Friday, 3 October 2008

Upcoming CFP in Film and Media (October I)

"Média 2009: Dvacet let poté / MEDIA 2009: 20 YEARS AFTER"
PRAGUE 11 - 12 APRIL 2009

The Conference is organised by the Department of Media Studies, Faculty of Social Sciences,Charles University in Prague in cooperation with Goethe Institut Prag.

Conference Theme: Reflections on twenty years of the transformation of periodical print media, radio and television, in the period from the end of 1989 until the present.

The conference will be the official outcome of a research project of the Faculty of Social Sciences entitled, "The Development of the Media in Czech society and in the European Union".

The aim of the conference is to describe and explain the development of the media in the new democracies of Central and Eastern Europe in last twenty years, and the development of media research and public communication in general. The social changes taking place in the last decade of the 20th century have undoubtedly influenced media and public communication. The conference should serve to open critical debate on systemic,social, political and cultural changes which have taken place in the last two decades.

Papers will be presented in six thematic panels:
M1: The Transformation of Media systems in the New Democracies post-1989.
Comparisons of state media before and after the revolutionary year of 1989, structural changes,changes in ownership, new media legislation, new concepts of the role of media in society.
M2: Changes in the Journalistic Profession.
The changing role of journalism, the development of new journalistic processes and routines.
M3: The Dynamics of Relations between Media and Politics.
M4: The Cultural and Social Consequences of Media Transformation.
M5: The Consequences of Digitalisation, the Rise of Online Media and Global Communication.
M6: The Institutionalisation and Development of the Study of Media.
The constitution of media and communication research, the institutionalisation of university programs, media literacy, and media education.

Abstracts (max 300 words) should be submitted using the enclosed form in English for peer review by 10 November, 2008. The deadline for the sending of a complete paper is 6 April, 2009. Papers should be submitted by one person, and may have up to 3 co-authors named on it. The topic of the paper should correspond to the topic of one of the thematic sessions. The timing for presentations is 15- 20 minutes, and 5- 10 minutes for discussion and questions from the audience. Papers will be combined in 90 minute panels.

Email contact:

Please send the fulfilled application by email to before November 10, 2008
You will be informed about accepting/non accepting your abstract before December 8, 2008 via email.

An international conference co-organised by Claire Molloy (Liverpool John Moores University) and Yannis Tzioumakis (University of Liverpool).
8 - 10 MAY 2009

In recent years the field of American independent cinema has enjoyed particular critical attention. The publication of a number of studies on the subject and the development of courses that examine American independent cinema as a separate object of study from mainstream Hollywood cinema has demonstrated that American independent cinema is a distinct discursive category and therefore deserves to be explored in depth.

Despite the recent critical activity, however, there is still very little actual research undertaken in the field. To this day, most of the work on American independent cinema has focused on the period ranging from the 1960s to contemporary times while the lion’s share of the critics’ attention has gone to a relatively small number of canonical independent filmmakers or to certain paradigmatic independent films. Although the establishment of canons and paradigms in independent cinema has been extremely useful, especially because it helped identify the field as worthy of scholarly attention, it also delimited the field substantially.

This conference wants to rethink American cinema through the concept of ‘independence’ and the range of definitions that such a term encompasses. As such, this conference hopes to attract research in the field that extends far beyond conventional critical approaches that tend to focus on key filmmakers, often starting from Cassavetes and moving to more recent examples, and instead look at American cinema in general with a view of questioning particular practices while also offering a number of case studies from various historical moments. Topics might include but, certainly, are not limited to:

-- cinema at Poverty Row -- independent filmmaking within the “confines” of the studio system -- exploitation filmmaking -- ethnic filmmaking -- independent producers/distributors -- classics divisions vs contemporary independents -- the impact of technological change on independent filmmaking -- independent film financing, marketing, advertising and publicity -- institutionalising independence

Whilst we will consider papers that deal with any aspect of independence, we particularly welcome papers that seek to revise existing histories of American cinema, especially by re-opening cases of films, filmmakers and companies that hitherto have been considered as part of an increasingly loosely defined mainstream Hollywood. One of the key aims of this conference is to chart the past, present and future modes of film practice in the independent sector and to account for the plurality of forms and guises in which independent filmmaking has manifested in the United States. In this respect we hope the conference will facilitate a much needed re-evaluation of American cinema under the rubric of independence.

Keynote Speakers: Warren Buckland (Oxford Brookes University), Geoff King (Brunel University), Peter Kramer (University of East Anglia), Janet Staiger (University of Texas at Austin).

Please send proposals of up to 300 words to both and

Deadline for submission of proposals is Friday, November 28th, 2008.

25 - 28 JUNE 2009



In cooperation with Film Studies / Centre for Languages and Literature Lund University
Submissions deadline: January 31, 2009

Founded in February of 2006, NECS, the European Network for Cinema and
Media Studies brings together scholars and researchers in the field of cinema,film and media studies with archivists and film and media professionals. A first NECS workshop was held in Berlin on the occasion of the network’s founding in 2006, followed by the first two annual international conferences in Vienna 2007 and Budapest 2008. Over the last two years, over 450 members have joined NECS worldwide.

In 2009 the NECS conference, “Locating Media”, will take place in Lund, Sweden, over the 25-28 June. Lund is situated close to one of Sweden’s production hubs on the Swedish side of the Öresund region. This particular geographical location makes Lund a perfect place to explore broader issues of space, place and locale in relation to cinema and media studies in general, and cultural and creative industries in particular. We invite papers exploring the following range of issues:

--Locating Practices: Regional, local, national and global media practices through history;
--Locating Media Production: Political, economic, social and cultural impact of located / relocated film and TV productions;
--Locating Movements: Migrating media, migrating audiences, diasporic filmmakers;
--Locating Technologies: Mobile media and the medialization of space (from surveillance to YouTube);
--Locating Aesthetics: Styles of place/places of style in various media texts;
--Locating Research: Methodological nuances, theoretical consequences and
political implications for scholarly practices within future film- and media studies.

Scholars from all areas of film and media studies (radio, television, new media etc.), whether previously attached to NECS or new to the network, are invited to submit proposals for contributions.

Please note that you may hand in a paper or panel proposal related to the
thematic guidelines of the conference outlined above, or alternatively submit a
paper or panel proposal for the open call in any field of cinema and media studies.

For this year’s conference we especially encourage pre-constituted panels. There are three ways of participating in the Lund conference:

(1) participating in or organising a pre-constituted panel within already existing frameworks: a NECS work group (see member section of the NECS website), an established network, a research project, etc. NECS work groups are especially encouraged to hand in a panel proposal;

(2) organising and/or participating in panels that are being formed online in the run-up to the conference. Those who consider an open call for a panel proposal are asked to send their topics with a short description of the objectives of the proposed panel no later than November 30, 2008 to We will post these topics in the public section of the website, collect all responses and keep you informed about potential presenters;

(3) participating with an individual paper.

Panels may consist of up to 5 speakers with a maximum of 20 minutes speaking time each. All presenters are asked to provide us with a title, an abstract of max 150 words, 3-5 keywords, 3-5 key bibliographical references, technical requirements, name of the presenter and institutional affiliation. Panel organizers are asked to submit panel proposals including a panel title, a short description (up to 100 words) of the panel and information on all the papers as listed above.

Please submit all proposals before January 31, 2009 by sending them via email to Notification will follow shortly thereafter (around February 28, 2009). The conference language is English. Again, in case you consider an open call for a panel proposal, please send us your topic until November 30, 2008 so that we can post the description of the objectives of the proposed panel on our website. Conference attendance is free, but NECS-membership is required to participate in the conference (register with NECS at or upon arrival in Lund. For the terms of NECS membership, please see our website). Participants will have to cover their own travel and accommodation expenses. Travel information as well as a list of affordable hotels and other accommodations will be posted on the NECS website in the spring of 2009. Detailed information on NECS can be found on the NECS website, Please address all inquiries to

NECS Conference Committee
Melis Behlil, Mats Jönsson, András Bálint Kovács, Tarja Laine, Terez Vincze, Patrick Vonderau

NECS Steering Committee
Malte Hagener, Vinzenz Hediger, Dorota Ostrowska, Alexandra Schneider, Patrick Vonderau


Perhaps no writer has had as much impact on cinema studies over the last twenty years as Gilles Deleuze, whose Cinéma I: l'image-mouvement (1983) and Cinéma II: l'image-temps (1985) have left an indelible mark on recent configurations of film and media studies, philosophy, and history. However much Deleuze has been cited in Anglo-American discourse, his innovative approach did not burst forth from an intellectual vacuum, nor did his methodology conclude with his death.

Jean Louis Schefer's 1980 work, L'Homme ordinaire du cinéma, offered a prelude to Deleuze's re-conceptualization of cinema's role in twentieth-century history, and Deleuze's radical work concerning modern constructions of subjectivity and the popular symbolic has been extended and reconfigured in Jacques Rancière's ongoing development of the philosophy of aesthetics. In each of these cases, and in other examples of what one might call "French Philosophy of Cinema," these writers have provided us with breakthroughs in understanding the role of cinema in the evolution of audio-visual media, the repercussions of cinema's widespread importance in the Twentieth Century, and the relationship between film form and narrative content.

In order to develop an understanding of the wider relevance of this movement, the New Review of Film and Television Studies invites 200-word abstracts for a special issue. Topics might include, but are not limited to:

--the role of cinema and the moving image in French philosophy and the role of philosophy in French film theory; --the legacy of French aesthetics in international moving image studies; --the application of French philosophy of cinema to other methodologies of cinema studies, such as: narrative cognition; apparatus theory; national cinema(s); digital media; genre and auteur studies; problems of race, class, gender, and sexuality; theories of affect and sensation.... --the use of cinema philosophy in order to bridge theoretical gaps between formalism and realism, semiotics and phenomenology, etc. --French philosophy of cinema and the re-reading of cinema history, directors, and individual films, as well as possible applications of relevant concepts to contemporary cinema and film texts;

Please send 200-word abstracts no later than November 30, to Hunter Vaughan at, or contact me with any questions.

Papers, not to exceed 9,000 words, will be due July 1 2009 and should be formatted according to our Chicago standards, as found at out 'instruction for authors' page:

23-24 JUNE 2009

visit the website at

key speakers: Professor Nick Couldry (Goldsmiths), Professor Barbara Klinger (Indiana), Emily Renshaw-Smith (Current TV - to be confirmed)

The emergence of new media technologies in the 1990s and 2000s, specifically the rise of digital and Internet technology, has been linked to fundamental changes in the media environment, shaping newly emerging circuits of production and consumption and propagating a cultural landscape where media seem available everywhere and all the time. This AHRC-sponsored workshop examines a particular feature of our accelerated media world - the growth of the brief or ‘ephemeral’ texts that exist beyond and between the films, television programmes, and radio broadcasts more commonly isolated for analysis.

What does ephemeral mean? In the context of the workshop it connotes short-form media (i.e. texts that are no more than a few minutes long) but also media which are fleeting in the way they circulate, or that are often overlooked within mainstream academic study. ‘Ephemeral media’ offers a rubric to designate and explore some of the key strategies, forms and practices that are helping producers and publics alike to negotiate today’s fast-changing mediascape. More generally, it invites historical and theoretical reflection on the significance of screen ephemera - on those forms of screen culture that, whilst momentary, remain active components of media experience.

The first workshop in the series focuses on user-generated ephemera, in particular the proliferation of online video. The emerging digital media environment has created new opportunities for user-generated content to achieve broad distribution and so create a public of users. This has been typified, and enabled, by recent phenomena such as YouTube. The fleeting and competing nature of user-generated content has placed particular emphasis on the role of media performance - what can be understood broadly as a display of communicative competence for assessment by an audience. The workshop will examine the status and significance of user-generated ephemera (in particular online video) and the kinds of performance inscribed herein.

Questions under discussion might include: How is performance framed in user-generated ephemera? How is user-generated ephemera assessed and discussed by audiences? How does the temporality of circulation on the Internet shape the kind of publics that are convened around user-generated ephemera? How do ephemeral media performances represent national, regional, ethnic identity? How are questions of authorship understood in forms that frequently involve the reworking of existing material? What role do “gatekeepers” play in filtering the user-generated performances that are distributed to online audiences?

The workshop is interested in, but not limited to, the following media forms and issues:

  • Production and genre – creative amateur practices, technologies, genres involved in making online video; the relation between amateur and professional media production
  • Performance and address – styles of online acting, dance, musical performance; projections of gesture and voice within online video and other user-generated ephemera (e.g. webcams, online pornography, blogging)
  • Sensory communication – the use of sound and image: audiovisual methods and strategies
  • media environments - the relation of user-generated ephemera to continuities/changes in the media landscape; historical precursors to online video and user-generated ephemera
  • Audiences – online communities and the construction of user hierarchies; questions of authorship and negotiation in “bottom up” forms of ephemeral media; dynamics of cultural borrowing and authorship in online remakes, mashups, and machinima
  • Distribution and Intellectual Property - the role of gate keepers and cultural intermediaries; questions of censorship, policy and legislation relating to ephemeral media production, distribution and consumption
  • critical methodologies – the means and possibilities of studying user-generated ephemera

The ephemeral media workshop is part of the AHRC’s ‘Beyond Text’ research programme and is designed to facilitate discussion in a small group environment. It can provide travel (up to £100), accommodation, and subsistence costs to all accepted participants. To apply for the workshop, please send a 250 word paper proposal and a short biography highlighting relevant research interests or publications to by 10th December 2008.


21 MARCH 2009

King’s College, London, March 21st 2009, Strand Campus, supported by the KCL Roberts Fund and Wallflower Press. Organized by Davina Quinlivan, Markos Hadjioannou, Ruth McPhee and Louis Bayman.

Keynote Speakers:
Parveen Adams (Fellow of the London Consortium) Steven Shaviro (Wayne State University)

Interdisciplinary approaches to the theoretical discussion of the cinematic medium have often engaged with philosophical or psychoanalytic perspectives. While philosophy and psychoanalysis are by no means opposed schools of thought, the potential to develop new ways of understanding film remains an opportunity to be explored. In seeking out further lines of enquiry, the study of intersections between cinema/philosophy/psychoanalysis, seems most pertinent to our generation of ‘film thinking’, to invoke Daniel Frampton’s concept of the ‘film mind’, whose future still stands, to some extent, in the shadow of psychoanalysis. Recent philosophical models of thought offered by film theorists such as Frampton and D.N Rodowick embrace a new ontological grasp of the cinema, but what then are the implications of this shift for psychoanalysis? The question, therefore, remains whether philosophy and psychoanalysis are indeed irreconcilable, or if the specific philosophical turn sets up boundaries that unjustly seal off the possibility of dialogue between the two methodologies.

We invite proposals of 200 words for papers of 20 minutes on areas including:
-Films as philosophical and/or psychoanalytical form of representation -Questions of realism and illusion, from documentary cinema to the fantasy genre -Ethical responses to, and within, cinema -The family, sociality, fraternity and sorority -Changes and developments within spectatorship -The impact of, and approaches to, new technologies -Responses and approaches to film aesthetics/film art -Corporeal subjectivity, embodiment and the senses -Temporality, memory and amnesia in the cinema -Depictions of criminality, revenge and guilt

Please send abstracts by 14th November 2008 to Enquiries may also be sent to

6 - 8 JULY 2009

This international conference on ‘Performing Lives’ follows the inaugural conference of the Centre for Life Narratives, ‘The Spirit of the Age’, the focus of which was ‘Writing Lives’ (2007). Our second biennial conference ‘Performing Lives’ (2009) invites analysis and debate on the relationship between life histories and the ways in which they are embodied and enacted in performance, across a range of cultures and a variety of media: drama, dance, film, TV and video.

The performance of ‘real’ lives takes many forms. On the one hand, in commercial film and TV the traditional ‘biopic’ is an enduring favourite; on the other, autobiographical, verbatim and tribunal modes in theatre, docudramas and TV reality programmes, and more experimental approaches to autobiographical and documentary filmmaking, have challenged conventional forms through their emphasis on ‘ordinary’ lives, their incorporation of multiple perspectives and their interrogation of notions of reality and fiction. In dance, performers’ own lives have frequently served as source material for choreographers while the abstract, non-verbal nature of dance provokes alternative approaches to the representation and performance of lives.

Key questions include:
-- WHY LIFE? What do we aim to achieve in performing aspects of our own
lives and those of others? What are the pleasures for the spectator/consumer of life narratives? How do the aims of film and TV makers, theatre-makers and dance-makers differ?
-- WHICH LIFE? What kinds of lives do different performance-makers find
interesting and why? What is the relationship between the performer and the life performed, particularly in relation to star performances? What are the ideological messages inscribed in life histories in performance?
-- WHOSE LIFE? From whose perspective is the life being told or shown? What questions are raised about authority, authenticity and ownership? What are the moral and ethical implications of performing the lives of others?
-- REAL LIFE? How does the performance of life frame questions about the
relationship between reality, fiction and audience? Given the impossibility of representing the whole of a life, what determines the choices made about what elements of a life to perform?

We welcome proposals in English (of not more than 250 words) from a range of critical perspectives in relation to a range of countries, cultures and historical periods. We are interested in the perspectives of performance and media-based practitioners as well as those of academics and thus invite proposals for performances and workshops as well as papers and panels.

Proposals should be submitted online via the following page:
by 8 December 2008 Enquiries to

Adam Ainsworth, Dr Simon Brown, Mathew Melia, Trish Reid, Dr Carrie Tarr, Frank Whately

7 - 8 NOVEMBER 2008

The Reuters Institute for the Study of Journalism at the University of Oxford and the Department of Scandinavian Studies at University College London jointly organize "Nordic Media in Theory and Practice", a two-day conference looking at media in the Nordic countries. The conference is now open for registration at
(the schedule and list of papers/panels can also be found here).

The conference is held at UCL Main Campus in London and the registration fee is £40.

Questions about the conference can be directed to

We wish you all welcome to UCL on Nov 7-8!

On behalf of the organizing committee,
Dr Henrik Örnebring
Axess Reseach Fellow in Comparative European Journalism
Reuters Institute for the Study of Journalism
University of Oxford
13 Norham Gardens
Oxford OX2 6PS

1 comment:

mikemathew said...

Conflict is between traditionalists who think that because the study of English was always about the same old authors, dead for centuries now, it should remain that way, and modernists who think that the language of English nowadays is more influenced by video games and movies than by the plays of Shakespear, and so the modern things should be studied instead. That is nothing new. Shakespear was very much part of the "pop culture" of the 16th century, and the first guy proposing to make him the subject of an university study probably had the same problem than somebody studying video games now.
white hat seo

Creative Commons License
Interesting Music Stuff (IMS) is licensed under a Creative Commons Licence. Any redistribution of content contained herein must be properly attributed with a hyperlink back to the source.
Click on the time link at the bottom of the post for the direct URL
and cite Colin J.P. Homiski, Interesting Music Stuff.