CALL FOR PROPOSALS:

CONSOLE-ING PASSIONS

International Conference on Television, Video, Audio, New Media, and Feminism

July 11-13, 2018

Bournemouth University,

Faculty of Media and Communication,

Poole, UK

Bournemouth University is now accepting proposals for Console-ing Passions 2018.

Deadline for submissions: 23.59 (Greenwich mean time) 15 January 2018.

Please use the submission template found on the Bournemouth University Console-ing Passions web site: click on the "Download the Proposal Template” link (see Proposal Guidelines below).

Submissions should be sent to: CP2018@bournemouth.ac.uk

The history of Console-ing Passions

Console-ing Passions was founded in 1989 by a group of feminist media scholars and artists looking to create a space to present work and foster scholarship on issues of television, culture and identity, with an emphasis on gender and sexuality.  Over the years since the first conference took place at the University of Iowa in 1992, Console-ing Passions has expanded to become not only the most important conference for scholars studying gender in television but also one of the top conferences for scholars of media generally.  Console-ing Passions has only ever taken place twice before in the UK, in 2001 (University of Bristol) and 2013 (De Montfort University).

The focus of this conference

Console-ing Passions at Bournemouth University welcomes a wide range of proposals for individual papers, pre-constituted panels and pre-constituted workshops that consider television, video, audio or new media alongside gender, sexuality, race and/or other intersectional components of identity.  Proposals for the presentation of video, audio, or new media creative works are also invited.

Whilst the conference organisers invite a broad and diverse range of proposals, as global trends reveal the rise of populism, nationalism and resistance to migration, special preference will be given to panels, workshops and creative works that focus on these themes.  

As part of this, the conference plenary sessions will focus on intersections of feminism and migration, including confirmed presentations from:

·        Floya Anthias: Professor of Sociology and Social Justice (Emeritus) at Roehampton University, London, UK, whose recent work includes Paradoxes of Integration: Female Migrants in Europe (2013).

·     Kerstin Stutterheim: Professor of Media & Cultural Studies at Bournemouth University, who will present a self-reflexive documentary focusing on the migrant’s concept of home.

·        Representatives from the International Queer & Migrant Film Festival in Amsterdam will address the event, offering insight into their diverse social and cultural work.

The 2018 conference at Bournemouth University within the Faculty of Media and Communication offers a democratic arena for diverse voices, framing aspects of media production and performativity as much as academic enquiry.  Console-ing Passions is also accepting undergraduate proposals, so please encourage interested undergraduates to apply.

The conference organizers hope to make final decisions on submissions by mid-February, 2018.

Conference organisers: Christopher Pullen & Peri Bradley, Bournemouth University, Faculty of Media and Communication, Poole, Dorset, UK.

Email: CP2018@bournemouth.ac.uk

Proposal Guidelines

Proposers or attendees may submit one paper or creative project and one CP workshop.

Individual Papers: Individuals submitting a paper proposal should provide an abstract of 250 words, a short bio and contact information. Co-authored papers are acceptable.

Panels: Panel coordinators should submit a 250-word rationale for the pre-constituted panel as a whole. Coordinators should also submit a 250-word abstract, a short bio and contact information for each panel participant.  Panels should include 3-4 papers. Co-authored papers are acceptable. Panels that include a diversity of panelist affiliations and experience levels are strongly encouraged.

CP Workshops: We invite proposals for a limited number of pre-constituted workshop round-tables that focus either on scholarly topics in the field or matters of professional interest. We are especially interested in round-tables that are likely to engage wide participation by conference attendees and which reflect our field’s diversity of cultural identities, institutions, methodologies and professional rank or employment status. Proposals should be submitted by an organiser, who will propose a subject area for discussion (250-word abstract) including responses (of 150 words) from 5-7 respondents. Proposals should also include a brief bio and contact information for the organiser and each participant.

Creative Works: We invite proposals for video, audio, or new media screenings or exhibits. Each proposal should consist of a 250-word abstract (including details of the length and format of the work), a short bio of the producer/director and contact information. If the work is viewable online, please submit a URL.

Registration Fees

In line with the long-standing political ethos of Console-ing Passions, Bournemouth University aims to keep registration costs as low as possible, including the provision of low-cost university lodgings (subject to availability) in order to encourage a diverse and stimulating conference, where a range of voices are heard. 

Full details will be available soon after conference proposals have been accepted.  

Conference Committee

Peri Bradley - Senior Academic in Media Theory

Fiona Cownie – Senior Principal Academic

Laura Crossley - Lecturer (Academic) in Film

Evi Karathanasopoulou – Lecturer in Audio Production

Christopher Pullen - Principal Academic in Media Theory

Christa van Raalte – Head of Department

Alexander Sergeant - Lecturer in Film and Media Theory

Kristin Skoog - Senior Lecturer in Media History

Kerstin Stutterheim – Professor of Media and Cultural Studies

Bronwen Thomas - Director of the Centre for the Study of Journalism, Culture and Community

Shelley Thompson - Senior Lecturer in Corporate & Marketing Communications

Candida Yates – Professor of Culture and Communication

Dr. Chris Pullen – Principal Academic in Media Theory, and Unit leader of Dissertations and Media Theory Perspectives

The Faculty of Media and Communication, Bournemouth University, UK.

http://staffprofiles.bournemouth.ac.uk/display/cpullen

Proposals now accepted for Console-ing Passions – Feminist Media Studies Conference at Bournemouth University 11-13 July 2018

(9) CfP: Mapping out the Audiovisual Translation Industry

(Nantes, 06.04.2018, Einreichung bis 15.12.2017)

CinEcoSA Conference

CRINI (University of Nantes)/ CLARE-ARTES (University Bordeaux Montaigne)

6 April 2018 Université de Nantes, France

Traduttore, traditore: researchers specialised in linguistics and translation have long focused on the difficulty inherent to translating from one language to another: original meaning protection, rhythm of sentences, intercultural understanding and aesthetics of the final text, in the field of literature and, later, of film studies. The conference

organised by CinEcoSA will address audiovisual translation from a different angle. Its aim will be to study the audiovisual translation sector as an industry and explore the economic, political, social and cultural issues at stake.

How does this sector operate? What types of companies and professions are parts of this industry? When and how did it start and how has it evolved since its creation? How does the AVT sector fare in the digital era?

These important political, economic, social and cultural dimensions of audiovisual translation have been largely unexplored by academia as well public authorities and civil society. The conference aims at identifying significant avenues for future research. It will thus end with a workshop designed to set up a formal collaborative international and interdisciplinary project.

The organisers welcome papers on the AVT industry from different disciplinary perspectives. Proposals may deal with all sectors of the audiovisual industry (cinema, television, internet, video games, etc.) and cover any geographical area. Topics may include, but are not restricted to:

• Political and economic logics behind the choices made in the AVT sector (dubbing, subtitling, voiceover, split screens; choice of target languages)

• Sociological approaches of the professions within the audiovisual translation section (translators, dubbing actors, dubbing directors, producers, etc.)

• The structure of the AVT sector (industrial history, B2B dynamics, power balance, trade unions and trade associations)

• Translating practices during pre-production or shooting (script translation, but also contracts or dialogues, interpreting on location)

• Legislation (copyrights, collective agreements, censorship, accessibility, imposed languages) Amateur practices (illegal dubbing, fandubbing, fansubbing)

• Redubbing and gag dubbing

• Closed captioning for the deaf and hard-of-hearing and audio description for the blind and visually impaired

Please send your proposals (title, 300-word abstract and brief biography) to nolwenn.mingant@univ-nantes.fr, cecilia.tirtaine@univ-paris3.fr and joel.augros@u-bordeaux-montaigne.fr by 15 December 2017. Working languages of the conference: English and French.

CinEcoSA is organising this research cycle in collaboration with CRINI (Université de Nantes) and CLARE-ARTES ‘Université Bordeaux-Montaigne). For more information about CinEcoSA (Cinéma, Economie & Sociétés Anglophones), visit our website: http://www.cinecosa.com.

Contact details:Nolwenn Mingant (Université de Nantes): nolwenn.mingant@univ-nantes.fr

Cecilia Tirtaine (Université de Nantes): cecilia.tirtaine@univ-nantes.fr

Joël Augros (Université Bordeaux-Montaigne): joel.augros@u-bordeaux-montaigne.fr

Publication:    November 2018
Guest Editors: Dr Jodi Brooks (UNSW), Dr Kathleen Williams (University of Tasmania), Dr Jessica Ford (UNSW) and Melanie Robson (UNSW)

SUBMISSION INSTRUCTIONS

Deadline for abstracts: 1 February 2018
Deadline for full papers:   13 May 2018

All submissions will be double-blind peer reviewed. Proposed title, abstract (300 words), short biography and institutional affiliation should be sent to sydneyscreenstudies@gmail.com by 1 February 2018.

When considering your reaction to this call for papers, fusion encourages and accepts all forms of media. Please consult the journal website for more details on this special issue: http://www.fusion-journal.com

SPECIAL ISSUE OUTLINE

In her Fall 2014 Film Quarterly editorial film theorist B. Ruby Rich writes,

Cinema itself is in a state of immense transition, yet it’s hard not to notice that attention is lavished disproportionately on technology and auteurist style, with the question of theme, focus, and subject matter repeatedly sidelined. What, though, is “filmable” today? And what is “theorizable” in response?

Rich highlights how academic and journalistic discussions of the “new media” landscape in recent years have focused largely on technology and industry over content, theorisation and disciplinary boundaries. Considerable academic work has examined how the conditions of the convergence era have been enabled by and impact upon technology, production, distribution, and consumption and the media industry more broadly (Turner & Tay 2009; Gripsrund 2010; Lotz 2014; Haven & Lotz 2017). Building on this work, this special issue seeks to engage with the convergence of film and media at the level of content, authorship, genre, aesthetics, style and form.

While today “cinema” is an increasingly fluid term that moves across platforms, genres and textual boundaries, in this special issue we are interested in what it means to study cinema and/or other forms of screen-media in today’s increasingly fractured media landscape. This issue will explore the transitional nature of contemporary screen studies and the movement of scholarship, theory and ideas across its boundaries. We invite scholars working across film, television, video and internet genres to submit proposals for articles on topics such as:

• Interdisciplinary and cross-disciplinary approaches to screen media.
• Applying a single discipline to study a screen text not in that discipline.
• In what ways are different screen-based media texts informing and shaping one another?
• What are the textual, generic and/or aesthetic boundaries that define film/television/video today?
• What is the place of screen audiences in the increasingly convergent/divergent media landscape?
• What is the continuing value of single discipline approaches in a critical landscape dominated by interdisciplinary screen studies?
• What is lost when single discipline approaches are incorporated into screen studies?

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Co-founded by the Faculty of Arts, Charles Sturt University (Australia), and the College of Arts, University of Lincoln (United Kingdom), fusion publishes refereed articles, creative works and other practice-led forms of production.

Managing Editor: Professor Craig Bremner
Production Editor: Kim Woodland
Faculty of Arts and Education
Charles Sturt University
E kwoodland@csu.edu.au
W http://www.fusion-journal.com