «Le Rêve dans la Psychanalyse de Couple et de Famille» “El sueño en el psicoanálisis de pareja y familia” "The Dream in Couple and Family Psychoanalysis" Confirmaram já a sua presença diversos intervenientes, entre os quais- Alberto Eiguer ,Eduardo Grinspon, Rosa Jaitin, Anna Nicolò, Daniela Lucarelli, Françoise Mevel, Gérard Mevel, Carles Testor, Olga Correa. Mais informações em: www.grupopoiesis.com (info actualizada em 16/05/2013) |
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XI Semana da Imagem Entre os dias 20 e 23 de maio acontece no Campus da Unisinos, em São Leopoldo, a 11ª edição da Semana da Imagem. Com o tema “Para entender as imagens: como ver o que nos olha?”, o evento tem como objetivo o compartilhamento de experiências e abordagens metodológicas e analíticas das imagens visuais, sonoras, audiovisuais e textuais. Além dos Grupos de Trabalho, o seminário contará com palestras de pesquisadores renomados na área da comunicação, como Massimo Canevacci, Erick Felinto, Vinícius Andrade Pereira e Ivana Bentes. O evento gratuito e aberto conta com o apoio da CAPES e as atividades são voltadas a realizadores, pesquisadores, professores e alunos de graduação e pós-graduação. Informações e transmissão ao vivo do evento no site http://semanadaimagem.unicos.cc/. Com a palestra “Etnografia ubíqua e composição polifônica das imagens contemporâneas”, o pesquisador italiano Massimo Canevacci abrirá o evento. Antropólogo, professor da Universidade de Roma e professor visitante no Instituto de Estudos Avançados (IEA) da USP, Canevacci acredita que o tema da semana é um convite a tornar-nos olho. “Sempre mais olhos! Diria um corpo cheio de olhos. Acho que os sentidos não são cinco, mas uma expansão contínua de sensorialidades misturadas”, explica. No segundo dia, os ouvintes poderão conferir a palestra de Erick Felinto, com o tema “Grumpy Cat, Grande Mestre Zen da Geração Digital (Afetos e Materialidades da Imagem Memética)”. Conforme o pesquisador, o tema da semana é uma provocação a um deslocamento muito necessário na cultura contemporânea. “Nosso olhar foi condicionado por uma perspectiva antropocêntrica. Pensamos o olhar humano como um olhar dominante ao qual se submetem todas as coisas. Devemos fazer exercícios imaginativos de como as coisas nos vêem, como elas dissolvem nosso olhar. Descentralizar o pensamento significa ir para esse outro lugar: o lugar das coisas, das tecnologias e tentar entender que olhar é esse”, defende Felinto. Na quarta-feira (22) será a vez de Vinícius Andrade Pereira palestrar na Semana da Imagem. Com o tema “Visualidade e Linguagens Experimentais em Jornalismo e Narrativas Digitais”, a proposta é pensar o modelo de visualidade que emerge e é cultivado hoje, quando um conjunto de novos dispositivos/veículos de imagens trazem uma série de possibilidades em linguagens para o jornalismo e as narrativas digitais. “O que nossa visão pode apreender do mundo e como ela se transforma, estabelecendo o que eu chamo de visualidades? Não me refiro à visão, aquele sentido com o qual a gente nasce, mas o que conta efetivamente como experiências na cultura são as visualidades que são conformadas a partir de nossos jogos sociais, culturais, etc.”, explica o professor. Fechando o evento, Ivana Bentes falará sobre “A vida das imagens”. Ivana pensa a imagem não como a representação de algo, mas como um campo de forças, um “complexo” que se relaciona com diferentes campos, que assume diferentes funções na arte, no teatro, na ciência e na vida social. (info actualizada em 16/05/2013) |
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Appel à communications : Médias et identités- Call for papers : Media and identities 16 - 17 December 2013 Université libre de Bruxelles, Belgique Envoi des propositions : 30 juin 2013 - Submission of proposals : 30 June 2013 Conférence organisée en collaboration avec le Département des Sciences de l’Information et de la Communication de la Faculté de Philosophie et Lettres, le Département de Science politique de la Faculté des Sciences sociales et politiques de l’Université libre de Bruxelles, le ReSIC, le CEVIPOL, la Faculté de Sciences politiques, économiques et de la communication de l’Université catholique de Louvain et la Brussels Platform for Journalism. Conference organized in collaboration with the Department of Information Science and Communication of the Faculty of Philosophy and Letters, the Department of Political Science of the Faculty of Social and Political Sciences at the Université libre de Bruxelles, ReSIC, CEVIPOL, the Faculty of Economic, Social, Political and Communication Sciences of the Catholic University of Louvain and the Brussels Platform for Journalism. Information : bellarminus.kakpovi@ulb.ac.be - jdaneroi@ulb.ac.be (info actualizada em 15/05/2013) |
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CONFERÊNCIA SOBRE O ESPAÇO E O CINEMA, REUNE EM LISBOA ACADÉMICOS E INVESTIGADORES PORTUGUESES Um encontro entre a arquitectura, o design e o cinema. No Auditório Rainha D. Sonja da Faculdade de Arquitectura da Universidade Técnica de Lisboa, reúnem-se na próxima quarta-feira, dia 15 de Maio, vários investigadores e académicos portugueses para debaterem o tema "O Espaço Retratado na Ficção e Narrativa do Cinema". Em debate estará a arquitectura e o design, confrontados com a sua vivência pelo cinema, mas também pelo percurso do espaço urbano da sétima arte e pela arquitectura e design na narrativa fílmica. A conferência dá igualmente a palavra aos autores, tendo convidado 2 cineastas que marcam o espaço do cinema português na ficção de imagem real e da animação. João Viana, um autor de várias obras premiadas, nomeadamente “Alfama”, “Tabatô” e a longa-metragem “A batalha de Tabatô”, com a qual recebeu uma menção honrosa no Festival de Cinema Berlim 2013. A realizadora de animação Joana Imaginário, é o outro autor convidado. O seu filme "Mulher Sombra" foi distinguido em festivais da Arménia e Portugal. Serão ainda apresentados filmes produzidos pelos alunos de Narrativas Cinemáticas do Espaço Arquitetónico e Urbano da UTL. Surgindo na sequência da "Conferência Internacional AVANCACINEMA" de Julho último, esta conferência, sob a égide do professor Carlos Figueiredo da universidade anfitriã, reúne diversos académicos de universidades portuguesas. Irão intervir, pela Universidade de Aveiro, os professores António Costa Valente e João Mota. Pela Universidade Técnica de Lisboa os professores Carlos Figueiredo, Carlos Ferreira, Leonor Madeira Rodrigues, Susana Oliveira, João Aranda e a investigadora Daniela Alcântara. Da Universidade Aberta intervirão os professores Maria do Céu Marques e Amílcar Martins, da UTAD a professora Anabela Oliveira, do IADE a professora Ana Margarida Ferreira e o investigador Carlos Costa e finalmente da Universidade Lusófona a professora Ana Paula Rainha. Esta "2ª Conferência Avanca - FA / CIAUD", é uma organização da Faculdade de Arquitetura da Universidade Técnica de Lisboa, da AVANCA | CINEMA, do CIAUD - Centro de Investigação em Arquitetura, Urbanismo e Design e da Debatevolution. (info actualizada em 15/05/2013) |
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Bolsa de Investigação no âmbito do projeto de investigação “O trabalho no ecrã: um estudo de memórias e identidades sociais através do cinema” - CIES-IUL/ ISCTE - Instituto Universitário de Lisboa Encontra-se aberto concurso para a atribuição de 1 (uma) Bolsa de Investigação no âmbito do projeto de investigação “O trabalho no ecrã: um estudo de memórias e identidades sociais através do cinema”, (PTDC/IVC-SOC/3941/2012), em curso no CIES-IUL do ISCTE - Instituto Universitário de Lisboa (ISCTE-IUL) e financiado por fundos nacionais através da FCT. Texto do anúncio Requisitos de admissão: O candidato deverá possuir, o grau de Mestre num domínio no âmbito das Ciências Sociais e Humanas, ter experiência de investigação e competências na área de análise de informação de cariz qualitativo, no trabalho de terreno, de análise de bibliografia e de redação de textos científicos, assim como um bom domínio do inglês falado e escrito. São condições preferenciais ter experiência de investigação na área de estudos visuais e pretender realizar a sua tese de doutoramento no âmbito dos trabalhos do projeto. Plano de trabalhos: As actividades a desempenhar pelo Bolseiro consistem no apoio à concretização das tarefas científicas previstas nas tarefas do projeto que terão lugar no período de vigência da bolsa, nomeadamente revisão da literatura, trabalho de terreno, recolha e análise de documentação, apoio à elaboração de relatórios de progresso e submissão de comunicações para conferências e de artigos científicos. Legislação e regulamentação aplicável: Lei Nº. 40/2004, de 18 de Agosto (Estatuto do Bolseiro de Investigação Científica); Regulamento da Formação Avançada e Qualificação de Recursos Humanos 2010 e Regulamento de bolsas do CIES -IUL. Local de trabalho: O trabalho será desenvolvido no CIES-IUL sob a orientação científica da Profª. Doutora Luísa Veloso. Duração da bolsa: A bolsa terá início a 1 de Julho de 2013 e termina a 30 de Junho de 2014, podendo ser renovada por igual período. Valor do subsídio de manutenção mensal: O montante da bolsa corresponde a 980€, conforme tabela de valores das bolsas atribuídas directamente pela FCT, I.P. no País (http://alfa.fct.mctes.pt/apoios/bolsas/valores). Métodos de selecção: O processo de selecção será desenvolvido com base na avaliação curricular e, se necessário, na entrevista de selecção. Composição do Júri de Selecção: A selecção dos candidatos será efectuada por um júri constituído pelo coordenador do projeto e por dois investigadores doutorados do CRIA e do CECL, com base na avaliação curricular, eventualmente complementada por entrevista. Forma de publicitação/notificação dos resultados: Os resultados finais da avaliação serão publicitados, através de lista ordenada por nota final obtida, sendo o candidato aprovado notificado através de e-mail. Prazo de candidatura e forma de apresentação das candidaturas: O concurso encontra-se aberto no período de 8 a 23 de maio de 2013. As candidaturas devem ser formalizadas, obrigatoriamente, através do envio de carta de candidatura acompanhada dos seguintes documentos: Curriculum Vitae pormenorizado e cópia dos Certificados de Habilitações e outros documentos comprovativos considerados relevantes. As candidaturas deverão ser entregues, pessoalmente, durante o período de abertura do concurso, das 10h às 13h ou das 14h às 18h na morada a seguir indicada, ou remetidas por correio para: CIES - Centro de Investigação e Estudos de Sociologia Projeto PTDC/IVC-SOC/3941/2012 Av. das Forças Armadas – ISCTE-IUL 1649-026 Lisboa As candidaturas enviadas por correio deverão ter o carimbo de data de expedição até ao último dia do concurso. (info actualizada em 14/05/2013) |
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British Art Cinema Edited Collection – British Art Cinema In recent years a number of British films have been released which together might signal the development of a rich, viable, contemporary British art cinema. Innovative, poetic and/or experimental films have been made by seasoned artists and newly discovered talents, such as Sleep Furiously (Gideon Koppel, 2008), Hunger (Steve McQueen, 2008), Of Time and the City (Terence Davies, 2008), Fish Tank (Andrea Arnold, 2009), The Arbor (Clio Barnard, 2010), and Robinson in Ruins (Patrick Keiller, 2010). Other recent British films display experimental aesthetics, or might, for a range of reasons, be situated within broadly defined concepts of art cinema, including Patagonia (Marc Evans, 2010), We Need to Talk About Kevin (Lynne Ramsay, 2011), Tyrannosaur (Paddy Considine, 2011), Berberian Sound Studio (Peter Strickland, 2012), and Anna Karenina (Joe Wright, 2013). There has been a long and complex history of serious British filmmaking, from the documentaries of Humphrey Jennings and the post-war experiments of Powell and Pressburger, to the artist biopics of Ken Russell and the fragmented narratives of Nicolas Roeg, to the work of idiosyncratic auteurs such as Derek Jarman, Peter Greenaway, and Sally Potter. The aim of this new edited collection is to come up with new ways of conceptualising and defining British art cinema which might take account of how far British cinema has been (and remains) a site of innovation and experiment. We welcome 300-word abstracts for articles on any aspect of British art cinema, including (but not limited to) the following: * Critical studies of specific films * British art cinema and the avant-garde * Contemporary British art cinema * The historical viability of the British art film * British art cinema and transnational filmmaking * European and American industrial and aesthetic contexts * Art cinema and television * Genre * Audiences * English, Scottish or Welsh art cinema * Directors * Actors/stars * Screenwriters * British art cinema and realism * British art cinema and documentaries * Modernism/Neo-modernism * British cinema and poetry * British cinema and philosophy * Critics and criticism * Finance/funding * Producers * Distribution * Film festivals * Regional Film Theatres * Exhibition * Film societies * Video, DVD and Blu-ray releases Please email 300-word abstracts to Paul Newland (pnn@aber.ac.uk) or Brian Hoyle (B.P.Hoyle@dundee.ac.uk) by 31 August 2013. (info actualizada em 13/05/2013) |
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ECREA Interim Film Studies Conference: European Film Cultures European Film Cultures: An International Conference 8-9 November 2013, Lund University, Sweden ECREA Film Studies Section Interim Conference The study of film as culture and of film cultures has been an expanding area of study in recent years. The aim of this two-day conference is to focus on the most recent developments and discuss different ways of analyzing film in cultural contexts, as well as film as a cultural product, with the aim to debate how different methodologies and perspectives can inspire each other in productive ways. The European film industry is currently undergoing profound transformations on account of important economic, technological and cultural reasons. The internationalization of markets, the impact of the digital revolution, the repositioning of Europe on the global scene are some of the factors that currently impact on ideas and practices of European cinema. The centrality of film to European cultures is both reaffirmed today and challenged by these radical changes. Thinking of film as culture and as a cultural product is essential to our understanding of the evolution of European cinemas within both industrial and creative contexts, and to an assessment of their role in and contribution to our societies. The conference is in dialogue with, and aims to contribute to, recent scholarship that focuses on cinema's participation in a network of relationships that connect cultural practices and economic realities, technological innovation and industrial production, policy and creativity. Confirmed keynote speakers: Professor Daniel Biltereyst, Centre for Cinema and Media Studies, Ghent University, Belgium. Provisional title: Multiple audiences: Revisiting historical film reception. Professor Paul McDonald, Chair in Creative Industries, Department of Culture, Film and Media, University of Nottingham, UK Provisional title: Reflections on the 'industry turn' in Film Studies. We welcome papers on: o film production as a creative industry o evolving cultural practices and technologies of film distribution and consumption o film as culture, cultural functions of film o film festival studies o film culture and celebrity culture o national and transnational film cultures o European film culture in a global perspective o national and transnational film genres o private and amateur film cultures, as well as documentary and avant-garde o history of film culture o film as media event, film and the tourist industry o film audiences and the social experience of cinema-going o film between art and popular culture o film and fan culture o digital and online film cultures We welcome proposals either as open call or as a part of a pre-constituted panel. Abstract submission deadline is 31 May 2013, and notification will follow shortly thereafter (around 30 June 2013). You do not have to be a member of ECREA to participate in the conference. Please submit your proposal tokannik@ruc.dk, Helle Kannik Haastrup Associate Professor, Roskilde University, Denmark. Proposals should include title, abstract (max 150 words), 3-5 key bibliographical references, name of the presenter and institutional affiliation. Panel organizers are asked to submit panel proposals including a panel title, a short description of the panel and information on all the papers as listed above. Panels may consist of 3-4 speakers with a maximum of 20 minutes speaking time each. When you write your proposal, please remember that the conference language is English. The conference will be held at the Centre for Languages and Literature at Lund University, Sweden. Lund is among the oldest cities in Sweden, and can easily be reached via the airports in Copenhagen and Malmö. Further information on travel and accommodation will be given by the time papers are accepted. A conference fee of 450 SEK/50 EURO will include lunch, administration and a small reception. Participants will have to cover their own expenses for travel, accommodation and dinner. The conference is organized by the ECREA film studies section. You are welcome to contact us for further information: Helle Kannik Haastrup, Roskilde University, Denmark:kannik@ruc.dk. Anders Marklund, Lund University, Sweden:anders.marklund@litt.lu.se. Laura Rascaroli, University College Cork, Ireland:L.Rascaroli@ucc.ie. More information on ECREA film studies section on:http://www.ecrea.eu/divisions/section/id/6 (info actualizada em 13/05/2013) |
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Rethinking Intermediality in the Digital Age International Conference: 24-26 October, 2013, Cluj-Napoca, Romania, Sapientia University deadline for applications: 20 May, 2013. In the past decades "intermediality" has proved to be one of the most productive terms in the domain of humanities. Although the ideas regarding media connections may be traced back to the poetics of the Romantics or even further back in time, it was the accelerated multiplication of media themselves becoming our daily experience in the second half of the twentieth century that propelled the term to a wide attention in a great number of fields (communication and cultural studies, philosophy, theories of literature and music, art history, cinema studies, etc.) where it generated an impressive number of analyses and theoretical discussions. "Intermediality is in" („Intermedialität ist in"), declared one of its pioneering theorists, Joachim Paech, at the end of the 1990s. However, we may also note, that since then other theoretical approaches introduced even newer perspectives that have not only revitalized the study of media phenomena in general but have specifically targeted the emerging new problematics raised by the new electronic media. Facing the challenge of the daily experiences of the digital age, discussions of media differences or ‘dialogues' highlighting the ‘inter,' the ‘gap,' the ‘in-between,' the ‘incommensurability' between media are currently being replaced by discourses of the ‘enter' or ‘immersion,' and the ‘network logic' of a ‘convergence culture' in which we have a "free flow of content over different media platforms" (Henry Jenkins). At the same time the turn towards the corporeality of perception in all aspects of communication has also shifted the attention from the ‘interaction of media' towards the ‘interaction with media,' from the idea of ‘media borders' towards the analysis of the blurring of perception between media and reality, of humans and machines - media being perceived more and more not as a form of representation but as an environment and as a means to ‘augment' reality. Nowadays media continuously mutate, relocate and expand, while connections between ‘old' and ‘new' media are being established with incredible fluidity. Accordingly, we may ask: what are the new perspectives for intermedial research in the digital age? While media are continuously changing and expanding, how can we relocate the "in-between"? If we consider ‘intermediality' first and foremost - as suggested by Jürgen E. Müller - as a "research concept" (Suchbegriff), how can this concept be effectively applied to the media we see around us today? And if we believe that the "ecosystem" of contemporary media can be understood not as a unified digital environment that nullifies differences, but as a thriving and highly diversified, "multisensory milieu" (Jacques Rancière) that poses new challenges both for the consumer/producer and the theorist, how can we address these challenges? How do media differences persist and how do these differences still matter despite voices advocating the so called "post-medium condition"? As the former Nordic Society for Intermedial Studies launches its own expanded, international format (International Society for Intermedial Studies/ISIS), we think it is timely to address once more the major issues for which this society exists, and to invite participants to examine new forms of ‘intermedialities.' In doing so participants may address a broad range of questions relating to ‘old media' and ‘new media,' and their possible interactions, focusing on the wide array of intermedia phenomena and new type of relationships that new media have produced, but also on how pre-digital media relations can be re-evaluated, and how historical paradigms of intermediality may already be distinguishable viewed from the standpoint of the contemporary media landscape. Proposals may address (but are not limited to) the following questions either from a theoretical point of view or through concrete analyses: * Media on the move? Media relations produced by expansions and relocations of media (e.g. "the virtual life of film," the expansions of the "photographic" and of the "cinematic" over other media, e-literature, etc.), the emergence of mobile screens, the fact that media use is more and more related to moving in the literal sense of the word: mobility and navigation. * Relocating the ‘in-between': intermediality, inter-sensuality, multimodality and interactivity, assessing the contribution of cognitive theories (and neuroscience), phenomenology and post-phenomenology to the study of understanding interactions of media and interactions with multiple media. * Performing in (new) intermedial spaces: intermedial performance in art and society. Being ‘in touch' with reality - being ‘in touch with media:' researching new (trans)media practices. * Intermediality and new forms of digital storytelling: new perspectives in transmedial narratology, new media and narratology (e.g. narrativity and e-platforms, games versus "old" media etc.), the aesthetics of the intermedia flow, of complex, network narratives generated by the experiences of the new media age. * Modelling and mapping intermedialities: historical paradigms of intermedial relations (pre-modern, modern, post-modern intermediality); the aesthetics and ‘politics' of intermediality before and after the digital age; historical research on intermediality related to media migration, cultural heritage and changing relationships between production, distribution, and perception. Confirmed keynote speakers: * HENRY JENKINS, University of Southern California (USA), author of Convergence Culture: where Old and New Media Collide (2007), currently co-authoring a book on "Spreadable Media." * JOACHIM PAECH, University of Konstanz (Germany), author of Menschen im Kino. Film und Literatur erzählen (2000), Literatur und Film (1997), PASSION oder Die EinBILDungen des Jean-Luc Godard (1989), as well as several seminal articles on the theory of intermediality in film, literature, and new media. * MARIE-LAURE RYAN, independent scholar, Colorado (USA), co-editor of Intermediality and Storytelling (2010), author of Avatars of Story (Electronic Mediations) (2006), Narrative across Media: The Languages of Storytelling (2004), Narrative as Virtual Reality. Immersion and Interactivity in Literature and Electronic Media (2001), etc. Deadline for the submission of proposals: 20 May 2013. We will notify you about the acceptance of your proposals by: 1 June 2013. Submission of proposals: please complete the submission form that you can download from the conference website: http://film.sapientia.ro/en/conferences/rethinking-intermediality-in-the-digital-age and send it as an attachment to the following address: 2013.rethinking.intermediality@gmail.com More information at: http://film.sapientia.ro/en/conferences/rethinking-intermediality-in-the-digital-age (info actualizada em 13/05/2013) |
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Issues of Value in Film Adaptation We believe that there is a need for a work that problematizes issues of value by showing how they are contingent on numerous factors – historical, political, artistic as well as industrial. With this in mind, we are publishing an anthology of around 10-15 chapters with McFarland & Co., that deals with adaptations or remakes of works, and how audiences and/or readers arrive at a value judgement concerning which text is “superior to” or “better than” another. We will incorporate comparative analyses, looking at adapted texts and their relationship to their sources, as well as ethnographic studies looking at the ways in which readers and audiences have responded to texts, and how their conceptions of value have been constructed. The book will cover theoretical interventions on the issue, as well as case-studies, using films, books, and other texts as examples. Some of the topics covered will include: · ‘Original’ vs. ‘adapted’ texts; how the concepts are culturally constructed and carry different values in different cultures · The history of ‘originality’ – its origins in the development of print cultures, the development of copyright, and how it is a particularly ‘western’ issue – and the implications for conceptions of ‘value’ · Conceptions of a ‘remake’ or a ‘reissue’ and the value attached to them · Authorship – the role of the author in shaping questions of value; the value placed on ‘creativity’; the creation of canons in literature, film, and other media; how canons shape issues of value · Global vs. Local issues: the relationship between ‘universality’ and value; issues of cultural and media imperialism; capitalism and the creation of financial ‘value’; resistance to globalism through local constructions of ‘value’ ·‘Academic’ vs. ‘popular’ conceptions of value – the role of hegemonies (academic, literary, media) in shaping questions of value; the specialization of knowledge; the significance of ‘theory’ as a guarantee of value ·Alternative constructions of value – how they are shaped by generational, social, cultural and technological questions, for example online communities; fan communities; blogs · Temporal questions of value: how conceptions of value change over time and space. Contributions should be around 5,000 to 9,000 words written in MLA style. Proposals for the topic should be addressed to Berkem Gürenci Saglam (bgurenci@baskent.edu.tr), or Laurence Raw (l_rawjalaurence@yahoo.com). They should be received by October 15, 2013, Notifications of acceptance will be sent out by December 15, 2013. (info actualizada em 13/05/2013) |
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International Trends and Issues Communication & Media Conference Kyrenia / NORTH CYPRUS December 18-20, 2013 www.iticam.net The main goal of International Trends and Issues Communication & Media Conference is to provide a multinational platform where the latest trends in communication and media can be presented and discussed in a friendly environment with the aim to learn from each other. Prospective presenters are encouraged to submit proposals for papers and posters/demonstrations that offer new research or theoretical contributions. Presentations should be in Turkish and English and should address both theoretical issues and new research findings. Furthermore if the presenter is unable to attend the oral presentation, video presentations are available. For further information on how to submit, please refer to the Paper Submission section on our website. For paper guidelines, please refer to the Paper Guidelines section. ITICAM 2013 conference is supported by Sakarya University, Hitit University, Istanbul University, TRT (Turkish Radio and Television) and TASET and will take place on December 18-20, 2013 at the Cratos Premium Hotel, Kyrenia, North Cyprus. All full papers (in all languages) will be published in an online proceedings book on ITICAM web site after the conference. We would like to invite you to share your experience and your papers with academicians and professionals. Conference Languages The official languages of the conference are English and Turkish. Proposals can be sent and be presented in either language. But all submission process will be done in English. Please, submit your proposal according to the following presentation category descriptions in paper guidelines. Deadlines Proposal & Abstract Submission Deadline : December 6, 2013 Full Paper Submission : December 8, 2013 Registration : December 6, 2013 Conference : December 18-19-20, 2013 (info actualizada em 13/05/2013) |
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Journal of Italian Cinema and Media Studies A complex definition of Italian cinema has emerged since the 1990s, leading to a re-thinking of the current and varied manifestations of Italian cinemas and media. This CFP for the Journal of Italian Cinema and Media Studies aims to reflect on the new semantics of what constitutes Italian cinematic, television and media productions today. Within the realm of a post-national and trans-cultural debate, the purpose of this CFP is to refer to Italy as the unifying geo-cultural site for a contemporary discussion on translocal cinema. Contributions would explore Italy’s reconfigured geographical collocation along the reassessed connotation of Italian film and media as portrayed by filmmakers and media practitioners working within and outside the country as well as of filmmakers of the Italian diaspora. This CFP intends to contribute to the debate on new and broader definitions of Italian cinemas and media by: examining the proliferation of filmmaking both within and outside the country; exploring why films produced outside Italy fit into notions of Italian filmmaking; considering whether foreign directors producing films in Italy could be factored into a larger definition of Italian cinemas; investigating new forms of independent films; and studying filmmakers of the Italian diaspora. Proposals are invited on, but not restricted to, the following: - Redefining Italian cinemas, television and media - National and global constructions of Italian cinema - Regional Film Commissions productions - International co-productions - Independent and experimental cinema - New digital media, web-based visual texts, advertizing, the development of innovative trans-media and cross-media narratives, short films, long/short feature/documentary animation - Italian dialects in cinema - Italian cinema outside of Italy - Italian filmmakers working on non-Italian-language films - Transnational Italian film stardom Send proposals to the Editor, Flavia Laviosa, at flaviosa@wellesley.edu 1) 500-word abstract outlining: the topic, critical approach, and theoretical bases of your proposed article; 2) relevant bibliography and filmography; 3) 200 word biographical notes followed by a detailed list of your academic publications. The Journal of Italian Cinema and Media Studies is an English-language refereed journal. http://www.intellectbooks.co.uk/journals/view-Journal,id=215/ (info actualizada em 25/04/2013) |
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Film and Television Policies in English-speaking Countries CinEcoSA Conference Friday 4 October 2013 Université Paris 8, Saint-Denis, France CinEcoSA studies the film and television industries of English-speaking countries from an economic perspective. During its next two-year cycle, it will focus its research more specifically on film policies in the English-speaking world. Governments started to introduce policies regulating film industries from the very beginnings of cinema. They were motivated by a variety of reasons, whether cultural (to protect national cinema) or economic (to attract foreign investments, for example). The most commonly known form of public intervention is that aiming to control the circulation of specific images or, on the contrary, to promote others. Governments intervene in different stages of a film’s life, from production to distribution to exhibition. Depending on the period and on the country, State intervention is more or less significant and more or less conspicuous. The arrival of new forms of distribution, like broadcasting on television, has systematically led to the introduction of new regulations. This first study day will focus specifically on the evolutions of film and television policies in English-speaking countries since the 1980s, when several new distribution windows started to develop: video, cable, fee-paying TV channels, DVD and, currently, VoD (catch-up TV, Internet streaming and downloading). We would welcome papers which address (but are not limited to) the following areas: - the State’s level of intervention - comparisons between different systems in different English-speaking countries - incentive schemes to attract foreign productions or film crews and competition between different States - promotion and protection of national cinema - direct/indirect support for development, production, distribution, exhibition - support for training - support for festivals - industry research and statistics - censorship Please send your proposals (title and abstract of about 300 words) as well as a brief biography to cinecosa@googlegroups.com and to joel.augros@univ-paris8.fr by 3 June 2013. Working languages of the conference: English and French. Final papers will be considered for publication in English following a peer-review process. CinEcoSA is organising this conference in collaboration with ESTCA (Université Paris 8), CREW (Université Sorbonne Nouvelle - Paris 3) et GRECA-IRCAV (Université Sorbonne Nouvelle - Paris 3). For more information about CinEcoSA (Cinéma, Economie & Sociétés Anglophones), visit our website: http://www.cinecosa.com. It features a suggested bibliography on film policy. (info actualizada em 25/04/2013) |
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Call for papers: 'Nostalgias' Visualising Longing A two-day conference in the Winter Gardens Margate, UK November 9 - 10, 2013 Opening evening reception November 8, 2013 Canterbury Christ Church University and The University of the Arts London Photography and the Archive Research Centre at the London College of Communication (PARC). Deadline for abstracts 15 June 2013 www.nostalgias.info This peer-reviewed conference explores the multiple concepts of nostalgia and how longing manifests itself within contemporary culture. The conference aims to examine, analyse and interpret the complexities of nostalgia and nostalgic sensibilities within art, media and material culture. We invite submissions that consider how nostalgia is represented within the interdisciplinary range of art and media based practices (photography, moving image, sound, new media, fashion, fine art and design). What is the visual vocabulary of nostalgic emotion? How important are aesthetics to the nostalgic image? Do we long for more tangibility in this digital age? Nostalgia is often viewed as a form of yearning for ‘another place or time; it has been identified as a way of managing loss, a marketing device and a tool of propaganda by making reference to the past as a means to shape the future. Nostalgia has different functions, it is used to evoke, influence and activate a range of emotional responses, affecting all areas of contemporary life. Yet, nostalgia is as much about fantasy as it is about memory. Recently, the cultural function of nostalgia has been a subject of critical debate. How is nostalgia used, experienced and referenced in relation to images in art and media? What role does nostalgia have in modern society? How do contemporary attitudes encourage nostalgia? Possible topics could include but are not limited to: The multiple readings of nostalgias The impact of nostalgia on culture Vintage and commodification Longing for home; travel and memory Aesthetics of nostalgia Contemporary technologies Political uses of longing From sentimentality to nostalgia and melancholy Touch, smell and sound evoking the past Photographic history as nostalgia Narrating nostalgia; fantasy and longing The conference will take place at the Winter Gardens Margate, Kent, UK on 9 and 10 November 2013, with an opening reception on 8 November. Selected papers will be presented at the conference and may be included in a planned peer reviewed special issue of the journal Photography and Culture (Bloomsbury). The conference weekend will have a programme of associated events and exhibitions. Submission guidelines - Papers This conference invites submissions that explore nostalgia in its interdisciplinary sense, embracing ideas and visualisations of nostalgia and longing. We welcome submissions that assess contemporary attitudes and experiences of nostalgia through material culture, art and media. Deadline for abstracts: 15 June 2013 To submit a proposal for a paper please send an abstract (300-500 words), a 1- page CV, five key words and a short biographical note (100 words) Send to: submission@nostalgias.info From the submitted abstracts we will make a final selection (subject to peer review process) to be presented at the conference. Successful applicants will be notified by 1 August and the full-length papers of 20 minutes will be required by 1 October 2013. For more information about the conference, please visit www.nostalgias.info or contact the conveners on info@nostalgias.info (info actualizada em 24/04/2013) |
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PORN STUDIES Call for Papers The editors, Feona Attwood (Middlesex University) and Clarissa Smith (University of Sunderland), and Routledge are pleased to announce the launch of a new journal devoted to the study of pornography. Porn Studies is the first dedicated, international, peer-reviewed journal to critically explore those cultural products and services designated as pornographic and their cultural, economic, historical, institutional, legal and social contexts. Porn Studies will publish innovative work examining specifically sexual and explicit media forms, their connections to wider media landscapes and their links to the broader spheres of (sex) work across historical periods and national contexts. Porn Studies is an interdisciplinary journal informed by critical sexuality studies and work exploring the intersection of sexuality, gender, race, class, age and ability. It focuses on developing knowledge of pornographies past and present, in all their variations and around the world. Because pornography studies are still in their infancy we are also interested in discussions that focus on theoretical approaches, methodology and research ethics. Alongside articles, the journal includes a forum devoted to shorter observations, developments, debates or issues in porn studies, designed to encourage exchange and debate. Porn Studies invites submissions for publication, commencing with its first issue in Spring 2014. Articles should be between 5000 and 8000 words. Forum submissions should be 500-1500 words. Book reviews should be between 800 and 1500 words. Submissions will be refereed anonymously by at least two referees. In the first instance submissions, queries and suggestions should be sent to: editorspstudies@gmail.com Website coming soon: www.tandfonline.com/rprn (info actualizada em 24/04/2013) |
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Conference on Making Television in the 21st Century A conference organised by two groupings of the European Communication Research and Education Association (ECREA): The Television Studies Section, and the Media Industries and Cultural Production Temporary Working Group. The conference is hosted by the research programmes Media, Communication and Society and Cultural Transformations, Department of Aesthetics and Communication, Aarhus University, Denmark. Venue: Aarhus University, Aarhus, Denmark, 24-26 October 2013. Television is by no means coming to an end, as some scholars predict. Television is, however, in transition. Digitalization, multiple media platforms and the mushrooming of television channels have changed its nature, in production, distribution, programming and content. The conference Making Television in the 21st Century� will focus on these changes in the television landscape. How will television, the major communication medium of the last sixty years, survive in a new century? What theories will best help researchers and publics to understand changes in the television industries, and in television production? This conference invites research and reflection on these and other questions. We invite papers on any aspect of television production and distribution. While the emphasis is on production and on industry, this in no way precludes analysis of texts, genres and subjectivities. Indeed, research that integrates consideration of these questions with industry and production analysis is encouraged. Confirmed keynote speakers: John Thornton Caldwell, University of California Los Angeles, USA, author of Production Culture (Duke University Press, 2008) David Hesmondhalgh, University of Leeds, UK, author of The Cultural Industries (3rd edition, Sage, 2013) and Creative Labour (Routledge, 2011) Lothar Mikos, Hochschule für Film und Fernsehen Konrad Wolf�, Potsdam, Germany, co-editor and co-author of Transnationale Serienkultur (Springer, 2013) Invited keynote speaker: Lotte Lindegaard, Head of DR1, Danish Radio and Television Corporation, Denmark Abstracts (maximum 300 words) or panel proposals (minimum 3 speakers, 300 words rationale plus 300 words per paper) should be submitted to Lothar Mikos by 1 May 2013 atl.mikos@hff-potsdam.de Media Industries and Cultural Production Temporary Working Group Management Team (info actualizada em 24/04/2013) |
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Raymond Williams, John Logie Baird: Television, Technology and Cultural Form Conference 18 & 19 September 2013 - University of Brighton in Hastings The University of Brighton in Hastings, supported by the Raymond Williams Society, is pleased to announce a two day conference in Hastings on 18th-19th September 2013 to celebrate Williams' contributions to media and cultural studies and to our understanding of television as cultural form and practice, and Logie Baird's innovations in technology and broadcasting. The conference takes its title from Raymond Williams' 1974 book, Television, Technology and Cultural Form. This conference will address both men's relationship to Hastings, the town in which both spent a key part of their working lives. Williams worked in Hastings, as an adult education tutor, while John Logie Baird's early experiments in television technology took place in Hastings. It was in Hastings that he built the world's first working television set and the first television pictures were transmitted from his workshop on Queen's Parade in 1924. This conference builds on the successful conference held at the University of Brighton's campus in Hastings in 2011 which celebrated Raymond Williams and Robert Tressell, 50 years of The Long Revolution and the centenary of The Ragged Trousered Philanthropists. The 2013 conference again seeks to create a multi-disciplinary forum in which academics, researchers, television practitioners, trade unionists and local historians can explore the impact and legacy of Williams and Logie Baird on contemporary research and practice in the field of television. Confirmed keynote speakers: Professor Stuart Laing - Deputy Vice-Chancellor of the University of Brighton, and author of Representations of working class life Mike Dibb - award-winning filmmaker, his work includes the ground breaking television series Ways of Seeing and he is the director of The Country and the City (Where we live now 60), with Raymond Williams Rosalind Brunt - Research Fellow in Media Studies at Sheffield Hallam University. She was the first chair of the Women's Media Studies Network and is currently a committee member of the Network. She is an editor of Postcolonial media culture in Britain, and of Feminism, culture and politics. Jean Seaton - Professor of Media History at the University of Westminster and the official historian of the BBC. Her work includes Carnage and the Media, Power without Responsibility, with James Curran, and she edited, with Ben Pimlott, The Media in British Politics. She is an editor of Political Quarterly and the Director of the Orwell Prize. Trevor Griffiths - renowned playwright, whose work for the stage includes the plays The Country, Comedians, and A New World: A Life of Thomas Paine, for film, the screenplays for Reds and Fatherland (director, Ken Loach); his television work includes All Good Men and the socialist serial drama Bill Brand:- in conversation with Jack Shepherd - writer, director, actor, who has acted on stage and in television in plays by writers who include David Storey, John Arden and Trevor Griffiths; he played the title role in Bill Brand. His own plays include In Lambeth and Holding Fire! We are keen to invite submissions from researchers across the social sciences, literary and cultural studies and from practitioners and activists concerned with these issues. We invite submissions that address, but are not limited to, the following themes: * Ownership and control * The future of national televisions * The role of the BBC * Television, lifestyle and consumption * New technologies and new patterns of viewing * Forms of television drama * The politics of television and politics on television * Television and the public sphere * Television in an age of austerity Submissions may be in a variety of formats including posters, verbal presentations and workshops. Please send abstracts of 150 words to Sarah Chapman s.j.chapman@brighton.ac.uk including with your submission your presentation title and format, author names, institutional affiliations, email address and a contact phone number. THE ABSTRACT DEADLINE IS FRIDAY 31 MAY 2013 (info actualizada em 24/04/2013) |
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Scottish Media and Communication Association Conference Annual Conference 2013 Glasgow Caledonian University, Friday 26th April 2013 Plenary speaker: Hannah McGill, writer, critic and former director of the Edinburgh International Film Festival Full conference programme: http://smca.wordpress.com/events/smca-2013/ The Scottish Media and Communication Association is Scotland's higher education subject association in the media and communication fields, with the participation of both universities and colleges. Its objective is to foster and implement the exchange of knowledge among academics and students within higher education in a range of fields allied to media and communication. Its annual conference brings together scholars from throughout the UK and beyond, who are interested in the media industries in Scotland and in devolved nations. (info actualizada em 22/04/2013) |
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TV Studies Conference Making Television in the 21st Century A conference organised by two groupings of the European Communication Research and Education Association (ECREA): The Television Studies Section, and the Media Industries and Cultural Production Temporary Working Group. The conference is hosted by the research programmes Media, Communication and Society and Cultural Transformations, Department of Aesthetics and Communication, Aarhus University, Denmark. Venue: Aarhus University, Aarhus, Denmark, 24-26 October 2013. Television is by no means coming to an end, as some scholars predict. Television is, however, in transition. Digitalization, multiple media platforms and the mushrooming of television channels have changed its nature, in production, distribution, programming and content. The conference “Making Television in the 21st Century” will focus on these changes in the television landscape. How will television, the major communication medium of the last sixty years, survive in a new century? What theories will best help researchers and publics to understand changes in the television industries, and in television production? This conference invites research and reflection on these and other questions. We invite papers on any aspect of television production and distribution. While the emphasis is on production and on industry, this in no way precludes analysis of texts, genres and subjectivities. Indeed, research that integrates consideration of these questions with industry and production analysis is encouraged. Confirmed keynote speakers: John Thornton Caldwell, University of California Los Angeles, USA, author of Production Culture (Duke University Press, 2008) David Hesmondhalgh, University of Leeds, UK, author of The Cultural Industries (3. edition, Sage, 2013) and Creative Labour (Routledge, 2011) Lothar Mikos, Hochschule für Film und Fernsehen “Konrad Wolf”, Potsdam, Germany, co-editor and co-author of Transnationale Serienkultur (Springer, 2013) Invited keynote speaker: Lotte Lindegaard, Head of DR1, Danish Radio and Television Corporation, Denmark Abstracts (maximum 300 words) or panel proposals (minimum 3 speakers, 300 words rationale plus 300 words per paper) should be submitted to Lothar Mikos by 1 May 2013 at l.mikos@hff-potsdam.de |
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6th International Conference for Interactive Digital Storytelling (ICIDS) “Connecting Narrative Worlds” Istanbul, 6-9 November 2013 Bahçesehir University ICIDS is the premier international conference on research and practice covering interactive narrative experiences such as video game narratives, interactive storytelling, interactive drama, and interactive installation art concerned with storytelling. Bringing together researchers, practitioners and theorists presenting cutting-edge works, qualitative and quantitative research, advanced computational narrative techniques and innovative theoretical perspectives, ICIDS serves as the main event for exchanging ideas and perspectives on combining narrative and interactivity for an exciting new form of human expression that redefines the relationship between creators and audiences. Interactive Digital Storytelling is an exciting area in which narrative, computer science and digital arts converge to create new expressive forms. The combination of narrative and computation has a considerable untapped potential: from artistic projects to journalistic communication, from assistive technologies and intelligent agents to serious games, education and entertainment. The ICIDS conference series has a long-standing tradition of bringing together theoretical and practical approaches in an interdisciplinary dialogue. The motto for ICIDS 2013 “Connecting Narrative Worlds” expresses this need to build bridges of understanding across different fields to make even better use of the immense potential of interactive narrative. The objective of ICIDS 2013 is to promote understanding and dialogue between A.I. researchers, designers, transmedia and digital artists, narratologists and digital game scholars. We welcome practical work and theoretical inquiries from fields related to computer science – including (but not limited to) artificial intelligence, human-computer interaction, natural language generation and understanding or automated story generation. We invite contributions on the current and future usage scenarios from digital artists, transmedia producers and game designers: original pieces of Interactive Digital Narrative (IDN) may be presented, as well as post-mortem discussions of completed projects. Finally, we ask for submissions from the fields of semiotics, narratology, media studies, digital humanities and interactive arts criticism: interested scholars may focus on improved schemas for describing and critiquing Interactive Digital Narratives as well as analyses discussing narrative features across digital media. We welcome research papers and demonstrations – including interactive narrative art – presenting new scientific results, interactive narrative theory, innovative technologies, case studies, creative insights, best practice showcases, or improvements to existing techniques and approaches in the research field of Interactive Digital Storytelling and its possible applications in other fields, e.g. video games, virtual/online worlds, e-learning, training, and edutainment. We are planning to have a space for art work/demonstrations that will be open (and attended by security) for the duration of the conference. We plan to issue a specific call for artworks closer to the conference. Suggested research topics for contributions include, but are not limited to: 1) Technological, theoretical, and aesthetic issues in all areas of interactive narrative 2) Interactive Digital Narrative systems, authoring tools and practical/artistic projects 3) Video game narrative 4) User experience reports and evaluations of interactive digital narratives 5) Innovative narrative applications of artificial intelligence 6) Multi-user IDNs: social applications, ubiquitous computing and collaborative environments 7) New frontiers and concrete applications: IDNs and intelligent agents as art pieces, games or tools Workshops Workshops are an integral part of ICIDS. A separate call for workshops will be issued at a later date. Submissions All submissions must follow the Lecture Notes in Computer Science format, available at: http://www.springer.com/computer/lncs?SGWID=0-164-6-793341-0 Papers must be written in English, and only electronic submissions in PDF format will be considered for review. The submission categories accepted are: Full papers (8-12 pages in the proceedings) describing interesting, novel results or completed work in all areas of IDS and its applications. Short papers (4-6 pages in the proceedings) presenting exciting preliminary work or novel thought-provoking ideas that are in their early stages. Demonstrations and posters (2-4 pages in the proceedings) describing working, presentable systems or brief explanations of a research project. Submissions that receive high ratings in the peer review process will be selected for publication by the program committee as Springer LNCS conference proceedings. For the final print-ready version, the submission of source files (Microsoft Word/LaTeX, TIF/EPS) and a signed copyright form will be required. All submissions will be processed using the EasyChair system. Authors are advised to register a new account well in advance of the paper submission deadline: http://www.easychair.org/conferences/?conf=icids2013 The review process for ICIDS will be double blind. Authors should remove all identifying information from their submissions. Important Dates Deadline: June 14, 2013 Submission deadline for full and short papers, demonstrations and posters proposals. The precise deadline for paper submissions is 11:59PM on June 14, 2013, Hawaii Standard Time. Authors are strongly advised to upload their submissions well in advance of this deadline. July 21, 2013 Accept/reject notifications sent to authors. August 14, 2013 Camera-ready copy due. November 6 – 9, 2013 ICIDS Conference Dates. This conference is organized by the Games & Narrative research group and hosted by Bahçesehir University Game Lab (BUG) and organized in collaboration with the Turkish Chapter of the Digital Games Research Association (DiGRA). Organizing Committee General Chairs Hartmut Koenitz Tonguc Ibrahim Sezen Program Chairs Mads Haahr Gabriele Ferri Local Arrangements Chair Guven Catak Workshops Chair Digdem Sezen More Information Additional information about the conference can be found online at: ICIDS conference series: http://icids.org Conference home page: http://gamesandnarrative.net/icids2013/ Questions about the conference should be directed to the organizers via email at: icids2013@gamesandnarrative.net (info actualizada em 22/04/2013) |
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Contemporary Television Series: Narrative Structures and Audience Perception This book seeks to provide the readers with new perspectives on the current research in Contemporary Television Series - narrative structures and audience perception. Scope of the Book: This book welcomes submissions from scholars and practitioners in any disciplinary field. We seek contributions from researchers and practitioners in communication studies and any related fields (such as media studies, telecommunications, journalism, sociology, anthropology, cultural studies). Contributions may follow any methodological approach, including, but not limited to, quantitative, qualitative, mixed methods, rhetorical, interpretive, case study, and critical analytic approaches, among others. Submissions from both established and emerging scholars are welcomed. Topics Contributions may include, but are not limited to: - Classical and post-modern TV series; - Thematic TV Series (historical, medical, science fiction and so on); - TV Series inspired from reality; - Stardom, Fandom and Fan clubs related to TV series; - Audience reception of TV series- patterns of consumption; - TV series and new media; - Globalization in the production and distribution of TV series. The articles should be submitted as an email attachment in MS Word to the editors with “YourLastName – TV Series” as title. Please include a short biography and your affiliation along with the proposal. The articles (3,000-5,000 words) should adhere to APA Style. Review and Publication Process Articles are sent to 2 reviewers for review. The reviewers' recommendations determine whether a paper will be accepted / accepted subject to change / subject to resubmission with significant changes or rejected. The deadline of submitting the articles is 1st of July 2013. For inquiries, please contact the editors from the University of Bucharest: Valentina Marinescu: valentina.marinescu@yahoo.com Silvia Branea: brsalt@gmail.com Bianca Mitu: bianca.mitu82@gmail.com (info actualizada em 18/04/2013) |
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ICA pre-conference on transmedia storytellin Title: Transmedia Storytelling: Theories, Methods and Research Strategies Time: Monday, 17 June; 08.00 – 17.00 Location: Hilton Metropole London Hotel Costs: 115.00 USD - This fee covers the pre-conference registration, two coffee breaks and a lunch. Organizers: • Carlos A. Scolari (Universitat Pompeu Fabra, Barcelona, Spain) • Indrek Ibrus (Tallinn University, Estonia) Sponsors: • Tallinn University Baltic Film and Media School • Department of Communication / Universitat Pompeu Fabra Website: http://ica2013transmedia.wordpress.com/ Description: Transmedia storytelling is one of the remarkable experiences emerging from the contemporary media ecology. It is a complex research object that can be approached from different perspectives: economical (diversification strategies, industry re-structuring, evolving business models, marketing purposes, branding applications, etc.), narratological (narrative structures, expansion strategies, etc.), legal (copyrights, remix cultures, etc.), sociological (audience formation, user-generated content creation, fan cultures, etc.). The main objectives of the pre-conference are to present and discuss the cutting edge studies on transmedia phenomena around the world and to consolidate an international and interdisciplinary network of transmedia researchers. The pre-conference will consist of three sessions and a concluding panel of keynotes. Keynote panel: · Robert Pratten (Transmedia Storyteller Ltd.) · Sarah Atkinson (University of Brighton) · Elizabeth Evans (University of Nottingham) · Göran Bolin (Södertörn University) The pre-conference programme is available on this link: http://ica2013transmedia.wordpress.com/program/ Please direct queries and requests for information to carlos.scolari@gmail.com and ibrus@tlu.ee. (info actualizada em 16/04/2013) |
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Movie: A Journal of Film Criticism Movie: A Journal of Film Criticism is an open access, peer-reviewed online journal. It is committed to publishing rigorous but accessible critical writing that is responsive to the detailed texture and artistry of film and television, old and new. We also welcome articles that illuminate concepts, analytical methods and questions in aesthetics that are of significance to film criticism. We are currently inviting submissions for issues 5 and 6. While all suitable submissions will be considered, we are particularly interested in receiving work in the following areas: · Comedy and criticism (editors Alex Clayton and Kathrina Glitre) We seek submissions offering close reading and appraisal of a particular work of film/TV comedy and/or an illumination of questions and issues pertaining to comedy, aesthetics and criticism. Work on international and transnational comedy is strongly encouraged. · Texture (editors Lucy Fife Donaldson and James MacDowell) ‘Texture’ may refer to the tactile quality of materials, the way surfaces are changed by light, the composition of sounds, and so on. We seek submissions that attend to the significance of this critically-overlooked aspect in films and/or television programmes. · Digital style and meaning We seek pieces that assess the achievements of particular digital films, and which help develop a language of analysis with regard to them that will enable the kind of close reading associated with Movie’s tradition of criticism. Articles should be up to 8,000 words, although we are also open to the possibility of longer pieces, to be judged on a case-by-case basis. Articles should be submitted as email attachments to movie.journal@gmail.com. Please read our style guide before submitting. Movie: A Journal of Film Criticism is a joint venture between the Universities of Warwick, Reading, and Oxford. The journal is published annually. (info actualizada em 16/04/2013) |
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IX ENECULT Termina no dia 30 de abril (terça-feira), o prazo para submissão de trabalhos para as sessões temáticas e mesas coordenadas do IX Encontro de Estudos Multidisciplinares em Cultura (IX ENECULT). Nesta nona edição, o evento – que tem como público-alvo pesquisadores, professores, estudantes e profissionais ligados à cultura – acontecerá nos dias 11, 12 e 13 de setembro, em Salvador, Bahia. As normas para a submissão e demais informações estão disponíveis em www.enecult.ufba.br/. As dúvidas mais frequentes estão esclarecidas no próprio site. Outras informações também podem ser obtidas através do telefone 71 3283 6198 (manhã) ou do email enecult@ufba.br. Os resultados da avaliação serão divulgados no dia 07 de junho e os artigos aceitos serão apresentados oralmente e publicados, na íntegra, nos anais do evento. Eixo temático: DIVULGAÇÃO CULTURAL, COMUNICAÇÃO ESTRATÉGICA E CIDADANIA - Adriano Sampaio (Facom/UFBA) e Deolinda Vilhena (ETUFBA) Acolhe artigos sobre as estratégias de visibilidade e acesso aos bens materiais e simbólicos, além de trabalhos que tenham como objetivo discutir, aprimorar e/ou revisitar metodologias e ferramentas de comunicação estratégica para a divulgação de ações culturais. Busca, ainda, receber estudos sobre as atividades desenvolvidas por agentes culturais - tanto do poder público como da iniciativa privada e da sociedade civil organizada - que busquem promover o direito à comunicação e à cultura, mediante o acesso aos bens de produção, mediação e consumo, por intermédio do exercício da cidadania. O Enecult é uma realização do Centro de Estudos Multidisciplinares em Cultura (CULT), Programa Multidisciplinar de Pós-Graduação em Cultura e Sociedade (Pós-Cultura), Instituto de Humanidades, Artes e Ciências Professor Milton Santos (IHAC), Faculdade de Comunicação (FACOM) e Universidade Federal da Bahia (UFBA). (info actualizada em 16/04/2013) |