In November 2017, the Universities of Neuchâtel, Zurich and Bern in
Switzerland will host the first international conference to focus
specifically on visual communication in/about new media. In this regard, we invite the submission of abstracts for scholarly presentations in any of four overlapping thematic areas.
1. Social interaction
Here, we envisage presentations that focus on the communicative uses of visual resources in the context of new media; for example: orthography and typography, graphematic design, the use of emojis (pictograms, emoticons, smilies), and/or the social-interactional uses of video, GIFs and non-moving images.
Here, we envisage presentations that focus on people’s talk or writing about visual practices; for example: journalistic commentary about visual practices in new media (the use of emojis, for instance) or communicators’ discussions about their own or others’ visual practices in new media spaces.
3. Visual ideologies
Here, we envisage presentations that focus on the visual depiction of new media in, for example, the context of commercial advertising, print or broadcast news, cinema and television narratives and/or public policy and educational settings.
4. Industrial design
Here, we envisage presentations that focus on perspectives related to, for example, the visual-material design of technologies and apps, as well as the look or layout of screen interfaces, especially insofar as they concern the communicative (as opposed to technical) affordances of new media.
Kontaktperson: Etienne Morel / Christina Siever / Vanessa Jaroski
Conference date: Friday 10th and Saturday 11th November 2017.
Venue: University College Cork, Ireland
Organised by: ECREA Film Studies Section
Deadline for abstracts: 2 May 2017.
Conference website: https://ecreafilmstudies2017.wordpress.com
European cinema has evolved from a homogenous and selective object of
study, mostly shaped by frameworks of national industry, identity and
culture, to a much more diversified field, reflecting the shift to a post-colonial, post-communist, post-national, globalised Europe. In the context of an increasingly diverse but also split society, in which social polarisation is on the increase due to the crisis of the Eurozone and the decline of the welfare states, and in which populism and nationalisms are on the rise, resulting in the strengthening of the Fortress Europe project, this conference aims to turn the spotlight on the less-represented and less-audible voices in European cinema in all its forms: fiction, documentary, mainstream, art house, independent, exploitation, art film. With an inclusive focus encompassing issues of production, distribution and reception, of representation and of form, of dissent and of control, the conference invites contributions that engage from a wide range of theoretical perspectives and methodological approaches with the politics of difference and with the representation and/or expression of alternative viewpoints in European films / in films made in Europe.
Professor Ewa Mazierska (University of Central Lancashire)
Professor Chris Wahl (Film University Babelsberg Konrad Wolf)
Abstractsare invited on topics related to Multivoicedness in European Cinema, including but not limited to:
* Multivoicedness in national and transnational European cinemas
* Peripheries, borders, and grey areas: falling between the cracks,
speaking from the margins
* Ethics and/or aesthetics of alternative voices
* Audiodescription, subtitling and dubbing of multivoiced films
* Cultural and market negotiations: translating cultures, crossing borders
* Participation, dissent, resistance: audiences, politics, and public
* Alternative European cinemas and the global market
* Other voices: niche markets, new forms of consumption
* Deterritorialising identities, becoming migrant/minoritarian
* Polyglot cinema: speaking from multiple subject positions
* Genders and genres: decentering and in-betweenness
* Alternative film festivals and other cinemas
* Speaking in tongues: the audiences of multivoiced films
* Queering European cinema
* Nonfiction and commitment: documenting the silenced subject
* Speaking for oneself: multiple forms of first-person filmmaking
* Transnational, cosmopolitan, global: what European cinema?
* A continent in motion: multiple commitments, divided belongings
* The “New Europeans” in films / making films
* Margins of industrial practices, alternative forms of production,
distribution and reception
* Speaking parts: person, character, actor, star
The conference will also be the host to special panel sections prepared by the HoMER network (History of Moviegoing, Exhibition and Reception) and FFRN (Film Festival Research network).
Abstract submission: Please submit your abstract (max 300 words) along with key references, institutional affiliation and a short bio (max 150 words) or a panel proposal, including a panel presentation (max 300 words) along with minimum 3, maximum 4 individual abstracts.
Submission deadline: May 2nd 2017.
Proposal acceptance notification:June 23rd 2017.
Submissions for the HoMER sectionshould be sent to Daniela Treveri Gennari: firstname.lastname@example.org and submissions for the FFRN section should be sent to Skadi Loist: email@example.com
ECREA membership is not required to participate in the conference. Delegates will be required to contribute towards administrative and catering costs.
Conference details: The Conference is hosted and supported by the
Department of Film and Screen Media, University College of Cork,
Conference organisers:Laura Rascaroli (University College Cork), Sergio Villanueva Baselga (Universitat de Barcelona), Helle Kannik Haastrup (University of Copenhagen), Anders Marklund (University of Lund), Gertjan Willems (Ghent University).
Conference email address: firstname.lastname@example.org
The Fan Studies Network 2017 Conference
24-25th June 2017
Centre for Participatory Culture,
University of Huddersfield, UK
Keynote Speaker: Dr Louisa Stein (Middlebury College, USA)
Plenary Address: Professor Matt Hills (University of Huddersfield, UK)
The fifth anniversary of the annual Fan Studies Network Conference is visiting the University of Huddersfield for a vibrant two-day programme during June 2017. The conference will celebrate and continue FSN’s proud tradition of offering an enthusiastic space for interdisciplinary researchers at all levels to connect, share resources, and further develop their research ideas. In addition to panel presentations, the two days will feature social events, speed geeking, and workshop discussions.
We are delighted to welcome Dr Louisa Stein as the keynote speaker for FSN2017. Louisa is Assistant Professor of Film and Media Culture at Middlebury College; where she teaches classes on remix culture, spectatorship, YouTube, and gender and sexuality in media. Louisa is author of Millennial Fandom: Television Audiences in the Transmedia Age, and co-editor of Sherlock and Transmedia Fandom and Teen Television: Programming and Fandom.
The event will also feature a plenary address from Professor Matt Hills, who, due to being the keynote of the first ever FSN conference, will reflect on the past five years of the network and the fan studies field. Matt is Professor of Media and Journalism at the University of Huddersfield, where he is co-director of the Centre for Participatory Culture. He has written six sole-authored research monographs, starting with the influential Fan Cultures in 2002 and most recently with Doctor Who: The Unfolding Event in 2015, as well as publishing more than a hundred book chapters and journal articles in the areas of media fandom, cult film/TV and audiences in the digital era.
FSN2017 is sponsored by the Centre for Participatory Culture at the University of Huddersfield, which will have its official launch the day before our conference. Attendees of FSN2017 will be able to attend the centre launch for free – the Centre will announce full details of this event in the coming weeks.
We invite abstracts of no more than 300 words for papers that address any aspect of fandom or fan studies. We also welcome collated submissions for pre-constituted panels. We encourage new members, in all stages of study, to the network and welcome proposals for presentations on, but not limited to, the following possible topics:
– Fandom and grief/mourning
– Representations of fans in media & popular culture
– Fandom and sports
– Fandom and race
– Political fandom
– Non-technological practices in fandom
– Fan conventions and offline spaces
– Histories and archives of fandom
– Non-Western fan cultures
– Ethics and methodology in fan studies
– Interdisciplinary approaches to fan studies
– Anti-Fandom and Non-Fandom
– The future directions of fan studies
– The ‘dark’ or ‘toxic’ side of fandom
We also invite expressions of interest (100-200 words) from anyone wishing to present as part of our popular ‘speed geeking’ session. This would involve each speaker presenting a short discussion on a relevant topic of their choosing to a number of small groups, and then receiving instantaneous feedback, making it ideal for presenting in-progress or undeveloped ideas. If you have any questions about this format of presentation, please don’t hesitate to contact us.
Please send any abstracts/enquires to: email@example.com by 13th MARCH 2017.
Please include up to three keywords for your submission and a short biographical note.
You can join the discussion about the event on Twitter using #FSN2017, or visit http://www.fanstudies.org.
Conference Organisers: Lucy Bennett and Tom Phillips (FSN chairs)
Bertha Chin, Bethan Jones, Richard McCulloch, Rebecca Williams (FSN board)
Television Shows, Brands and Properties in the Global Television Scenario
Bologna, Dipartimento delle Arti, May 23rd-24th, 2017
Confirmed keynote speakers: Jérôme Bourdon, Jean Chalaby
Organized by Luca Barra and Paola Brembilla, in collaboration with
Andrea Esser, the Media Across Borders network and the ECREA Television Studies section.
Media Mutations, the international conference of studies on audiovisual media hosted by Dipartimento delle Arti of Università di Bologna, comes to its ninth edition. This year’s theme is the cultural and industrial role of global formats in television production, distribution and viewing practices.
In the last fifteen years, following a long history that already started in the early years of the medium, television all around the world has been constantly and successfully broadcasting global formats: big brands and franchises, with a codified set of rules, sold at international audiovisual markets, distributed in many countries and on numerous networks and channels, and adapted and remade according to the tastes and needs of local audiences. Beginning with Big Brother, Survivor and Who Wants to Be a Millionaire?, and later with The X Factor, Masterchef, Peking Express, In Treatment, The Bridge, Pulseras Rojas and many others, formatted shows have contributed to creating a shared television aesthetics, spreading best practice in production, distribution and marketing, and establishing similar consumption habits.
At the same time, differences and national specificities are still at work, and the success of global formats in individual national markets depends on successful localization. The process of formatization is now used in both TV fiction and entertainment productions, and it is relentlessly expanding, both at the economic and cultural level, and in a convergent media scenario.
Some classic and more recent studies have established the field of format research over the past 18 years, defining various format dimensions and analyzing their ability to travel across different countries and cultures (e.g. Moran 1998, 2007; 2009; Oren and Shahaf, 2012; Chalaby 2016; Ellis, Esser and Gutiérrez Lozano 2016; Aveyard, Moran and Jensen 2016). The conference aims to expand the academic knowledge of this important phenomenon, establish new research perspectives in the field, and strengthen the understanding of national and transnational distribution and reception practices. The focus will not only be on cultural and linguistic format issues, but on the legal, economic and productive aspects of format development and format trade, and the different genres and types of formatted audiovisual products.
Media Mutations 9 encourages submissions that cover the following subjects and topics, favoring proposals and case histories that are able to intersect across different areas:
– The economic/trade dimension of TV formats: rise and evolution of the format market; formats as commercial properties; format distributors and buyers; negotiation aspects; sales; format companies; mergers and acquisitions; trade rituals and habits; global buying and selling practices and national specificities; emerging production regions and established format centers.
– The legal dimension of TV formats: intellectual properties, franchise and copyright issues; legal protection of formats, globally and nationally; protecting original ideas from copycat shows and piracy; forms of contracts and license deals; formats on digital platforms and as reruns.
– The productive dimension of TV formats: advantages and disadvantages of making or buying formats; format development process; developing original programs vs. adapting international formats; professional skills and roles; production processes; branded content formats.
– The distributive dimension of TV formats: circulation of formats
across different countries and television models; national adaptations and mediations of global formats; remakes vs. ready-made programming; programming, scheduling and promotion practices; digital distribution of formats on over-the-top and on demand audiovisual platforms.
– The aesthetic dimension of TV formats: formats as symbolic and narrative forms; formats as a set of fixed rules; formats as branding devices; aesthetic innovation vs. conservation; formats and television genres/texts (game, reality, talent, fiction, general entertainment, factual programming); scripted vs. unscripted formats; specificities of fiction formats; transmedia storytelling.
– The audience dimension of TV formats: national appeal of global formats; limits and constraints imposed by local taste; format success and consequences on viewing habits and consumption practices; formats and convergent television/media; quantitative (ratings) and qualitative analysis of format audiences.
– The historical dimension of TV formats: evolution of formats and markets; different steps/models; “formats” before the advent of licensed formats; formats on PSB, commercial TV and pay TV; role of national/transnational television cultures in creating successful formats.
– The life-cycle of television formats: from development and broadcast in the first country to international circulation and national adaptations, to the “death”/re-birth of a format.
– Theoretical and methodological approaches to television formats.
– Transnational case histories: global formats and their adaptations; key brands and franchises; leading and upcoming format countries.
The official languages of the conference are English and Italian.
Abstracts (250-500 words for 20-minute talks) should be sent to firstname.lastname@example.org by February 15th 2017. Please attach a brief biography (maximum 150 words) and an optional selected bibliography (up to five titles) relevant to the conference theme. Notification of acceptance will be sent by March 15th. A registration fee will be requested after notification of paper acceptance (€40 for speakers and professional attendants; free conference admission for students).
This Conference is financially supported by Centro Dipartimentale La Soffitta and Dipartimento delle Arti, Università di Bologna. For more information on the previous editions of Media Mutations, please check the conference website, http://www.mediamutations.org.
Liverpool Hope University, June 21st -22nd 2017
The Popular Culture Research Group at Liverpool Hope University is delighted to announce its seventh annual international conference, ‘Theorising the Popular’. Building on the success of previous years, the 2017 conference aims to highlight the intellectual originality, depthand breadth of ‘popular’ disciplines, as well as their academic relationship with and within ‘traditional’ subjects. One of its chief goals will be to generate debate that challenges academic hierarchies and cuts across disciplinary barriers.
The conference invites submissions from a broad range of disciplines, and is particularly interested in new ways of researching ‘popular’ forms of communication and culture. In addition to papers from established and early career academics, we encourage proposals from postgraduate taught and research students.
Possible topics include, but are not limited to:
* Film and Television
* Media and Communication
* Politics and Populism
* Literature (Fiction and Non-Fiction)
* Drama and Performance
* Fan Cultures and Audience Research
* Social Media
* Gender: Feminism/Femininities/Masculinities/Queering/Sexualities/Representations of the Body
The conference will be held at Liverpool Hope’s main campus, Hope Park. Situated in a pleasant suburb of Liverpool, just four miles from the city centre, Hope Park offers superb facilities in beautiful surroundings.
Papers should be 20 minutes in length. Please send abstracts of 300 words to Dr Jacqui Miller and Dr Joshua Gulam email@example.com by March 17th 2017. The abstract should include your name, email address, affiliation, as well as the title of your paper.
Successful abstracts will be notified by April 3rd 2017.
Conference fees: £100 for both days, including lunch and all
refreshments (£80 for students).
Call for Papers
Frames Issue 11, Spring 2017
The Future of Horror
The horror genre can be seen as a genre that is continually re-inventing itself whilst simultaneously cannibalising (and regurgitating) itself to produce both new and interesting takes as well as tired remakes of genre classics in equal measure. Throughout the 2000s the horror genre within the United States sped through multiple short-lived cycles. The most prominent examples of these were remakes of East Asian horror films, the wave of horror dismissively-titled ‘torture porn’ films, and the return of the found footage style en masse following the success of Paranormal Activity (Oren Peli, 2007). Since the turn of the decade, there has been interesting movements in horror, with the emergence of new genre directors such as Adam Wingard and Ti West alongside horror efforts by directors more known for their festival films, such as The Neon Demon (Nicolas Winding Refn, 2016) and Berberian Sound Studio (Peter Strickland, 2012), all of which have resulted in new critical attention and worldwide interest being directed towards the horror film.
In other countries, such as South Korea, the horror genre dwindled throughout the 2000s and in doing so lost its prominent place and audience support during the summer box-office period. In response, the South Korean film industry recently produced its first large budget zombie film, Train to Busan (Busanhaeng,Yeon Sang-Ho, 2016), which proved to be a hit not only with domestic Korean audiences, but also in international markets. This success hints at the presence of horror as a globally disseminated and understood genre. Much like the recent trend towards global science fiction cinema, there has been a similar upswing in the production of horror films by countries not normally known for producing works in the genre. Perhaps the most prominent recent example of this can be seen in Dearest Sister (Nong Hak, Mattie Do, 2016), the first horror film produced by Laos which was quickly brought to the horror-specific online streaming service Shudder following its screening at the BFI London Film Festival.
This issue of Frames seeks to take stock of the horror genre as it has developed since the turn of the decade by tracking its influences, shifting industrial hierarchies, emerging voices, evolutions and developments in order to better understand its presence today. We are interested in papers that examine the following topics:
Horror films produced since 2010 – Present
The influence of older horror films on contemporary works
Industrial responses to the horror genre
Contemporary horror film fandom and the resurgence of classic horror on home video/streaming services
Responses to technology in contemporary horror cinema
Regional influences and approaches to horror
The return of folklore in contemporary horror
Horror remakes from 2010 – Present
The potential influence of technology (e.g. VR) on horror media
We seek abstracts for our features section (5,000-7,000 words) and our POV section (1,000-3,000 words) as well as video contributions enquiring the proposed topics.
Proposal abstracts of no more than 250 words (plus brief bio and indicative bibliography) are to be received by 15th February 2017. Please submit your proposal to:
Connor McMoran and Sarah Smyth (editors-in-chief)
Call For Papers – Rethinking Film Genres: East Asian Cinema and Beyond (University of Hull, 14-15 September 2017)
What is film genre? Does it still matter in today’s film production, distribution and consumption? How have some film genres become so closely associated with a nation or region, such as Chinese martial arts films, Japanese horror, and Korean melodrama? The fact that genre is widely discussed by the general public suggests that it is still important. However, the examination of genre theory and the scholarly discussion of genres have remained predominantly focussed on Hollywood and European cinemas, as exemplified by the work of scholars such as Thomas Schatz, Steve Neale, Barry Keith Grant, Rick Altman, Belén Vidal, and Antonio Lázaro-Reboll. Despite their rich screen culture and their influence within and beyond the Pacific region, East Asian cinemas remain under explored. In today’s context of increasingly international filmmaking, we would aim to explore the ways in which film genres underpin cultural translation between East Asia and beyond.
CFP: For a Cosmopolitan Cinema
Alphaville: Journal of Film and Screen Media
Issue 14 (Winter 2017)
The 14th issue
of Alphaville aims to address the recent cosmopolitan turn in film studies in an attempt to investigate
the international orientation of contemporary cinema in this age of intense crosscultural contact, transnational dislocations, and consumption of ethnicity. In a globalised context marked by the normalisation, and mediation of foreignness in everyday life,
cinema has been established as a fundamental cosmopolitan agent due to its ability to promote transcultural access to places, spaces and subjectivities.
In this regard, by proposing the idea of cosmopolitan cinema, we wish to articulate the migratory and mobile aspect of world cinemas, by focusing on how cinematic
texts negotiate their cultural specificities and forge intercultural connections in order to encourage border crossing. Also, our conception of cosmopolitan cinema embraces a possible practice or perspective that engages with notions of cultural diversity,
otherness, and hybridity with a positive and open disposition, rather than succumb to the specificities of a national cinema, or restrict ourselves to binary oppositions that separate self and other.
A cosmopolitan perspective for film studies, thus, cherishes difference by mapping the trajectories of interactive becomings between cultures as a mode of critical
practice that moves beyond the singular goal of universalism, and towards a mediation of contemporary interactions. Paul Willemen (2006) suggests a mode of outsideness or in-betweenness, which would forge a safe space from which to critically engage with personal
and cultural dispositions. This, in turn, poses a number of interesting questions concerning modes of address. To whom is a cosmopolitan cinema being addressed? Can it manifest the internal struggle between self and other, through open cultural interactions?
Does it concern those of no address or fixed abode, occupying a space that lies between the laws that govern city and state?
The forthcoming issue of
Alphaville, to be published in Winter 2017, will be guided by such ideas, welcoming articles
interested in approaching cosmopolitan cinema, questioning how it relates to a globalised context marked by postnational states, neoliberalism, postcolonial relationships, bureaucratic, (il)legal, and virtual modes of migration, transnational encounters, the
weakening of national identities and modes of being, and more. Finally, we also aim to cover how the multiple projects, imaginations and understandings of cosmopolitanism shape representational, aesthetics and stylistic cinematic discourses, also considering
the recent return to virulent nationalism, the shutting down of borders, and the current rejection of supranational values in postindustrial countries.
The editors are seeking some articles to complement the current selection, and are keen to receive
proposals on topics and issues including, but not limited to:
- Cinephilia and cosmopolitan audiences: promoting the cult of world cinemas, stars, and strangeness
- World identities: authorship and star trajectories in contemporary cinema
- Cosmopolitan institutions and the brand of national cinemas: exploring the role of film festivals, distributors, etc.
- Films across borders: cosmopolitan cinema as a strategy of internationalisation and border crossing
- Representing worldliness: virtual and real conceptions of world and communities
- Aesthetic, stylistic and narrative notions of cosmopolitanism
- Documenting the cosmopolis: nonfiction cinema and the transnational imagination
- Aesthetic cosmopolitanism and the dialogue between production and consumption
- Cosmopolitanism and national cinemas: multiple belongings and the relativisation of the local
- Cosmopolitan spaces of circulation: digital and virtual migration
- Hybridism, multiculturalism and postcolonialism: perspectives to approach cosmopolitan cinema
- Narratives of the crossing: intercultural contact, migrations, and exiles
Potential contributors are invited to submit a 250/300-word abstract,
and a biographical note by January 30, 2017 to the Issue Editors, James Mulvey, Laura Rascaroli and Humberto Saldanha, at the following address:
Authors will be notified of editors’ decision by 17 February 2016. Following acceptance, authors will be required to submit their completed articles of 5,500–6,000 words that adhere to
Alphaville guidelines, MLA and house style by
May 1, 2017.