31/7/2019 – CFP: Constellations. Connections, Disruptions, and Imaginations in Cinema and Beyond

What, when & where

Division of Cinema and Media Studies
University of Southern California

Constellations: Connections, Disruptions, and Imaginations in Cinema and Beyond.

Thursday, October 10 and Friday, October 11, 2019

When gazing at the sky, one turns to the billions of specks occupying the universe, an infinite space where visible and invisible galactic matter creates multidimensional shapes and figures. Throughout history, the cosmos has served as a site of epistemological enunciation. In connecting and linking disparate star systems, societies have advanced knowledge and created constellations. Constellations as metaphor moves one beyond discussions of the universe. In this regard, cinema, media, and visual culture have mediated our imagination on constellations. From planetariums and large screens projecting images of the enigmatic universe, to films imagining worlds outside of our own galaxy, to television and radio networks sending out sound and image via wavelengths, and to transmedia organizing, constellations are projections and imagined networks.

One can add that constellations have guided people to situate themselves within the universe; to shift their geographical and migratory positions; to measure and keep track of time; to sync to nature; and to preserve history and culture. Discrete points are the vital infrastructure supporting constellations; effacing points would compromise the integrity of the figure and radically transform its meaning and image.

Constellations are created when mapping and charting geographies, struggles, and movements. This allows one to rethink how their positionality and temporality link and relate disparate spaces, objects, and peoples. For example, sentient and non-sentient beings have formed their own social constellations, creating networks, circles, communities, and support systems. One can argue that media creates its own constellations, especially when mediums rely on other media systems: transmedia, intermedia, social media, and “cloud” sharing devices.

While constellations consist of connections that create imaginary shapes, objects, and figures, one must nuance the specificity of each point and raise questions that help one confront the precarity of constellations. Disruption enters the picture, threatening the integrity of the shape.

Imagining new constellations is hermeneutical. The act of imagining opens the possibility for third spaces, making room for new worlds, and forming connections that were otherwise impossible. When imagining constellations, one leaves open the possibility of adapting to new changes, allowing new points to enter and emerge, and respect the existence of other constellations in the vicinity. Cinema, media, and visual culture has been generative in this endeavor.

What happens when points are not granted their specificity? Can a point disengage from one constellation and align itself with others to create new constellations? What are the consequences when external forces seek to erase points in order to undo the power of unity in constellations? What is lost when constellations cease to exist? How is sound, moving images, and other media implicated in the creation and disruption of constellations?

The First Forum 2019 organizing committee welcomes papers, artwork, and creative projects that expand, complicate, and reconsider the metaphor of constellations in relation to sound and moving images. Papers outside the field of cinema and media are strongly encouraged.

Deadline & how to apply

Deadline: Wednesday, July 31, 2019 by 11:59 p.m.
Decision notification by Wednesday, August 14, 2019

Please e-mail an abstract of 250-300 words for a 15 to 18 minute presentation; a biography of 150 words; and institutional affiliation to firstforum2019@gmail.com

Samples of artwork and creative projects for exhibition accompanied by a 250-300 word abstract and a biography of 150 words can be e-mailed to firstforum2019@gmail.com

Other info, Links & conditions

Please direct queries to Michael Anthony Turcios at maturcio@usc.edu or to the conference organizing committee at firstforum2019@gmail.com

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7/7/2019 – CFP: IN / VISIBLE: REPRESENTATION, DISCOURSE, PRACTICES, DISPOSITIFS

What, when & where

IN / VISIBLE: REPRESENTATION, DISCOURSE, PRACTICES, DISPOSITIFS
22nd October 2019, Palermo University (Italy)

invisibile2019palermo.wordpress.com

The University of Palermo together with the joint Ph.D. program Studi Culturali Europei/ Europäische Kulturstudien organizes the interdisciplinary graduate conference “IN / VISIBLE: REPRESENTATION, DISCOURSE, PRACTICES, DISPOSITIFS” (University of Palermo, 22 October 2019). The international conference will focus on the different aspects of in/visibility from a cultural, philosophical, literary and artistic, historical and sociological perspective. The chosen working languages are Italian and English.

From their position at the crossroads among the humanities, cultural studies testify to the coexistence of heterogeneous objects, techniques, and forms of knowledge that are heterogeneous. From this perspective, in / visibility constitutes one of the aspects each discipline – from literary criticism to psychoanalysis, from history to gender studies- can somehow shed light on. The road that leads to the investigation of the representation of the in/visible is not univocal, but inherently plural and intrinsically interdisciplinary.

From this perspective, IN / VISIBLE: REPRESENTATION, DISCOURSE, PRACTICES, DISPOSITIFS” is designed as a moment of dialogue between different methodological perspectives that, looking at the in / visible from different points of view, also differ in the omissions and concealments that the choice of each point of view brings.

The international graduate conference also takes part in an academic tradition – that of Palermo and Düsseldorf, precisely – which commits to carry out research on in / visibility across disciplines.

How is the materiality of the visible world inscribed in its cultural representations? What are the more or less visible actors and mechanisms in the genesis of a cultural artifact? Should the visible/invisible binomial be considered as an anthropological constant or as the effect of a certain epistemological constellation? To what extent does visibility coincide with power and, therefore, how should one represent the in/visible? These are just some of the questions that cultural studies, in their innate interdisciplinarity and methodological heterogeneity can formulate with respect to the issue.

Deadline & how to apply

Graduate and postgraduate students are invited to submit a proposal. Abstracts written in Italian and English must not exceed 250 words. Please attach a short bio. Please send your abstract to: invisibile2019palermo@gmail.com. Please write “Proposal graduate conference in/visible 2019”

The deadline for submission of abstracts is set for July 7, 2019. Acceptance or rejection of the proposals will be notified per e-mail to the interested parties by July 20, 2019.

Other info, Links & conditions

Further information and the final programme will be published on the official webpage of the conference invisibile2019palermo.wordpress.com and on our Facebook page. For any enquire feel free to contact us: invisibile2019palermo@gmail.com.

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15/7/2019 – CFP: On the move

Eighth Biennial Graduate Student Conference @ University of British Columbia.

What, when & where

25-26 October 2019, Vancouver, Canada
On the move: narratives of displacement, travel and mobilities

Keynote Speaker: Simon Harel (University of Montreal)

As we observe phenomena of human flow and intensified technological communication permeating our daily life and imagination, this international graduate student conference invites young scholars to investigate contemporary Francophone and Hispanic literature and culture under the paradigm of mobilities.

In the emerging field of Mobilities Studies, research and theoretical works have stemmed from a wide range of both social science disciplines and humanities disciplines: mainly anthropology, urban studies, transportation studies, postcolonial studies and history. We aim to generate discussions on the new forms of mobilities, on the ways we give meanings to migration and displacement, and on how globalized and local network transforms our identity construction and cultural understandings. We welcome papers that explore the movement and mobilities across various media and art forms, including (but not limited) to literature, film, mass media, comics, theatre, dance, performance and art.

Deadline & how to apply

Submissions in English, French, and Spanish will be considered. Abstracts (250 words maximum), which include the paper title, your academic affiliation, and contact information, must be submitted to the FHIS GSC Organizing Committee by no later than July 15, 2019 to the following address: fhis.gsc@gmail.com. Individual presentations should be no longer than 20 minutes in duration. Please note that we also encourage the submission of abstracts for panels of presentations.

Other info, Links & conditions

For further information, feel free to go to the official GSC website (https://gsc2019onthemove.wordpress.com) or contact the Organizing Committee directly at fhis.gsc@gmail.com.

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15/9/2019 – CFP: Language and Violence: Literary Mediations in the Age of the Anthropocene

What, when & where

Language and Violence: Literary Mediations in the Age of the Anthropocene

Facultade de Filoloxía e Tradución – Universidade de Vigo in partnership with the Universidade de Santiago de Compostela

Vigo – 16th and 17th January 2020

The “Language and Violence: Literary Mediations in the Age of the Anthropocene” international conference seeks to explore the way in which violence appears to have impregnated contemporary literary discourse. The destruction of the environment, animal cruelty, social and gender brutality, amongst others, are some of the most obscene manifestations of human violence. This conference aims to identify the discursive codes that perpetuate violence through notions of subalternity, oppression, hegemonic power and class struggle.

The urge to analyse how language acts in worldmaking motivates this conference, which will consider how we think and feel about ourselves and about other beings, be they human and/or non-human. Dichotomies such as centre vs periphery, power vs resistance, global vs local, for instance, can be identified among the issues explored by contemporary authors in the cultural fictions of the Anthropocene – a term that marks a point of inflection due to the massive impact of humankind on the ecosystem. The various manifestations of violence in literary discourse expose the social changes of the last few decades and assist us in the reassessment of the ties between literature and public affairs.

Deadline & how to apply

We are interested in proposals that bear witness to how discourse on violence is experienced through the most diverse literary practices. With this idea in mind, we invite all those who wish to participate in the “Language and Violence: Literary Mediations in the Age of the Anthropocene” international conference to send their proposals for twenty-minute papers, exploring the questions presented here, with an abstract of no more than 250 words to malonsoalonso@uvigo.es before 15 September 2019.

Other info, Links & conditions

More information about the conference at: www.linguaeviolencia.wixsite.com/conference

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15/8/2019 – CFP: Reimagining Genre in Cinema

SFSU 21st Annual Graduate School Cinema Conference.

What, when & where

SFSU 21st Annual Graduate School Cinema Conference:
Reimagining Genre in Cinema

October 17-18, 2019
Keynote Speaker: Damon Young (UC Berkeley)

Whether because of digital technologies or other cultural shifts, many traditional cinematic forms, formulas, and categories seem increasingly to be in flux or mixed; this seems particularly true of notions of genre. Of course, genre has always been subject to mixture, to being contaminated by its others, but today, new genre-redefining forms and mixtures seem to be proliferating. At the same time, this very proliferation sometimes seems to demand increasingly specific generic categorizations and subdivisions.

The digital archive has given an unprecedented level of access to the cinema of the past and present and helps build the filmmakers of the future. New technologies make play and exploration more accessible than ever, and yet old ways of telling stories persist and evolve. This technological change is coupled with more globalized forms of communication, but also with an emphasis on representation, identity, and revising history. The result is a medium that is concerned not only with understanding its past, but also with actively constructing a new way forward.

Increasingly, traditional genres like the western and horror are turned on their head and complicated with new kinds of representations and mixture. Audiences themselves generate content and challenge generic forms–asking filmmakers to take new risks in mainstream formulas and celebrating independent and foreign cinematic forms. Indeed, following concepts of gender fluidity, genre is perhaps best understood as something that is inherently variable. This conference is concerned with both placing this generic reimagining in a historical context as well as exploring the changes occurring in our current moment, and seeks to explore these shifts through a more global lens.

Deadline & how to apply

Please send a 300 word abstract, a brief biographical statement (100-150 words), and CV to:CSGSA@mail.sfsu.edu by August 15, 2019.

Other info, Links & conditions

Submissions will be accepted from current graduate students, recently graduated students from MA or MFA programs (1-2 years after graduation), lecturers, post-doctoral scholars, and adjunct faculty.

While the School of Cinema hosts this conference, scholars of television, cultural studies, media studies, and other related fields are encouraged to submit proposals. We welcome presentations, video essays, and other forms of visual media as well as papers. Upon acceptance, your work will also be eligible for inclusion in our online journal, Cinemedia: Journal of the SFSU School of Cinema.

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Photo by Jeremy Yap on Unsplash
 

16/9/2019 – CFP: ‘Uncertain Terrain’: Negotiating Identities in the Global Community

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