CFP (French): COLLECTER, CATALOGUER, CARTOGRAPHIER – Université Jean Monnet – Saint-Étienne

Processus et méthodologies de l’archivage numérique et de sa consultation
26-27 novembre 2014
Université Jean Monnet – Saint-Étienne

Colloque organisé par le Laboratoire CIEREC – EA 3068 et l’I.R.A.M (International Rhône-Alpes Medias)
Ce travail a été réalisé grâce au soutien financier du Programme Avenir Lyon Saint-Étienne de l’Université de Lyon, dans le cadre du programme “Investissements d’Avenir” (ANR-11-IDEX-0007)

-Soumission des résumés : 31 juillet (3000 signes min.)
-Notification aux auteurs : 25 août
-Conférence : 26-27 novembre 2014


Les propositions de communication (résumé au format .doc ou .pdf, de 3000 signes minimum) sont à envoyer par courrier électronique (, avant le 31 juillet 2014.

CFP: Screen Policies in the 21st Century

Screen Policies in the 21st Century

5th CinEcoSA Conference

17-18 November 2014

Université Sorbonne Nouvelle – Paris 3, France

Historically, film has been at the centre of cultural policies around the world. These public policies have striven to support a local film production, for both cultural and economic reasons. After dedicating the previous conference in 2013 to Film and TV policies in the English-speaking world, CinEcoSA now wishes to enlarge the discussion to 1) other media, 2) other regions around the world. Over the last three decades, the media environment has changed, with digitalisation and the development of new forms of screen media (video games, the Internet, mobile media), so much so that screen media is no longer geographically constrained in its production and distribution. New technologies have also potentially reduced the costs of producing and distributing films around the world. These changes have consequently challenged government policies aimed at the cultural protection and nurturing of local screen industries.

Since the late 20th century, the traditional boundaries on which cultural policies were based have been put into question. The idea of local and national film industries have to be dealt with in a context where many films are shot and post-produced outside the territory where they were developed. Hollywood is renowned for its runaway productions, but filmmakers from other countries, such as France or India, have roamed around the globe to take advantage of the incentives offered by numerous film production centres. States have thus had to balance the economic effort required to attract foreign productions with the cultural objective of developing a national screen production industry.

Another boundary which seems to be imploding is that between media. Film remains a standard bearer, but it is now part of a larger media ecosystem where television series, web series, interactive websites and video games hold their own. The recent British decision to extend production incentives to video games is a sign that traditional legislation is evolving to incorporate new forms of media. Digital technologies and the Internet have notably had a momentous impact on the media ecosystem. By easing film circulation, new technologies have also facilitated piracy of content, which has become increasingly rampant, reaching levels that 1980s VHS and 1990s DVD pirates could not have imagined. The piracy issue pitting State regulation vs. individual liberty has been at the centre of heated debates, from the SOPA legislation in the USA to the setting up of HADOPI in France. Not all countries have the same film and television policy history and not all react in the same way. One can contrast the situation in France, which has had a long history of film support, which must now be adapted to the digital environment, with that of the United Arab Emirates which have been developing a State-supported media industry only in the past decade and have thus immediately embraced the new media paradigm.

This conference aims at exploring the changes that have taken place in the institutional ecology of the screen media industries around the world since the late 20th century, including the changing role and priorities of governments in the support, development and protection of the industries, the role of market-based regulation, and the impact of technological innovation. The conference welcomes papers from different disciplinary perspectives to explore the way screen policies adapt to the transnational and transmedia logics of the digital era. Papers can present theoretical frameworks or focus on case studies. National analyses are welcome – however, comparative presentations are to be favoured when possible.

Topics may include, but are not restricted to:

– Evolution of State support for media production and distribution, media training programmes, festivals; support for new media (including video games) vs. old media

– State regulation of content (censorship) and circulation

– Debate around digital piracy, peer-to-peer networks

– Incentive schemes to attract foreign productions or film crews and competition between different geographic localities

– Interrelationship between regional, national and supra-national institutions and policy bodies, competition and/or collaboration between jurisdictions

– Co-production treaties

– Impact of digitalisation

Please send your proposals (title, 400-word abstract, 4 bibliographical references, brief biography) to and by 10 September 2014.

Working language of the conference: English. There may be provision for a limited number of delegates to present and participate from outside Europe via video conferencing.

Final papers will be considered for publication in English following a peer-review process.

For more information about CinEcoSA (Cinéma, Economie & Sociétés Anglophones), visit our website:

Organizing Committee

Joël Augros (Université Paris 8, Vincennes-Saint Denis)

Nathalie Dupont (Université de la Côte d’Opale)

Nolwenn Mingant (Université Sorbonne Nouvelle – Paris 3)

Cecilia Tirtaine (Université Sorbonne Nouvelle – Paris 3)

Scientific Committee

Joël Augros (Université Paris 8, Vincennes-Saint Denis)

Laurent Creton (Université Sorbonne Nouvelle – Paris 3)

Philip Drake (Edge Hill University, Liverpool)

Nathalie Dupont (Université de la Côte d’Opale)

Frédéric Gimello (Université d’Avignon)

David Newman (Simon Fraser University)

Nolwenn Mingant (Université Sorbonne Nouvelle – Paris 3)

Roger Shannon (Edge Hill University, Liverpool)

Cecilia Tirtaine (Université Sorbonne Nouvelle – Paris 3)

CFP: Figurations of Intermediality in Film

Figurations of Intermediality in Film

XV. Film and Media Studies Conference inTransylvania
Cluj-Napoca, October 24-26, 2013.Deadline for proposals: 30 June, 2014.


Intermediality has emerged as one of the major theoretical issues of contemporary thinking about film bringing a fresh view upon the ways in which the moving pictures can incorporate forms of all other media, and can initiate “dialogues” between the distinct arts. The most important works on cinematic intermediality so far have targeted the notion of intermediality both as a general concept and as a specific rhetoric in the works of individual artists (like Peter Greenaway or Jean-Luc Godard). Surveying the current cinematic “landscape” we may encounter some astonishing films that seem to have been designed on the principle of dismissing a conventional, “self-effacing” style (to use Bordwell’s term for classical cinema) in favour of forging an explicitly intermedial visual rhetoric. From the experimental, avant-garde canon to some current examples of mainstream, “hypermediated” digital cinema, from painterly movies bordering on installation art (like Lech Majewski’s The Mill and the Cross or The Roe’s Room), to so-called “slow cinema” projects, such films challenge us in finding the adequate theoretical framework for analysis.

By organizing this conference we would like to initiate a wider discussion among scholars whose researches may be connected to the idea of inter-media relations in moving images and are engaged in deeper explorations into the poetics of intermediality in film. In doing so we wish to bring into the spotlight one of the key aspects of intermediality:the fact that intermediality as such always manifests itself as a kind of “figuration” in film through which medial differences are visibly and self-reflexively “re-inscribed” within the moving image, and that in general, philosophical terms, intermediality can even be conceived as belonging to the domain of the “figural” in the sense used by Lyotard, and elaborated by D. N. Rodowick in his book Reading the Figural (in which he claims the “figural” to be a kind of interface for media relations in film).

In the past few decades there have been several important theoretical works that have dealt with the ways in which moving images operate within a network of interrelated media and with instances in which the boundaries between individual media and arts have been effectively blurred through techniques that enable the features of one medium to resurface within another, and which may offer theoretical vantage points for analyzing possible figurations of intermediality. We may list here studies re-evaluating cinema’s connections to traditional forms of visual arts (e.g. Angela Dalle Vacche’s, Susan Felleman’s, Belén Vidal’s, Steven Jacobs’s works on cinema and painting, or theoretical analyses of the figuration of the tableau vivant in cinema in seminal books by Brigitte Peucker, Pascal Bonitzer, Joachim Paech, etc.), but also the recent studies referring to the relationship of cinema and photography (e.g. Damian Sutton, Garrett Stewart, Régis Durand, David Campany, etc.), and implicitly to the relationship of stillness and motion within cinema, along with analyses of the connections between cinema, video and installation art (e.g. Raymond Bellour, Yvonne Spielmann, etc.).

In the context of shifting paradigms in film poetics from stylistic patterns of modern or postmodern cinema towards what we may term as “post-media cinema,” the figural aspects of intermediality also manifest new forms that may require a search for further theoretical perspectives for identifying and interpreting techniques that figurate intermedial relations. In doing so, perhaps, we should also keep in mind that although intermediality often occurs as a form of aesthetic detachment or as some sort of hypermedia ornamentalism, such figurations can also insist on “tangibility,” or, as Brigitte Peucker reminds us in her book, The Material Image. Art and the Real in Film (2007), on “the merger of representation with reality,” both through establishing the viewers’ intimacy with the medium and through the performative potential of such figures to produce an increasingly haptic cinema, a cinema of “sensual excess” in which the “body” of the medium and the mediation of bodies and sensations sometimes become intertwined in ways that may suggest a rethinking of the figurations of intermediality from the perspective of phenomenology or visual anthropology, and so on. As such, intermedial figurations may be conceived as open to a wide range of philosophical, aesthetical, ideological, historical, and media theoretical interpretations that we hope papers presented at this conference will explore.

Proposals are invited to address (but are not limited to) the following questions either from a theoretical point of view or through concrete analyses:

·   Intermediality and the figurations of intermediality in film from a theoretical perspective:

a) theories of intermediality and intermedial figurations (film and media theoretical, philosophical approaches, psychoanalysis, visual anthropology etc.);

b) intermediality and the concept of “the figural” and “figuration” as discussed by Lyotard, Deleuze, Rodowick, etc.

·   The rhetoric of intermedial cinema, art theoretical and aesthetical considerations: figuration and (dis)figuration, mise-en-abyme and embedding, intermediality and metalepsis, the tableau vivant in cinema, possible trans-medial “adaptations” of traditional rhetorical figures/tropes (e.g. ekphrasis, hypotyposis, etc.),

·    Intermediality and inter-sensuality in film: figures that merge “hypermediacy” with “immediacy,” the represented and sensed body as a site of intermedial figurations, etc.

·    Remediated images as figurations of intermediality and post-mediality: recontextualization as/and remediation, reframing, media collage, remix, etc.

·    Figurations of intermediality as imprints of (and meditations upon) history and time, cultural and personal identity or intercultural exchange:

a) relating the rhetoric of intermediality to the specific personal, cultural, historical, ideological contexts, ideas and artistic paradigms in which they occur;

b) the poetics and politics of intermediality in the cinema of Eastern and Central Europe.

Confirmed keynote speakers:

¢     Brigitte Peucker (Yale University, USA), author of Incorporating Images: Film and the Rival Arts (1995), The Material Image: Art and the Real in Film (2007), currently working on a book titled Aesthetic Spaces: The Place of Art in Film.

¢     Eivind Røssaak (National Library of Norway), author of The Still/Moving Image: Cinema and the Arts (2010), and editor of the volume Between Stillness and Motion(2011).

We invite both proposals for individual papers and pre-constituted panels. Panels may consist of 3 or 4 speakers. The time for presentations is limited to maximum 20 minutes, followed by a 10 minute debate.

Deadline for the submission of proposals: June 30, 2014.

We will notify you about the acceptance of your proposal by: July 7, 2014.

Submission of proposals: please download the submission form from our website, complete and send it as an attachment to the following

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