CfP: NAFA’s Symposium 2013 (Nordic Anthropological Film Association)

Posted on behalf of FFRN member Aida Vallejo Vallejo:

Dear Film Festival researchers:

We are glad to announce that the next edition of NAFA anthopological film festival and symposium will take place in Bilbao (Basque Country, Spain) from 9nth to 12th October, 2013.

As I am compiling a panel devoted to ethnographic and documentary film festivals I invite all scholars working on a related topic to submit a paper proposal (400-word abstract, 5 bibliographical references and short bio) to this email before 10th June (general deadline is 20th of June).

AlhóndigaBilbao Cultural Center will host the 33rd Nordic Anthropological Film Association (NAFA) Film Festival in conjunction with the HAUtaldea’s symposium: CHARACTER AND DESTINY: Reflections on contemporary ethnographic film and the documentary.
AlhóndigaBilbao, Bilbao, 9-13 October 2013.
More info: www.hautaldea.com

Best regards,
Aida Vallejo Vallejo

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CfP Dispositions of Cultural Funding / Dispositive der Kulturfinanzierung

8. Jahrestagung des Fachverbands Kulturmanagement

Vom 16. bis zum 18. Januar 2014
Fachhochschule Kufstein, Tirol, Österreich

Dispositions of cultural funding
Cultural funding structures and their consequences for cultural production and reception

The 8th Annual Conference of the Fachverband Kulturmanagement focuses on the interdependency between financing systems and the production and reception of cultural goods and processes. Artistic practice and cultural activities do not simply happen by themselves, but rather refer – by their results and effects – to their conditions of creation. Which theory-based approaches can cultural management use for contributing to a debate on cultural funding that allows for authenticity, innovation and diversity in the cultural field? How can cultural management influence the forming of support criteria and structures? What financing models, apart from the existing ones, could be envisaged in order to strengthen alternative forms of cultural production?

Today, cultural funding must deal with a high degree of complexity: cultural activities have reached a relatively dense concentration level, traditional means of financing are in upheaval, and new players, fields and alliances are forming: foundations, crowd funding, co-productions, networks and new partnerships in the areas of cultural education and cultural tourism.

The historical view shows the systemic influence of cultural funding in regard to artistic practice: In the course of time, the paradigms of financing changed, and with them the artistic and institutional practice. From the times of patronage through the period of the development of cultural policy and right up to intensified sponsoring or the current trend of crowd funding, cultural funding was, and still is, closely connected with the power to define art production and cultural activities.

To a great extent, cultural activities in Austria, Germany and Switzerland are still financed by the state, with the concurrent expectation that commercial enterprises and civil society will increase their responsibility. If a paradigm change in cultural production is indeed pending, then transition and communication processes for the societal roles of cultural producers and cultural organizations are necessary.

For the formation of theories and the drafting of strategies, references to cultural studies or sociological and empirical data are equally desirable as international comparisons and interdisciplinary connections to the scientific fields of economics, social science and fiscal law.

Central Questions

  • Diachronic perspective: When applying an historical viewpoint to support schemes, can we find causal effects they had on the production of cultural goods and processes, and if so, what are they?
  • Synchronic perspective: When analyzing present support schemes on an international comparison basis, can we find causal effects on artistic and cultural production?
  • Which criteria and procedural strategies of cultural management enable up-to-date cultural funding and its evaluation?
  • Do certain areas (experimental formats; cultural activities outside urban centres) show special needs with respect to financing? If so, what are the adequate management strategies?
  • What chances and risks are inherent in the increasingly mixed forms of cultural funding? Which new “fields of investment” and “patterns of legitimation” (cultural education, cultural tourism, cultural industry, “eventisation”, image-building and reputation building, etc.) can be ascertained, and what chances and risks do they hold for artists and cultural organizations?

Contributions in German or English should relate to projects which are concluded, or still in progress; they should not have been published yet. The submitted texts should not exceed 500 words. Review criteria are: the originality of the problem, the methodical approach as well as the practical utilization of the study.

The conference offers two presentation platforms: keynote lectures (45 minutes) and workshop discussions (lecture and moderated discussion). The latter may include a co-speaker from the field. Co-speakers may be proposed; alternatively, the conference committee may suggest a suitable co-speaker.

The conference committee makes the final decision regarding the selection and categorization. We are looking forward to your contributions!

The deadline for submission ends on June 3rd, 2013.

Submit to: kulturtagung2014[at]fh-kufstein.ac.at

Conference chaired by: Prof (FH) Verena Teissl, PhD, University of Applied Science Kufstein
Conference committee: Prof Sigrid Bekmeier-Feuerhahn, PhD, Patrick S. Föhl, PhD, Prof Steffen Höhne, PhD, Rolf Keller, PhD, Prof Birgit Mandel, Phd, Prof Martin Tröndle, PhD.

The Fachverband Kulturmanagement is a professional association of academic lecturers and researchers in the field of cultural management for the German-speaking countries. The association’s mission is the representation and advancement of cultural management in research and teaching.

 

Dispositive der Kulturfinanzierung
Strukturen der Kulturfinanzierung und ihre Konsequenzen für Kulturproduktion und -rezeption

Die 8. Jahrestagung des Fachverbandes Kulturmanagement fokussiert auf den Wirkungszusammenhang zwischen Finanzierungssystemen, Produktion und Rezeption kultureller Güter und Prozesse. Denn künstlerische Praxis und Kulturarbeit passieren nicht einfach, sie verweisen vielmehr in ihren Ergebnissen und Wirkungen auf Entstehungsbedingungen. Mit welchen theoriegestützten Zugängen trägt Kulturmanagement zur Debatte einer Kulturfinanzierung bei, die Authentizität, Innovation und Vielfalt im Kulturbetrieb gleichermaßen ermöglicht? Welche Einflussmöglichkeiten hat Kulturmanagement auf die Gestaltung von Förderkriterien und -strukturen? Welche anderen Finanzierungsmodelle zu den bereits bestehenden ließen sich denken, um alternative Formen der Kulturproduktion zu stärken? Kulturfinanzierung muss heute vor einem hohen Komplexitätsgrad be-werkstelligt werden: Kulturangebote haben eine relative Dichte erreicht, traditionelle Finanzierungssysteme befinden sich im Umbruch, neue Akteure, Felder und Allianzen bilden sich heran: Stiftungen, Crowdfunding, Koproduktionen, Netzwerke und neue Partnerschaften in den Bereichen kulturelle Bildung und Kulturtourismus.

Der historische Blick verweist auf den systemischen Einfluss von Kulturfinanzierung hinsichtlich der künstlerischen Praxis: Vor unterschiedlichen Epochen veränderten sich die Paradigmen der Finanzierung, und mit ihnen die künstlerische und kulturbetriebliche Praxis. Vom Mäzenatentum zur Heranbildung von Kulturpolitik bis herauf zur Intensivierung von Kultursponsoring oder dem aktuellen Trend des Crowdfunding, stand und steht Kulturfinanzierung in enger Verbindung mit der Definitionshoheit über Kunstproduktion und kulturelle Angebote.

In Österreich, Deutschland und der Schweiz ist Kulturarbeit immer noch in hohem Maße durch staatliche Zuwendungen finanziert, bei gleichzeitiger Erwartung, dass Wirtschaftsunternehmen und Zivilgesellschaft vermehrt Verantwortung übernehmen. Wenn hier ein Paradigmenwechsel für die Kulturproduktion ansteht, so benötigt es Übergangs- und Verständigungsprozesse zu den gesellschaftlichen Rollen der Kulturproduzenten und Kulturorganisationen. Für Theorienbildung und Strategieentwürfe sind kulturwissenschaftliche, kultursoziologische und kulturempirische Referenzen ebenso erwünscht, wie internationale Vergleiche und interdisziplinäre Bezüge z.B. aus den Bereichen der Sozial- und Wirtschaftswissenschaften sowie dem Steuerrecht.

Leitfragen

  • Diachrone Perspektive: Lassen sich bei einer historischen Betrachtung von Fördersystemen bestimmte Wirkungszusammenhänge auf die Produktion von kulturellen Gütern und Prozessen erkennen, falls ja welche?
  •  Synchrone Perspektive: Lassen sich bei der Analyse derzeitiger Fördersysteme im internationalen Vergleich bestimmte Wirkungszusammenhänge auf die Kunst- und Kulturproduktion erkennen?
  • Welche kulturmanagerialen Kriterien und Verfahrensstrategien ermöglichen zeitgemäße Kulturfinanzierung und ihre Evaluation?
  • Weisen bestimmte Bereiche (experimentelle Formate, Kulturarbeit abseits urbaner Zentren) besondere Finanzierungsbedürfnisse auf? Wenn ja, wo liegen kulturmanageriale Strategien?
  • Welche Chancen/Risiken sind dem zunehmenden Finanzierungsmix inhärent? Welche neuen »Investitionsfelder« und »Legitimationsmuster« (Kulturelle Bildung, Kulturtourismus, Kulturwirtschaft, Eventisierungstrends, Image- und Reputationsaufbau etc.) sind zu erkennen und welche Chancen/Risiken bergen sie für KünstlerInnen und Kulturorganisationen?

Beiträge in Deutsch oder Englisch können/sollten sich auf bereits abgeschlossene oder in Bearbeitung befindliche Projekte beziehen, die noch nicht publiziert wurden. Die Einreichungstexte sollen einen Umfang von 500 Worten nicht überschreiten. Kriterien der Auswahl sind die Originalität der Fragestellung, des methodischen Zugangs sowie die praktische Verwertbarkeit der Studie.

Die Tagung bietet zwei Präsentationsplattformen: Key Notes (45 Minuten) und Werkstattgespräche (Impulsvortrag und moderierte Diskussion). Letztere können eine/n Ko-ReferentIn aus der Praxis miteinbeziehen. Diese Ko-ReferentInnen können vorgeschlagen werden oder werden vom Tagungsausschuss passend zur Einreichung vorgeschlagen.

Der Tagungsausschuss behält sich die endgültige Entscheidung über die Zuordnung vor. Wir freuen uns auf Ihre Beiträge!

Die Einreichungsfrist endet am 3. Juni 2013.

Einreichungen an kulturtagung2014[at]fh-kufstein.ac.at

Tagungsleitung: Prof (FH.) Dr. Verena Teissl (FH Kufstein)
Tagungsausschuss: Prof Dr. Sigrid Bekmeier-Feuerhahn, Dr. Patrick S. Föhl, Prof Dr. Steffen Höhne, Dr. Rolf Keller, Prof Dr. Birgit Mandel, Prof Dr. Martin Tröndle.

Der Fachverband Kulturmanagement ist ein Zusammenschluss akademisch lehrender und forschender KulturmanagerInnen im deutschsprachigen Raum. Ziel des Verbandes ist die Vertretung und Förderung des Faches Kulturmanagement in Forschung und Lehre.

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Film Festival Studies at NECS 2013 Prague

The orNECS04ganizing team of the NECS Conference 2013 “Media Politics – Political Media” in Prague (20-22 June 2013) have sent out the conference program.  These are the panels that feature one or more papers related to film festival studies.prague_0

 

 

Wednesday, 19.6.2013, 17-19h
The Faculty of Arts in is Jana Palacha 2, 11638, Prague 1.

Pre-Conference Workshop

RESEARCHING DOCUMENTARY FILM FESTIVALS.
Academics vs Professionals

Participants:

  • Aida Vallejo (researcher on European Documentary Film Festivals)
  • Skadi Loist (co-founder of Film Festival Research Network)
  • Marek Hovorka (Jihlava Documentary Festival Director, Czech Republic)
  • Miriam Šimková (Manager of East Silver Video Library -specialized in documentary from Eastern and Central Europe-Czech Republic)
  • Hanka Rezková (project manager of Institute of Documentary Film – Czech Republic)

 

NECS Conference Panels:

Thursday, 20.6.2013, Slot A, 9:00-10:45
Panel A4:  Modes and Practices of Participatory Engagement
Chair: n.n.

  • Leshu Torchin (University of St Andrews): Advance Engagement: Crowd Funding and Publics Production for “The Yes Men Are Revolting”
  • Ryan Shand (University of Glasgow): Excitement Lies Elsewhere: Teenage Digital Moviemakers and Commercial Culture
  • Allister Gall (Plymouth University): Imperfect Makes Practice
  • Aleksandra Sekulic (University of Arts in Belgrade): Low-Fi Video Festivals as Performance of Microcinema and Yugoslav Cine-Amateurism

Friday, 21.6.2013, Slot E, 9:00-10:45
Panel 6E: Questions of Method? Diagramming Unofficial Versions of Cinema (London and Mumbai)
Chair: Janet Harbord (Queen Mary, University of London)

  • Gil Toffell (Queen Mary, University of London): Intergenerational Knowledge, Local Space and New Media
  • Amit Rai (Queen Mary, University of London): Knowledge or Diagram? Or How to do Things with Film Festivals
  • Janet Harbord (Queen Mary, University of London): The Trouble with Cinephilia: Doing Unofficial Things with Film in London and Mumbai Neighborhoods

Friday, 21.6.2013, Slot H, 15:45-17:30
Panel 3H: Alternative Film, Specialized Festivals: On the Politics of Festivals
Chair: Ger Zielinski (Trent University)

  • Ger Zielinski (Trent University): Sexual Identities, Liberal Rights, Difference: On the Cosmopolitan Aspects of LGBT Film Festivals Here and There
  • Ana Gilbert (Federal University of Rio de Janeiro): Disability Film Festivals: Territories of Biological Identity(ies)
  • Greg de Cuir (University of Arts in Belgrade): The Fractured History of Avant-garde Film Festivals
  • Mattias Frey (University of Kent): Cosmopolitanism, Exoticism and the “Sandwich Process”: The Programming and Discourse of Extreme Cinema at Film Festivals

 

Friday, 21.6.2013, 21.00 (after the NECS General Members Assembly 2013)
FFRN Get-together at a bar/restaurant near the conference location

 

Saturday, 22.6.2013, Slot I, 9:00-10:45
Panel 3I: Media Industry and “Economic Censorship” in Post-authoritarian/Transitional Economies
Chair: Ann Vogel (Humboldt University of Berlin)

  • Valeria Zanier (Ca’ Foscari University of Venice): United We Win: The Delicate Balance of State and Private in China’s Media Industry
  • Elena Pollacchi (Stockholm University): Glamour and Ruins: The Chinese Obsession to Walk the Red Carpet
  • Dunja Jelenkovic (Versailles Saint-Quentin-en-Yvelines University): Use of Images for Political Purposes: Documentary Production of Radio Television of Serbia during the NATO Bombing of Yugoslavia in 1999
  • Dennis Broe (Long Island University): Runaway Realism: How Italian Cinema Learned to Stop Worrying and Love the Box Office

Saturday, 22.6.2013, Slot I, 9:00-10:45
Panel 7I: The Politics in/of Chinese Alternative Media Culture
Chair: Victor Ho Lok Fan (King’s College London)

  • Luke Robinson (University of Nottingham): The Body Politic(s) of Chinese Activist Documentary
  • Jenny Chio (Emory University): Video Documentary and Public Culture in Rural, Ethnic China
  • Hongwei Bao (Nottingham Trent University): “Guerrilla Warfare”: Spatial Politics and Socialist Tactics in the Organisation of the Beijing Queer Film Festival
  • Qi Wang (Georgia Institute of Technology): The Concept of Surface in the Cinema of Jia Zhangke

Saturday, 22.6.2013, Slot K, 13:45-15:30
Panel 3K: Politics of Documentary Exhibition
Chair: Lucie Česálková (Masaryk University / National Film Archive, Prague)

  • Aida Vallejo Vallejo (University of the Basque Country / Autonomous University of Madrid): The Rise of Documentary Festivals
  • Andrea Slováková (Charles University): Jury’s(diction) – Hit Making – The Internal Structures of a Festival Jury’s Decision-making
  • Veronika Klusakova (Palacky University in Olomouc): The Role and Purpose of Science Film Festivals
  • Anna Wiehl (University of Bayreuth): Beyond Observation: Interactive Documentary, Perception and Participatory Culture

Saturday, 22.6.2013, Slot L, 15:45-17:30
Panel 1L: The Film Festival Circuit: The Role of Festivals for Global Film Circulation
Chair: Elena Pollacchi (Ca’ Foscari University of Venice)

  • Skadi Loist (University of Hamburg): Network Exchange: The International Film Festival Circuit and Global Film Circulation
  • Marijke de Valck (University of Amsterdam): Circulation and Promotion of Alternative Filmmaking through Film Festivals
  • Maria-Paz Peirano (University of Kent): Making the Festival “Home”: Chilean Cinema and its Circulation in European Film Festivals

Saturday, 22.6.2013, Slot L, 15:45-17:30
Panel 3L: Trasforming Reality: Screenwriting and Development in Creative Documentary Filmmaking
Chair: Aida Vellejo Vallejo (University of the Basque Country / Autonomous University of Madrid)

  • Jan Gogola (FAMU): “Documentary” is not the Twin of the World: Understanding Reality as a Genre Structure – Contemporary Tendencies in Creative Documentary Screenwriting
  • Hana Rezkova (Institute of Documentary Film): Self-constituted Buffer: Documentary Film Development and National Film Policies in Visegrad Countries
  • Marek Hovorka (Director of Jihlava International Documentary Film Festival): Deepening the Structure of Documentary Film Development: Innovative Industry Projects of Documentary Film Festivals
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New Book Series: Framing Film Festivals

About the series

The new Framing Film Festivals series aims to present the best of contemporary film festival research. The series will be committed to furthering the understanding of the phenomenon of film festivals in all its complexity and thus brings together a broad scope of themes and interdisciplinary methods. The international film festival circuit is made up of a diverse range of bigger and smaller, general and specialized festival events. Next to the international festivals that feature markets, funds and training opportunities, stand identity-based festivals that build on the local community’s sense of belonging, and specialized festivals, dedicated to a genre or regional production. The publications in the series will highlight the various faces of festivals and/or set the agenda concerning topical debates.

Themes and topics of interest to the series include but are not limited to festivals’ interrelations with national and global film industries, the constitution of festival audiences, the festival as a particular exhibition context and the politics of certain festival publics (e.g. LGBT festivals and women’s festivals), festivals’ specific relation to host cities, national/ local/regional culture vis-à-vis the global festival format and cosmopolitan in-crowd culture, and issues of censorship.

The series strives to present work that offers empirical study as well as conceptual perspectives on the ways festivals relate to their stakeholders. The editors will also solicit projects that assess film festivals’ influence on typical festival “genres,” like world cinema and global art cinema. Finally, this book series hopes to chart the new theoretical directions in film festival studies.

Series Editors

MARIJKE DE VALCK is a tenured Assistant Professor and Program director of the MA Preservation and Presentation of the Moving Image in the department of Media Studies at the University of Amsterdam, the Netherlands. Her work includes the monograph Film Festivals: From European Geopolitics to Global Cinephilia (2007), articles in Cinema Journal, the International Journal of Cultural Studies, and the Film Festival Yearbook series. She is co-founder of the Film Festival Research Network (FFRN). Find out more at www.filmfestivalresearch.org.

TAMARA L. FALICOV is department chair and Associate Professor of Film and Media Studies as well as a core faculty member of the center of Latin American Studies at the University of kansas, USA. She is the author of The Cinematic Tango: Contemporary Argentine Film (2007) and is currently completing a monograph on Latin American film industries for BFI/Palgrave Macmillan. Her work on film festivals focuses on the study of festival funds and circulation of Latin American cinemas.

Send proposals to:

Marijke de Valck (M.deValck@uva.nl)

Tamara Falicov (tfalicov@ku.edu)

Robyn Curtis , Palgrave Macmillan Editor  (robyn.curtis@palgrave-usa.com)

 

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Film Festival Studies Resources

The FFRN Bibliography is frequently updated to represent new output in the growing field of film festival studies.  In the last few months new resources and books have become available, which have been added to the Bibliography.  Some materials we want to highlight here.  Sustainable-Projections1-240x326

A new monograph from St. Andrews press has appeared: Sustainable Projections: Concepts in Film Festival Management by Alex Fischer.

At request of Oxford University Press  a newly structured, peer-reviewed annotated bibliography on film festival studies was compiled by Marijke de Valck and Skadi Loist and is now available (via subscription) at Oxford Bibliographies Online in the Cinema and Media Studies section: “Festivals.”

TheGQC collaborative research project Global Queer Cinema has introduced a resource page collecting research on Queer Film Festivals Studies that is available in open-access forms.  This includes various articles as well as a link to a map of the global spread of LGBT/Q film festivals.

Please keep us updated on material that becomes newly available.  Drop us a line about your work and pieces you want to see added to the Bibliography at: skadi[at]filmfestivalresearch.org.

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CfP Pre-constituted Panel(s) on Film Festivals for the ECREA Film Studies Section Interim Conference, 8-9 Nov 2013

ECREAFilm Festival Research Network @
European Film Cultures: An International Conference
8-9 November 2013, Lund University, Sweden
ECREA Film Studies Section Interim Conference

In preparation for the ECREA Film Studies Section Interim Conference taking place in Lund, Sweden, 8-9 Nov. 2013, we would like to invite scholars working on film festivals (especially members of the FFRN) to submit paper proposals for one or more pre-constituted panels.

The panel(s) will be open to papers on all aspects of research relating to Film Festivals, but we especially invite papers on the conference theme of “European Film Cultures” as this topic seems to particularly lend itself to film festival studies.

The general call reads:

 “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:

  • film production as a creative industry
  • evolving cultural practices and technologies of film distribution and consumption
  • film as culture, cultural functions of film
  • film festival studies
  • film culture and celebrity culture
  • national and transnational film cultures
  • European film culture in a global perspective
  • national and transnational film genres
  • private and amateur film cultures, as well as documentary and avant-garde
  • history of film culture
  • film as media event, film and the tourist industry
  • film audiences and the social experience of cinema-going
  • film between art and popular culture
  • film and fan culture
  • digital and online film cultures”

We ask anyone interested in participating in a pre-constituted film festival panel to send their completed proposal to Skadi Loist (skadi@filmfestivalresearch.org) by MAY 15th, 2013 to allow time for preparation of the overall panel description(s) and submission before the general submissions deadline on May 31, 2013.

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 is organized by the Film Studies Section of the European Communication Research and Education Association (ECREA) and 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.

You do not have to be a member of ECREA to participate in the conference. 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.

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Film festival research at Screen Studies Conference 2013

The subScreenmission of pre-constituted panels by members of the FFRN to the Screen Studies Conference (Glasgow, 28-30 June 2013) was very successful.  According to the preliminary program note circulated to accepted presenters there will be 3 panels and a few single papers on film festival research at the conference.

Here is a preliminary list of the festival-related panels and papers:

Panel: Cosmopolitan Circuits: The Influence of Film Festivals on Global Film Circulation

  • Marijke de Valck: “Circulation and Promotion of Alternative Filmmaking through Film Festivals”
  • Skadi Loist: “Exchange Networks: The International Film Festival Circuit and Global Film Circulation”
  • Aida Vallejo Vallejo: “Festival translations: documentary production and cultural exchange within Europe”

Panel:  On the Interplay of Cosmopolitanism, Difference and Resistance at International Film Festivals

  • Murat Akser: “A Festival for the Labor: International Labor Film Festival as a Cosmopolitan Site of Resistance”
  • Mattias Frey: “Cosmopolitanism, Exoticism and the ‘Sandwich Process’: The Programming and Discourse of Extreme Cinema at Film Festivals”
  • Ger Zielinski: “Sexual Identities, Liberal Rights, Difference: On the Cosmopolitan Aspects of LGBT Film Festivals Here and There”

Panel: Festivals in the context of Chilean and Japanese cinema

  • Oliver Dew: “The cosmopolitan film festival in Japan”
  • Andrew Dorman: “Decentred Aesthetic: Consolidating Cosmopolitanism Through Cultural Spectacle in Contemporary Japanese ‘Festival Films’”
  • Maria-Paz Peirano: “Towards a ‘cosmopolitan’ national film industry: Contemporary Chilean Cinema at International Film festivals”

Individual Papers within other panels:

Dorota Ostrowska: “Cannes Cinefondation: International Film Festivals as Producers of World Cinema”

David Richler: “Worldly Desires and Cosmopolitan Projections: Festival Spectatorship, the Tourist Gaze, and the Otherwordly Cinema of Apichatpong Weerasethakul”

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REMINDER CfP pre-constituted panels on film festivals at NECS 2013

Media Politics ‒ Political MediaNECS04
The NECS 2013 Conference
Prague, Czech Republic, June 20-22, 2013
Hosted by Faculty of Arts, Charles University in Prague

In preparation for the seventh annual NECS conference taking place in Prague, 20-22 June 2013, we would like to invite scholars working on film festivals (especially members of the Film Festival Research Network & NECS Film Festival Research Work Group) to submit paper proposals for one of more pre-constituted panels.

The panel(s) will be open to papers on all aspects of research relating to film festivals, but we specifically invite papers on the conference theme of ‘Media Politics – Political Media’. Please note that individuals may submit only one paper proposal, either to the open call or as a part of a pre-constituted panel or workshop.

Panels may consist of 3-4 speakers with a maximum of 20 minutes speaking time each. All presenters are obliged to provide us with a title, an abstract (max. 150 words), 3-5 key bibliographical references, name of the presenter with institutional affiliation and a brief bio (max. 100 words).  Please adhere to the word-counts as submissions with over-long bios and/or abstracts cannot be processed.

We ask anyone interested in participating in a film festival panel to send their completed proposal to Skadi Loist by JANUARY 15, 2013 to allow time for preparation of the overall panel description(s) and submission before the general submissions deadline on January 31, 2013.  Please indicate also whether you are willing to chair a panel and submit a panel.

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.

In the new automated submission process the following restrictions apply:
Conference participants may deliver one paper and may only serve in a maximum two capacities:

  1. Deliver a paper and serve as a chair of either a panel or a workshop
  2. Deliver a paper and participate in a workshop
  3. Deliver a paper and serve as a respondent on another panel
  4. Chair a workshop and serve as a respondent on a panel
  5. Chair a panel and participate in a workshop

The conference language is English. Conference attendance is free, but NECS membership is required to participate in the conference. For the terms of NECS membership, please see the website. Participants will have to cover their own travel and accommodation expenses. Detailed information on NECS and the Prague Conference are posted on www.necs.org.

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Film Festival Research at SCMS 2013

TSCMS_chicago-ad-2013he preliminary conference program for the annual conference of the Society for Cinema and Media Studies (SCMS) in Chicago, 6-10 March 2013, is out.  A view into the schedule shows that the output of film festival research continues to be very strong.

The following workshop and 7 panels feature new film festival research and are sponsored by the Film and Media Festivals Scholarly Interest Group at SCMS.

Wednesday, March 6, 2013 10:00AM-11:45AM (Session A)
A24: Workshop: Behind the Velvet Rope: Insider/Outsider Dilemmas for Film Festival Researchers
Room: 24
Chair: Diane Burgess (University of British Columbia)

Workshop Participants:

  • Christian Jungen (University of Zurich)
  • Skadi Loist (University of Hamburg)
  • Roya Rastegar (University of California, Los Angeles)
  • Liz Czach (University of Alberta)
  • Diane Burgess (University of British Columbia)

Wednesday, March 6, 2013 02:00PM-03:45PM (Session C)
C5: Documentary Film Festivals: Activism, Education, and Archiving
Room: 5
Chair: Ger Zielinski (Trent University)

  • Ryan Bowles (University of California, Santa Barbara), “‘How to Start a Human Rights Film Festival’: Training and Resistance”
  • Carole Roy (St. Francis Xavier University), “Documentary Film Festivals and Social Transformation”
  • Aida Vallejo (University of Basque), “Documentary Film Festivals in Europe: A Historical Overview”
  • Heather Barnes (University of North Carolina, Chapel Hill), “Preserving Film Festival Records”

Wednesday, March 6, 2013 04:00PM-05:45PM (Session D)
D5: Global Film Cultures: International Festivals, Workshops, and New Waves
Room: 5
Chair: Anne Ciecko (University of Massachusetts, Amherst)

  • Zeynep Yasar (Indiana University Bloomington), “The Question of ‘Indie-ness’: Cultural Politics of the Istanbul International Independent Film Festival”
  • Sara Saljoughi (University of Minnesota), “Inventing ‘Our’ Avant-Garde: The House is Black, The Golestan Film Workshop, and the Iranian New Wave”
  • Tze-Lan Sang (Michigan State University), “Globalization and Its Discontents through Chinese Women’s Cinéma Vérité”
  • Anne Ciecko (University of Massachusetts, Amherst), “Contemporary Armenian Film Culture(s) and Structures of Sensation and Taste: From Pomegranate Tableaux to Multidimensional Apricots”

Thursday, March 7, 2013 03:00PM-04:45PM (Session H)
H4: Intersection: Situating Media, Tourism, and Festival Studies
Room: 4
Chair: Robert Peaslee (Texas Tech University)
Respondent: Curtis Coats (Millsaps College)

  • Regina Arnold (Stanford University), “Hardly Strictly Utopia: Race, Space, and the American Rock Festival”
  • Kevin Esch (Independent Scholar), “The Small State of Large Festivals; or, How a Former Red Sox Pitcher Nearly Ruined the Rhode Island International Film Festival”
  • Robert Peaslee (Texas Tech University), “Media Conduction: Exploring Power at the Intersection of Media, Tourism, and Festival Studies”

Friday, March 8, 2013 12:15PM-02:00PM (Session K)
K4: Inter/national Film Festivals Targeting Contemporary Asian Cinema
Room: 4
Chair: Boel Ulfsdotter (University of Skövde)

  • Boel Ulfsdotter (University of Skövde), “East Asian Popular Film at the European Film Festivals 2000-2010”
  • Tit Leung Cheung (Lingnan University), “The Film Festival of Independent and Underground in China: The Case of the Documentary Film Festival China (DOChina)”
  • Andrew Dorman (University of St Andrews), “The Performance of Nationality: Japanese Film Aesthetics on the International Film Festival Award Circuit”
  • Ran Ma (Osaka City University), “Festival Film in Post-underground Mode and the New Auteurism of Chinese Independent Cinema”

Saturday, March 9, 2013 09:00AM-10:45AM (Session M)
M7: World Documentary, Festivals, and Auteurs
Room: 7
Chair: Zhen Zhang (New York University)
Respondent: Aida Vallejo (University of Basque)

  • Cecile Lagesse (Yale University), “Chinese Documentary and International Film Festivals: The Reception of Director Zhao Liang’s Work”
  • Erin Alpert (University of Pittsburgh), “Sergei Loznitsa: Russian Documentary Auteur”
  • Raisa Sidenova (Yale University), “Global Documentary: New Genre and New Auteurs”

Saturday, March 9, 2013 01:00PM-02:45PM (Session O)
O4: Ethnographic Approaches in Film Festival Studies
Room: 4
Chair: Helle Kannik Haastrup (Roskilde University)
Respondent: Ragan Rhyne (Independent Scholar)

  • Sarah Dillard (Indiana University), “Everyday is a Festival: Towards an Ethnographic Understanding of the Toronto International Film Festival Organization”
  • Jennifer Hessler (University of California, Santa Barbara), “Next and the Ethos of Authenticity: An Ethnographic Look at Sundance’s Low Budget Filmmakers”
  • Helle Kannik Haastrup (Roskilde University), “The Cannes Film Festival as a Media Event: Palme d’Or, Art Film, and the Red Carpet”

 

Saturday, March 9, 2013 03:00PM-04:45PM (Session P)
Film and Media Festivals SIG will convene at room Florentine at Mezzanine level (East)

 

Saturday, March 9, 2013 05:00PM-06:45PM (Session Q)
Q4: Film Festivals and Space: Cinema, City, Nation
Room: 4
Chair: Lindiwe Dovey (University of London)

  • Gabriele Mueller (York University), “Redefining the Autorenfilm? The German Film Festival Ludwigshafen – a National Auteur Film Festival in the Age of Transnational and Industrial Filmmaking”
  • Murat Akser (Kadir Has University), “The Battle of the Festival Cities: Political Economy of Turkish Film Festivals”
  • Lesley-Ann Dickson (University of Glasgow), “Transformed and Embodied Spaces: A Qualitative Look at Cross-venue Experience during Glasgow Film Festival”
  • Lindiwe Dovey (University of London), “From Town to Township and Back: The Durban International Film Festival”

 

The following panel also features a paper focussing on film festival studies.

Sunday, March 10, 2013 09:00AM-10:45AM (Session R)
R14: Transnational Historiography
Room: 14
Chair: Peter Limbrick (University of California, Santa Cruz)

  • Jose Miguel Palacios (New York University), “Towards a History of Experimental Cinema in Latin America”
  • James Genova (Ohio State University, Marion), “Cinema, Revolution, and Development: The Solidarity of African and Latin American Filmmakers, 1965-1975”
  • Katherine Morrow (University of Washington), “China Inside and Out: The 1958 Karlovy-Vary International Film Festival”
  • Peter Limbrick (University of California, Santa Cruz), “Modernism, Film Culture, and Moroccan Short Film and Documentary”
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CfP The Host City: (Re)Locating Media Events in the Network Era

Call for Papers for a Special Issue of Interactions: Studies in Communication and Culture

The Host City: (Re)Locating Media Events in the Network Era

Guest Editor: Robert Moses Peaslee, Texas Tech University
Assistant Guest Editor: Brendan Kredell, University of Calgary

As media events (Couldry, Hepp & Krotz, 2010; Dayan & Katz,1992) of all stripe proliferate around the world, a variety of stakeholders jockey for position and advantage in the geographical and cultural contexts chosen to host them. Media events, as Dayan and Katz famously characterized them, were defined in part by their liveness, their physical remoteness from the majority of their “audience,” their interruptive nature, and their status, nonetheless, as pre-planned (prominent examples today would include the Olympic games, the annual film festival at Cannes, the Super Bowl, and music festivals such as Chicago’s Lollapalooza). Many of these events are consistently located, well-established and have assumed a defensive position aimed at maintaining brand identity and prestige. Others, such as the Olympics, change locations, while others (such as Austin, TX’s Fantastic Fest) are ascendant, and still others are nascent at best. Each host community, however, has a unique relationship to their event(s), and each of these relationships provides fertile ground for investigating the role of media events in promoting discourses of community identity, establishing infrastructural and external networks, reifying the importance of being mediated, utilizing the “local” to speak “globally,” and a variety of other processes.

This special issue of Interactions: Studies in Communication and Culture seeks research articles engaging the media events literature and investigating the relationship between event and location, between location-as-text and location-as-infrastructure, between location and audience, between location and industry, and other relevant relationships, all in the context of networked media structures. Some relevant topics areas include, but are by no means limited to:

  • Host city branding and image management
  • Networked media events: the impact of social media
  • Media events and host city governance
  • Discourses of place in the media event
  • “Thereness” and virtuality in the media event
  • Media events as sites of resistance
  • Community and ritual
  • Media events, promotion and (g)local media
  • Fannish practices in/around the media event
  • The political economy of the media event
  • The audience experience: affect, memory, place
  • Media events and mobility
  • Comparative analyses of host cities in media event contexts

Prospective authors should submit an abstract of approximately 500 words no later than January 15, 2013 to Robert Peaslee. Abstracts will be reviewed by the editors on a rolling basis until then.

Those authors whose abstracts are accepted will be required to submit full articles of 6000-7000 words (inclusive of notes, appendices, and works cited) no later than March 15, 2013.

Full articles will be subject to a blind peer-review process, meaning that acceptance of an abstract does not denote acceptance of the full article. We anticipate accepting approximately 12 abstracts in order to produce an issue of 6-7 articles.

Any revisions required by the reviewers will be expected by mid-June in order to publish the issue in early 2014.

Authors wishing to propose relevant book reviews for the issue should also submit an abstract by January 15, 2013.

Questions and abstracts should be directed to Robert Peaslee.

Also, anyone interested in serving as a reviewer should send a brief letter of interest along with a CV to Brendan Kredell.

Thanks and Happy Holidays!

Robert Moses Peaslee, Ph.D.
Assistant Professor
Department of Journalism & Electronic Media
College of Media & Communication
Texas Tech University

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