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Canadian Journal of Film Studies – Call for Papers

Special Issue: 16mm and Canadian Film

 

This history of Canadian Cinema is impossible to disentangle from the specific dynamics of the cameras, films, projectors and institutions that constitute the shifting dynamics of what we often just call “16.” Standardized in 1923, this smaller, non-flammable, portable apparatus became the global backbone of a vast range of film practices: amateur, experimental, military, industrial, educational, governmental, religious.  As a distribution and performance platform, 16mm films and projectors normalized the place of film in Canadian classrooms, government offices, civic organizations and factories as early as the 1930s, fundamentally shaping how the nation, and its conflicts, would sound and appear thereafter. As a technology of making, 16mm transformed amateur, art/experimental, community, and televisual practices for decades. We invite papers that consider the specifically Canadian legacies of 16mm film, understood capaciously as a family of technologies, practices, institutions, filmmakers, programmers, viewers, and films. Topics may include distribution circuits and film libraries, amateur, educational and industrial films; the legacy of 16mm in direct cinema and the NFB/ONF;  the role of 16mm in expanded cinema and experimental forms; its role in Canadian television; practices of the military and government; LGBTQ2+ filmmaking, activism, viewing cultures; 16mm and colonial/settler-colonial/anti-colonialism/anti-racism; and 16mm’s rich image archive as materials for reconceptualizing the past, present and future. Essays on 16mm as found footage, raw material or hand-processed art are also welcome.

 

In order to accommodate as many kinds of contributions as possible, we are open to essays of varied length and approach. Proposals should be approximately 300 words, indicate anticipated length, include a short bio and should be submitted no later than May 15th, 2021. Contributors will be notified by June 1, 2021 and articles will be due November 30th, 2021.  We aim to have this issue out as part of the mounting interest in the 100th anniversary of the 16mm standard.

 

Send to issue Co-editors:

 

Liz Czach (liz.czach@ualberta.ca)

Associate Professor,  English and Film Studies, University of Alberta

 

Haidee Wasson (haidee.wasson@concordia.ca)

Professor, Film and Media Studies, Concordia University, Montreal

 

CfP: Science and the Moving Image: Histories of Intermediality 

Location: Online (Zoom)

Date: November 2nd and 3rd PM (UK time), 2021

 

Since the advent of film in the late nineteenth century, moving images have been integral to making and communicating science. A rich interdisciplinary literature has examined such representations of science in the cinema and on television and investigated how scientists have used moving images to conduct research and communicate knowledge. Responding to growing interest in science and the moving image, this online workshop uses the concept of ‘intermediality’ as a starting point to discuss new approaches and methodologies. Intermediality, coined by media scholars to describe the interplay between different media, magnifies their multiple meanings and heterogenous interrelations. Moving images especially invite intermedial analysis because they are often composed of interrelated visuals, speech, music, and text; film can also be cut into stills for reproduction in newspapers, advertisements, and journals. Intermedial approaches thus allow scholars to assess not only the relationship between scientific practices and media forms, but also the afterlives, circulation, and reception of these media in a richer historical context. With its attention to relations and movement between media, intermediality also expands our understanding of the visual cultures of science, including in parts of the world and among groups that are underrepresented in current scholarship. We particularly invite submissions that use intermediality to engage critically with the scope and limits of science and the moving image.

 

Possible themes might include:

  • Processes of translation between different media, including film, television, radio, and print
  • Intermedial practices and histories of specific scientific disciplines
  • Moving images in science education
  • Transnational and comparative approaches to scientific image-making
  • Time-lapse, frame-by-frame analysis, and other analytical methods as intermedial practices
  • Representations of science in multimedia entertainment industries
  • The relationship between moving images of science and the history of empire and colonization
  • Amateur uses of moving image media, including citizen science
  • The cultural reproduction through scientific images of gender, race, and class. 

 

Keynote speaker: Dr. Tim Boon (Head of Research and Public History, Science Museum Group)

We welcome talks from postgraduate students, early-career researchers and established scholars. We are looking for abstracts (max. 250 words) for 15-20 minute talks, which will be arranged in thematic panels. Submissions should be sent to movingimagescience@gmail.com. The deadline for proposals is June 28th, 2021 and we aim to respond to proposals within four weeks.

This workshop will take place online via Zoom and is hosted by postgraduate members of the Department of History and Philosophy of Science and the Faculty of History, University of Cambridge.

Organised by: Miles Kempton, Max Long, Anin Luo

 

100 Years of 16mm – Call for Papers

With its devices and materials largely consigned to archives, storage closets, and junk shops, it is easy to forget that 16mm was – for over 50 years – a major global media infrastructure. Considered an ascendant technological platform from the 1920s onward, 16mm was a suite of hardware and software that rapidly wended its way into the operations of government, industry, business, military, schools, museums, and homes. Sold as an amateur’s delight, a mighty military tool of operations, a miraculous business solution and a community organizing device, it transformed realms large and small, public and private, local and global. By mid-century, millions of 16mm cameras and projectors had launched countless new audio-visual forms and created everyday interfaces that reshaped how and what people would see and hear. New kinds of content arose, which appeared in remote as well as common places. Audiences morphed; They could be as small as one but as big as the formal and informal networks that grew to connect them.  Colonialist, imperialist, nationalist, and multi-nationalist institutions arose using this non-flammable, highly portable film format. Artists and activists also engaged these small affordable media machines establishing other, and sometimes, counter-pathways. Standardized in 1923, 16mm technologies, institutions, and practices constituted a primary and dominant media substrate for more than half a century, enabling a vast arena of film and media activity.

 

It’s time for a more fulsome assessment of its legacies.

 

This IN FOCUS  (Journal of Cinema and Media Studies) invites proposals for essays addressing the crucial, generative, and transformative history of 16mm film as a tool of making, storing, preserving, distributing, and showing moving images and sounds.  For almost 100 years, this uniquely important film format has upended and reshaped a vast realm of creative, political, governmental, sexual, educational, recreational, informational, and experimental activity. This dossier begins a conversation about its histories and impact, working to catalyze a fuller understanding of this particular moving image/sound infrastructure and the many practices and expressive forms it enabled.  Mapping its lasting, diverse and global impacts will be a priority of this IN FOCUS feature. Contributions may take the form of case studies or surveys, conceptual explorations, formal/artistic examinations, or institutional and technological studies.

 

Please share a brief 150-word abstract or statement of interest by March 31, 2021.

 

Send to: Haidee Wasson (haidee.wasson@concordia.ca)

Professor, Film and Media Studies, Concordia University, Montreal

 

Final Essays: 2500 words; due January 1, 2022

 

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Besides the Screen: Geographies, Spaces, and Places Outside the Screen 

University of Nottingham Ningbo China (UNNC), June 10-12, 2021

 

Conference Organisers: 

Dr. Virginia Crisp, Senior Lecturer in Culture, Media & Creative Industries, King’s College, London (UK)

Dr. Gabriel Menotti, Assistant Professor in the Film & Media Department, Queen’s University (Canada)

Dr. Corey Schultz, Associate Professor in the School of International Communications, University of Nottingham Ningbo China

 

Website: https://besidesthescreen.com 

 

CFP deadline: April 9, 2021 

As a conclusion to the (slightly delayed) Besides the Screen 10th Anniversary programme of events, the 2021 conference builds upon the network’s previous work examining the continuing transformations of audiovisual practice, to investigate the reconfigurations of screen industries, cultures, spaces and places through examining sites of production, infrastructures of circulation, film festivals, film tourism, and city branding. In short, the way place/space intersects with the multiple sites of production, circulation, promotion and consumption surrounding screen (incl. Film/TV, games, interactive arts) industries and cultures. The conference will explore the more established scholarship related to these topics (film festivals, city branding, transnational co-production, film/TV tourism) as well as expanding the conversation to represent the newly established or emerging topics (e-sports, virtual concerts). 

The conference will be a hybrid (physical/virtual) event hosted by the School of International Communications at the University of Nottingham Ningbo China (CN), in partnership with King’s College, London (UK) and Queen’s University (CA). As ever with BtSN events, the theme of the conference is deliberately expansive to bring together interdisciplinary perspectives and we welcome scholars emerging and established to submit proposals for papers, video essays, and short films dealing with topics such as: 

  • Sites of production, promotion, and consumption 
  • Infrastructures of circulation  
  • Transnational co-productions 
  • Media festivals and theatrical exhibition  
  • Film festivals 
  • E-sports 
  • Virtual events / concerts 
  • Film tourism 
  • Screen media and city branding 

 

Submission Details: 

 

Paper proposals should be made via the online form on the website –https://besidesthescreen.com – and require the following information: 

  • abstract (under 300 words); 
  • 3-5 keywords; 
  • short biography (150 – 200 words); 
  • your time zone (NB: the conference will take place in Beijing Standard Time and so we will consider time zones when scheduling real-time panel discussions); 
  • whether you would prefer an in-person or pre-recorded presentation (due to current COVID-19 travel restrictions, we strongly anticipate that people from outside China won’t be able to attend in person). 

Video essay and short film submissions (under 20 minutes) should be made via the online form and require the following information:  

  • a link to the film/video essay;  
  • a short summary (under 300 words); 
  • 3-5 keywords; 
  • biography (150 – 200 words).   

If you experience any issues with the submission form please email besidesthescreen@gmail.com with the email header NINGBO21 – Submission issue. Please note, email submissions will not be accepted. 

Deadline – April 9, 2021. We will accept submissions up to midnight in the proposer’s timezone. 

 

Call for Papers:

Reframing the Nation: Diasporic Racialized, Indigenous & Queer BIPOC Canadian Independent Women Filmmakers 1990-2020.

 

Reframing the Nation is the first critical film anthology from an intersectional Canadian context that is dedicated to a close engagement with impactful films produced by racialized diasporic, indigenous, and Queer BIPOC independent women filmmakers in Canada. This collection charts the cinematic visions and perspectives of first and second generation diasporic and indigenous filmmakers and Queer BIack, Indigenous, Women of Colour Canadian Independent Women Filmmakers working from 1990-2020. Works considered can be shorts or features that are independent Canadian productions. Independent films tend to reflect artistic practices that are rooted in personal, political, aesthetic, cultural, philosophical, and social justice concerns, they are typically arts council funded and/or co-produced with other agencies. A vital component of independent film is that the filmmaker maintains artistic/editorial control over their work. Comparative papers between Canadian productions and international productions are welcome.

 

Please Submit Abstracts (300 words) & short bio (125 words) up until April 15, 2021
Notification of acceptance: within three weeks of receipt of the abstract.
Submission of Papers: 15-20 pages preferred, to a maximum of 5,000 words.
Final Draft Due: by December 15, 2021. (deadline extended due to pandemic).

Contributions from any doctoral candidates, pre-tenure and tenured faculty doing research in the areas of this collection are welcome.
Inquiries to Contributing Editor: Dr. Michelle Mohabeer (Lecturer & Filmmaker) mmohabee@yorku.ca

 

Submissions may consider the following: 

  • Documentary and Narrative features, short films, hybrid films or activist documentaries with thoughtful approaches. Oppositional and Fringe works also welcome.
  • Analyses of intersectional representations of social justice issues or settler nation.
  • Cultural identities and diasporic aesthetics: the merging of aesthetics and politics; to explore geographies of space/place, fragmented uprooted identities, home and belonging, intersectional identities, politics of displacement, memory and history, contesting dominant narratives of Canada as a nation etc.
  • Theorizing and analyzing diasporic works by Canadian racialized women or queer/trans women of colour, black and indigenous women filmmakers from decolonial, post-colonial, queer diasporic or transnational contexts.
  • Thematic or textual analysis of feature films or (body of short films) by sole or multiple BIPOC women filmmakers.
  • Aesthetic/formal approaches in documentary, narrative, experimental, and hybrid films (all genres and platforms considered)
  • Historiography of film/video by BIPOC women filmmakers in Canada (1990-2020)
  • Festivals & Distributors: supporting works by Indigenous women & women of colour filmmakers in Canada. Also BIPOC Organizations that support film/media arts.
  • Reception/audience studies of works produced by Indigenous/women of colour in Canada.
  • The decolonial use of technologies (digital and film) in works by Canadian racialized/queer diasporic and Indigenous women filmmakers.
  • Queer & Transgender films by Indigenous and women of colour filmmakers in Canada.
 
The UC Santa Barbara Media Fields Collective is excited to announce the call for papers for issue 17 of Media Fields: Critical Explorations of Media in Space.


Please email submissions to submissions@mediafieldsjournal.org by May 7, 2021.
You can review our submission guidelines at mediafieldsjournal.org.



Call for Submissions

Modularity and Modification
Media Fields: Critical Explorations of Media in Space, Issue 17


To move, media must be flexible. Think, for instance, of the remarkably consistent form of the upscale multiplex that has made a home for global blockbuster cinema in China, Mexico, India, Belgium, and Canada alike. Or consider the efforts of communities who have had to salvage, appropriate, and alter telecommunications infrastructure—developing their own technical expertise in the process—in an effort to bring internet connectivity to remote areas neglected by corporate service providers. While distinct, these examples each raise the question of how media flexibility is underpinned by the tension between modularity and modification.

Modularity involves the repetition, standardization, and recombination of existing forms: exhibitors use the standard form of the multiplex to signify the “world-class” status of their up-to-date cinemas, while amateur technicians rely on widely used antennas, wires, and protocols to plug into existing internet infrastructure. Conversely, modification calls on the ability to adapt given materials (including technologies, practices, ideas, and senses of self) to prevailing conditions: theatre chains grapple with issues of urban development, audiences, and taste cultures as they develop new sites in new locales, while communities adapt technology to the resources they have, the landscapes they inhabit, and the histories they share to make their projects work. In these and other examples, media forge the channels along which modular elements can be disseminated and within which opportunities for modification take root.

Considering these concepts as an entry point for the study of media in space immediately conjures associations with Michel de Certeau’s opposition between strategy and tactics. If modularity offers the opportunity to expand the “proper place” of the powerful and extend the imposed terrain on which the subjected must move, modification suggests the potential to rework that terrain along tactical lines. The modularity of communication infrastructures and media forms might suggest narratives of spatial and temporal compression and, in turn, buttress colonial narratives that render distant, foreign spaces more legible, accessible, or profitable for powerful interests. Conversely, the modification of modular media genres, formats, technologies, and environments evokes profuse examples of narratives of localized or regionalized difference, adaptation, resistance, and even refusal.

Such associations between modularity, modification, power, and resistance do not hold seamlessly, and are useful only to the extent that they are contextualized and questioned. Media scholarship that engages in this work does not necessarily dispense with familiar associations with these concepts but expose the frictions and counternarratives that arise out of close, critical analysis. Reconsidering these associations raises questions including: What are productive ways of conceptualizing modification without fetishizing neoliberal concepts of ingenuity that displace the responsibilities of media institutions and telecommunications services onto individuals? How might we understand corporate modularity as involving forms of differentiation that enable flows of capital and hegemony? Where can we see the activities of user or audience modification being channeled or controlled by powerful interests? In what ways does modularity emerge from individuals, social groups, and communities rather than being imposed on them? Can we uncover or recover cases that subvert binaries associating modularity with the homogenous, the corporate, and the global and modification with the heterogenous, the individual, and the local?

The Media Fields Editorial Collective in the Department of Film and Media at the University of California, Santa Barbara seeks papers that interrogate the imbrication of modularity and modification in spatial practices and imaginaries and put forward thought-provoking examples of how they might be operationalized in the service of today’s media scholarship.

Potential paper topics include, but are not limited to:

  • Technological standards and standardization
  • Circulating genres and formats
  • Digital “modding”
  • Film and television “packaging”
  • Franchises, sequels, spinoffs, ripoffs, and reboots
  • Platform systems and their users
  • Communication infrastructures and their nodes
 
 
Mary Michael and Charlotte Orzel
Issue Co-Editors
Media Fields Journal
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The Kardashians and Trans Femininity: Appropriation, Artificiality, and Racial Erasure”

Dossier for TSQ*Now

Edited by Dr. Laura Stamm (University of Pittsburgh)

 

With Keeping Up With the Kardashians ending after 19 seasons, it seems timely to reflect upon the ways in which the Kardashian aesthetic transformation has been influenced by (and appropriated) trans femininity. This dossier will ideally include both paranoid and reparative readings. For, as much as Kardashian femininity could not exist without trans femininity, perhaps there is a way in which the Kardashian women have also made trans femininity increasingly possible. What I mean is that the drag queen, trans feminine aesthetic that the Kardashian women have so spectacularly appropriated has also changed the way we conceive of cis femininity as tied to any sort of aesthetic of authenticity. Taken even further, could we create a genealogy of contemporary trans femininity through a reading of the Kardashians? How can we put questions of race at the center of this trans-femme-cis-femme circuit? 

 

Topics may include (but are not limited to):

  • Critical race studies
  • Trans of color critique
  • TV studies
  • Drag culture
  • Body-as-technology critique
  • Personal narrative
  • Social media technology

 

I am seeking contributions for a dossier for TSQ*Now, an online forum on trans studies organized by the TSQ editorial collective. The forum allows scholars to respond to currents issues with more immediacy and flexibility than traditional academic publishing. I am interested in hearing from scholars of any rank, and I especially encourage trans scholars to submit.

 

Interested writers should submit a 150-200 word abstract and a brief bio with affiliation and contact information to laura.e.stamm@gmail.com by February 1st. I am also happy to answer any questions. 

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CALL FOR PARTICIPANTS
 

Queer Emergencies

An online symposium organized in conjunction with the Toronto Queer Film Festival
April 24 & 25, 2021

 

Proposal deadline: Jan 5, 2021  Submit proposals here.

Everyone is welcome to apply. All participants will be paid.

Confirmed keynote speaker:  Dean Spade with more TBA

 

The Toronto Queer Film Festival is seeking proposals for a symposium on the theme of Queer Emergencies that aims to address queer, trans, and two-spirit experiences and challenges in response to the COVID-19 pandemic and beyond.

 

This is a landmark time for humanity. Homebound and with resources dwindling, many of us continue to create art and engage in solidarity practices from within our communities. Queer Emergencies celebrates the resilience, resistance and creativity of our community in its response to the intense pressures and transformations wrought by the global pandemic. It seeks to engage work that is vital in this moment, speaking to the unique challenges that precarious and marginalized queer and trans communities are facing today. 

We’ve noticed a prevailing capitalist logic to the disbursement of resources, while artists are incurring losses of incomes and/or assets due to the economic contraction caused by widespread social distancing measures. Current structuring of funds prioritizes the privileged among us, leaving most people who were already struggling with few to no resources. 

The Queer Emergencies 2021 Symposium asks the question: what are our current limitations and how can we work within them in creative ways?  What are the issues facing queer, trans and two-spirit communities in the current moment and how can we allow them to radicalize our collective future? 

As ever, TQFF’s mandate remains to decolonize queer and trans art and media histories and practices. This symposium seeks projects with a unique perspective who frame their work in a critical, anti-oppressive and future-bound model.

We are interested in papers, workshops, roundtables, readings, performances that critically engage and reckon with and through media and the arts.

 

Topics could include, but are not limited to:

  • Queer and/or Indigenous histories of organizing and reisistence to public health crises

  • Anti-racism/decolonization in artistic practices and/or arts organizations

  • Unpacking inclusion & building social/class alliances and solidarity

  • Queer and/or Indigenous perspectives on climate emergency, both locally and beyond

  • Mutual aid & food justice

  • Solidarity & allyship both within the queer/trans/2S communities and beyond

  • Community resilience & self-care 

  • Envisioning the future of queer and trans resistance 

  • Queer and trans organizing and activism before, during and after COVID

  • Mental health and artistic production/practices during and after COVID

  • Queer/trans pandemic crip time: living and working with chronic illness and disability

  • Essential and abandoned: intersectional (anti-racism, decolonial, disability justice) approaches to the disproportionate impact of economic and public health failures on our queer/trans/2S communities

  • Coalitional organizing and solidarities: defunding the police, abolishing prisons, workplace safety, and envisioning a world where public health and art are prioritized over property, police, prisons, and imperial global militarism

  • Combatting, strategizing/organizing against, and documenting the present and future of genocide (pandemics, climate emergency, structured institutional/infrastructure neglect and abandonment)

  • Queer migrant justice: open borders, mass migration, and worldwide worker solidarity

  • Rent strikes, mass evictions, kangaroo “housing courts,” and housing for all 

 

While papers, roundtables, workshops, and other typical academic conference formats are welcomed, we especially encourage more creative formats including but not limited to: arts-based research, poster presentations, poetry, performances, music, readings, artist talks, and other presentation formats that innovate and encourage online participation. As a symposium organized with a film festival, we are particularly interested in contributions that engage in some way with queer and trans media and/or art practices.

As a grassroots organization embedded within our communities, the Toronto Queer Film Festival encourages contributions from folks across our community – not just academics embedded within universities, but also independent scholars, activists, artists, community members, and other people with lived experience that would provide valuable perspectives to discussions on global queer liberation art and media.

 

Everyone is welcome to apply.

Please submit the following information via our online form by Jan 5, 2021

  • Name

  • Institutional or other affiliation (if applicable)

  • Presentation format (i.e. paper, roundtable, workshop, creative)

  • Presentation title

  • 250 word abstract

  • Email address you can be contacted at

  • Accessibility needs

 

This symposium will be held online. We are particularly interested in submissions that take full advantage of the capabilities of online platforms. Individual papers and presentations should be no more than 15 minutes. Roundtables, workshops, panels, should be no more than 1 hour, including opportunity for Q&A. We will also accept submission for proposals with shorter durations (i.e. lightning talks, microsessions, etc).

Only selected participants will be notified.

Selected participants will be notified of their acceptance by January 30, 2021

 

ABOUT THE TORONTO QUEER FILM FESTIVAL

TQFF is a registered not-for profit organization formed and run by an ad-hoc collective of artists and arts professionals who came together in 2016 to launch the Toronto Queer Film Festival. We began this project out of an urgent need to provide screen space in Toronto for media by and about marginalized queer and trans people.

 

We have three primary mandates:

1) to exhibit queer independent and experimental film and video art;

2) to support the production of alternative queer film and video art through community-based arts education and professional development; and

3) to foster community engagement with the arts by welcoming all attendees to our accessible venues with “pay what you can” pricing for events, ASL interpretation, and closed captioning of all programs.

 

TQFF distinguishes itself from other Toronto cultural events that serve the LGBT community by focusing on experimental time-based media that challenges and expands social, political, and artistic conventions. Our curatorial mandate is to centre the programming of work by and about queer and trans people of colour, Indigenous people, and people with disabilities, as well as the work of local artists, low-income, DIY filmmakers, and emerging artists.

 

You can read more about TQFF on our website: https://torontoqueerfilmfest.com/about/

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Call for Submissions: Special Issue on “Critical and Creative Engagements with Petro-Media”

Guest edited by Rachel W. Jekanowski (Memorial University) & Emily Roehl (Texas State University)

 

Submission Deadline: December 10, 2020

This special issue of Imaginations will concentrate on media engaging with petroleum and its attendant socio-political and economic structures. Drawing on technology and media studies, energy humanities scholarship, and a range of methods in visual and cultural studies, the contributors will theorize contemporary and historical uses of media to resist and facilitate petroleum infrastructures. Building on Imaginations’ long-standingengagement with petrocultures scholarship, including their 2012 special issue “Sighting Oil” (Sheena Wilson and Andrew Pendakis, eds.), this issue will mobilize critiques of corporate petro-media with decolonial methods from a range of disciplines, focusing on the interlacing of oil, settler colonialism, Indigenous resurgence, and media production. The issue will consist of peer-reviewed essays from scholars and practitioners, artist interviews and contributions (including samples of multimedia work with accompanying artists statements), and a review section (including a comparative book review essay, curatorial reviews and responses to digital exhibitions in the age of COVID-19, etc.). We are particularly invested in featuring research-creation and media-rich scholarship.

We invite submissions that take up different facets of media production by Indigenous, immigrant, and settler artists, activists, and corporate representatives to examine the complex entanglements of cultural production, settler colonialism, and fossil fuel extraction. Given our location on occupied Indigenous territories where we work as researchers and educators, we assert that energy developments are always already implicated within histories of colonialism and white settlement in North America. Critically, we invite contributions that include and foreground visual media in their

analyses, featuring original videos, archival photographs and film stills, and photographs of authors’ art installations.

We invite submissions that engage with the following topics (including but not limited to):

  • the way media networks and ways of viewing the world support the extraction, production, and consumption of fossil fuels and interact with the financial and socio-political systems the production of oil requires;
  • the way media, like energy infrastructures, are used as conduits for the transportation and transmission of fuel, people, capital, and ideas about sovereignty, identity, futurity, and relationships to the nonhuman world;
  • the way various media—from corporate films, digital photography, games, and television advertisements, to activist protests and social media—have alternatively been used to uphold, legitimize, critique, and resist energy practices within settler colonial nations like Canada and the United States.

Submissions are also welcome from the following fields and approaches (including but not limited to):

  • cultural studies
  • energy studies
  • critical Indigenous studies
  • critical settler colonial studies
  • decolonial approaches to media
  • environmental humanities
  • Indigenous sovereignty
  • film and media studies
  • literary studies
  • multimedia and digital arts
  • petrocultures
  • research-creation methods
  • social and environmental justice
  • feminist, queer, and posthumanist approaches to petro-media interventions from critical race studies

In sum, this special issue will contribute to discussions within media and literature studies about the imbrication of energy, communication, and art, while foregrounding Indigenous resurgence, energy justice movements, and deepening attention to the asymmetrical effects of climate change on communities and environments.

Submission Guidelines

Recognizing the challenges of producing work during a pandemic, and reflecting the editors’ commitment to experimenting with mixed methodologies and media-rich scholarship, this special issue will feature shorter research essays alongside artist submissions and research-creation. Research essays should be 3000-5000 words; artist contributions and curatorial reviews can be 500-2000 words. Citations should adhere to the MLA Style Guide.

All submissions must be sent to imaginations@ualberta.ca and copied to mrln@yorku.ca and bbellamy@ualberta.ca. Please include a separate sheet with short biographical and contact information. Media can be emailed as an attachment or accessible by hyperlink.

Please see the full list of author submission guidelines available on the Imaginations Journal website. The Imaginations style sheet is accessible here.

Submission deadline is December 10, 2020.

We plan to notify contributors as to the status of their submissions by May 2021 at the latest. The special issue is tentatively planned for publication in Fall 2021.

Contact Us

Please direct questions and inquiries to issue editors Emily Roehl (e.a.roehl@gmail.com) and Rachel W. Jekanowski (rjekanowski@mun.ca).

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The Media Architecture Biennale (MAB) is the world’s premier event on media architecture, urban interaction design, and urban informatics. It brings together architects, artists and designers, leading thinkers on urban design, key industry and government representatives as well as community activists. Together, they explore the design and role of media in the built environment and its implications for urban communities and ecosystems.

MAB20 consists of a series of events, meet-ups and publications taking place on- and offline between March 2019 and July 2021. A final event including an award show, workshops and a conference with keynotes and an academic track, is scheduled from July 28th – July 2nd, 2021 to take place in Amsterdam and Utrecht.
 
The theme of MAB’s 6th edition is Futures Implied, which opens up investigations into future scenarios implied in today’s urban transformations and emerging technologies like digital platforms, responsive technologies and smart city promises. How can we shape technologies and spaces to respond to their surroundings, contributing to cities that are both socially and ecologically sustainable? The point of departure is that technologies are never neutral enablers, they are built upon numerous spoken and unspoken assumptions about urban life, each with their own implications for both social relations as well as their effect on the natural ecosystem.

We invite papers from academics, students, and industry practitioners that align with the theme 
“Futures Implied” and the sub-themes: “Playful & Artistic Civic Engagement”“The Aesthetics and Poetics of Responsive Urban Spaces”“Restorative Cities”, “More-than-Human-Cities”, and “Citizens’ digital rights in the era of platform ecologies.” Paper contributions should address current practices, discuss theoretical approaches, or present novel research that explore and further develop our understanding of media architecture through relevant case studies, design processes, and community and industry examples.

Deadline: January 25th, 2021
Notification of acceptance: 29 March, 2021
All revisions due & Camera Ready: 24 May, 2021
Click Here for more info >>
 

MAB20 is organized by the Amsterdam University of Applied Sciences and the [urban interfaces] group at Utrecht University, in collaboration with the Media Architecture Institute.

Join the MAB-Community on  Facebook  |  Instagram  |  Twitter  |  LinkedIn

For more information, visit www.mab.org or contact us via info@mab20.org

 
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