CFP: World Records, Volume 1 – The Documentary Camera

Bringing together the voices of scholars, critics, makers, and curators, the inaugural volume of World Records offers a space to ask and to explore:  What is a documentary camera?  What do cameras do and how do we know?

The increasing number of cameras, the number of individuals and spaces exposed to their effects, and the massive volume of photographs and video generated by those cameras and then shared, posted, streamed, installed, and screened across the globe suggests that it might be time to re-evaluate these questions and return to a set of first principles.  Within the field of documentary, the camera is often thought of as a key tool of transparency in a democratic politics of publicity, one where the camera aids in making publics by making public that which remains hidden.  But a contemporary surplus of recording devices produces as many dilemmas as it may resolve: it might be said to produce not more democracy but more suspicion, and their ubiquity comes at a time when many are experiencing more precarity than stability.

We solicit papers and abstracts on questions that help to explore and expand upon the contradictions of our present social and technological moment by addressing questions including, but not limited to, the themes listed below.

Social and Technological Conditions
In our “24/7” culture, as described by Jonathan Crary, new media might be defined by the increased demands that emerging technologies like the camera place upon our bodies.  At the same time, we can challenge what’s so new about new camera technologies by exploring the larger social and economic narratives, demands, and goals that are set in motion and inscribed into industrial and production processes long before the technologies that absorb those narratives appear in the marketplace.

·         Relationship between developments in new camera technologies and documentary discourses of access, intimacy, and publicity.

·         Augmented and virtual reality technologies and the politics and aesthetics of immersion.

·         Emerging camera technologies and their relationship and challenges to agency as a superintending concept of documentary study.

·         Explorations of recent nonfiction projects realized through the implementation of very particular camera technologies.

·         Explorations of films and filmmakers that situate these questions in the larger frame of documentary history.

Cameraless and Imageless Documentary Studies
According to Ariella Azoulay, the photograph is but one of a number of outcomes in the “event of photography,” a phrase that she uses to refer to the nearly endless possibilities catalyzed by the presence of a camera in a social space.

·         Explorations of the social and political effects of the presence of the documentary camera outside of the images that the camera produces.

·         Recent and historical cinema practices that elide traditional cinematic apparatuses.

What Can Cameras Do?
In recent years, many media makers have increasingly described their work as “mapping spaces” rather than “revealing” or “recording.”

·         What are the implications for the primacy of the camera as documentary turns to the charting of invisible flows?

·         Studies of projects that frame personal recording devices, privacy, and empowerment.

·         Explorations of projects that frame and rework the perspectival assumptions built into camera optics.

Deadline for electronic submission of 3,500 – 4,500 word essays formatted in Chicago Style, short abstract, brief bio, and bibliography is March 10, 2017. Please prep submissions for anonymous review.

Alternately, the deadline for electronic submissions of 500 word abstract, brief bio, and sample bibliography is February 20, 2017 with notification by March 20, 2017.

CFP: The Second China-Africa Film and Television Cooperation Forum

A core challenge for China-Africa relations is learning to project its current self, its past and legacies, towards future scenarios. Yet, how can we envision the future for China-Africa relations, a future that cannot yet be heard, seen or felt? Throughout history, the friendship and cooperation between China and African countries has only grown in depth. It has been an important topic of discussion amongst social, political and academic spheres alike. Audiovisual media has played a central role in these discussions. Every year, numerous audiovisual texts dissecting the multilevel dimensions of China-Africa relations are produced in China, as well other African and western countries. These audiovisual texts view the relation between China and many African countries from different perspectives and provide different views that act as cognitive references to world audiences, reshaping their knowledge of both China and Africa.

Audio-visual media has the potential of inscribing the future in the ongoing dialogues between the present and past of China-Africa relations. In this view, The Center for African Film and Television Research in the Institute of African Studies, Zhejiang Normal University, intends hold *The Second China-Africa Film and Television Cooperation Forum* under the theme of *“Audiovisual Records and China-Africa relations”.* The forum will be held during the last week of April 2017, in the city of Jinhua, East China, in cooperation with the prestigious Chinese Academic Journal /Contemporary Cinema /along with /Star Times/, one of China’s largest media companies in Africa. The forum proceedings will include an *academic conference* as well as *public screenings of selected Africa Related Films.* The winners of the */Spot light Africa /film review essay writing contest *will also be announced during the forum.

The Center for African Film and Television Research was founded in 2015, as part of the prestigious Institute of African Studies ( It is the first research center in China to focus solely on African Film and Television. Its main aim is to become the leading voice in the field, creating awareness and promoting China-Africa relations. The /First China-Africa Film and Television Cooperation Forum /was held in December 2015, under the theme of /“Sino-African Film and Television Exchange”./ This forum was successful is providing a critical review of the past and present status of China-Africa film cooperation. It also provided a platform where over 100 national and international scholars, filmmakers, actors and media professionals came together to conduct in depth discussions on multiple related topics.

For this year’s Forum, we invite media professionals as well as academics concerned with audiovisual representations of China-Africa Relations to attend the forum and share their thoughts and ideas. The academic conference will also be under the theme *“Audiovisual records and China-Africa relations” *and we warmly**invite proposals from scholars, postgraduate and postdoctoral researchers from all disciplines working on topics that include (but not limited to)

-/Audio-Visual representations of China-Africa relations/

-/Chinese Films “going out” policies put into practice/

-/Viewing the relations between Chinese and African films under Transnational contexts/

-/Comparative research between Nollywood and other Transnational Film Industries such as Hollywood and Bollywood. /

-/Colonial cinematic practices and the development of African Cinema/

-/Africa between its visual interpretations and cognitions/

-/The Future of China-Africa film and television cooperation./


Furthermore*, *in order to promote Chinese and African academic research in the field, cross-border exchange and cooperation, and to expand general awareness of China-Africa issues, the center is willing to collaborate with any organization, institute or person aiming to jointly promote China-Africa relations in the area of film and media studies. The center is also welcoming any party that would like to jointly organize a Chinese Film Section during any film festival, as well as any party interested in jointly organizing the upcoming China-Africa Film and Television Cooperation Forum. You are also welcome to submit African films or Africa-related films for screenings during the Forum.

*/Deadlines and important information /*

For those of you who would like to attend, please forward your proposals or participating information no later than the 20^th of February 2017, to the designated email: ** <>*. *The organizing committee will send out official invitations to all participating parties before the 15^th of April 2017. For those of you who need invitation letters earlier than the given date for visa applications, please specify your request in your email and we will do our best to provide you with what you need as soon as possible.

*Disclaimer*: All audiovisual materials submitted to the Forum will be published subsequently. All academic papers submitted to the conference will also be published collectively, outstanding papers will be selected for publishing in relevant Journals such as /Contemporary Cinema /and/African Studies./

Contact: Dr. Yong Zhang;  Dr. Hodan Osman Abdi; Miss: Wen Min Pan

Tel:  +86-18857925236; +86-57982287065

Email: ** <>

CFP – Small Cinemas Conference

Bilbao and San Sebastian, Basque Country, Spain
September 20-22, 2017


Aimed at academics, policymakers and media industry professionals, the 2017 conference will revolve around the phenomenon of glocal cinemas, understood as those cinemas conceived locally and in the local language, but aimed at a global audience.
In the last decades, film theory has embraced concepts such as “globalisation”, “transnational”, “post-national”, “diasporic” and “trans-regional”, and the long-established focus on North American and European cinemas has given way to analyses of lesser-known practices or creative expressions. Two forces operate today in the shifting landscape of world cinemas: globalisation and a reaction to this globalisation via the local and the ethnic. Communities that seek to tell stories from their cultural point of view and in their own language face extraordinary challenges in a market still dominated by Hollywood and other major industries. The organizers of this conference believe that it is through glocal cinemas that the world’s cultural and linguistic diversity can be affirmed, celebrated and/or critically examined.
We invite papers and panels on, but not limited to, the following topics:
Theorizing glocal cinemas:
From local to global.
Small cinemas and new directions in film studies.
Transnational and diasporic cinemas.
Glocal cinemas and the film industry:
Reaching audiences.
Funding and distribution challenges.
The role of public policies.
The importance of film festivals for glocal cinemas
The impact of new technologies
Production, distribution and exhibition alternatives for small cinemas
Linguistic diversity:
Linguistic accessibility for glocal cinemas
Multilingual films
Representation of diversity in glocal cinema:
Ethnic minorities
Gender representation
Sexual orientation
Age, class and disability
The other small cinemas
Experimental cinemas
Invisible cinemas


Deadline: April 30, 2017.
Response: May 30, 2017.
Proposals can be sent to:
and should include the following information:
Individual papers:
Title of the paper
Presenter’s name and affiliation
Abstract of 250-300 words
Short biography of the presenter (100-150 words)
5 bibliographic references
Pre-constituted panels:
We support the submission of proposals for pre-constituted panels with 3 or 4 papers (or 3 papers + a respondent) in order to strengthen the thematic coherence of panels.
Panel organizers are asked to submit a panel proposals that include:
A panel title
A short description of the panel (abstract)
Information on all of the individual papers of the panel:
Title of the paper
Presenter’s name and affiliation
Abstract of 250-300 words
Short biography of the presenter (100-150 words)
5 bibliographic references
Language: proposals can be sent and/or presented in any of the official languages of the conference:
English, Spanish and Basque (simultaneous translation will be available during the conference).

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