Subscribe to RSS - film and television

film and television

Call for papers and creative writing

updated: 
Friday, January 19, 2018 - 4:15pm
the quint: an interdisciplinary quarterly from the north
deadline for submissions: 
Thursday, February 15, 2018

The quint’s thirty eighth issue is issuing a call for theoretically informed and historically grounded submissions of scholarly interest—as well as creative writing, original art, interviews, and reviews of books.  The deadline for this call is 15th February 2018—but please note that we accept manu/digi-scripts at any time.

All contributions accompanied by a short biography will be forwarded to a member of the editorial board.  Manuscripts must not be previously published or submitted for publication elsewhere while being reviewed by the quint’s editors or outside readers.

Animals in the Humanities

updated: 
Friday, January 19, 2018 - 4:15pm
Virginia Humanities Organization
deadline for submissions: 
Thursday, February 15, 2018

2018 VIRGINIA HUMANITIES CONFERENCE

Call for Papers

Animals in the Humanities: Relations, Representations, Ethical Implications

Roanoke College, Virginia

Dates: March 23–24, 2018                Submission deadline: February 15, 2018

Does the presence of animals in culture call the very nature of the humanities into question?

First Four: The Films of Kasi Lemmons

updated: 
Tuesday, January 23, 2018 - 2:28am
D. E. Wynter / California State University Northridge
deadline for submissions: 
Thursday, March 15, 2018

We are seeking chapter submissions for an edited volume on the films of writer-director Kasi Lemmons. This collection of critical analyses will explore cinematic, narrative, intertextual, and/or thematic elements of the films Eve's Bayou (1997), Caveman's Valentine (2001), Talk to Me (2007), and Black Nativity (2013), as well as their cultural aesthetics and social impact. Abstracts are due March 15, 2018.

CFP: The Postwar Films of Luis Buñuel for edited volume on Surrealism and Film After 1945

updated: 
Friday, January 19, 2018 - 9:46am
Kristoffer Noheden, Stockholm University
deadline for submissions: 
Thursday, February 15, 2018

Following World War II a diverse and intense surrealist film culture took shape. Surrealist filmmakers made experimental short films, documentaries, and feature films, while surrealist writers were a steady presence in French film criticism. With this our volume Surrealism and Film After 1945, we present the first anthology on this rich but understudied topic. The volume will feature contributions on filmmakers connected with surrealism, the surrealist reception and exhibition of film, and the surrealist contributions to animation, documentary, and feminist film.

Call for Submissions: "Becoming Environmental: Media, Logistics, and Ecological Change"

updated: 
Wednesday, January 17, 2018 - 1:52pm
Synoptique: An Online Journal of Film and Moving Image Studies
deadline for submissions: 
Saturday, March 31, 2018

French version to follow. Deadline for submissions: March 31, 2018

Call for Submissions: “Becoming Environmental: Media, Logistics, and Ecological Change”

Special Issue of Synoptique: An Online Journal of Film and Moving Image Studies

Sensing Media

updated: 
Wednesday, January 17, 2018 - 1:30pm
Dept of Cinema and Media Studies at the University of Chicago
deadline for submissions: 
Friday, February 9, 2018

Sensing Media

14th Annual Graduate Student Conference

Department of Cinema & Media Studies, University of Chicago

April 20th and 21st, 2018

https://sensingmedia.wordpress.com/

 

Keynote Speaker: Mark B.N. Hansen, James B. Duke Professor of Literature, Duke University

Reminder: Spiral Film and Philosophy Conference 2018: Thinking Space

updated: 
Wednesday, January 17, 2018 - 1:32pm
York University
deadline for submissions: 
Friday, March 2, 2018

Since Muybridge’s chronophotographic experiments, the relationship between cinema and time has been well documented. Less obvious, perhaps, is the relationship of cinema with space. Following the so-called digital mutation of recording and viewing technologies, this issue has nonetheless made its way to the forefront of cinema and media studies. It is not only that moviegoing is being decentered by the rise of portable viewing platforms — as cinema happens more and more outside of traditional theatres —, but also that the usual medium of inscription of film — the celluloid base — has been radically opened by new media.

 

Pages