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Visible Evidence 21

New Delhi

December 11-14, 2014  


Visible Evidence, the annual scholarly conference on documentary film, media, culture and poli9cs–interdisciplinary, interna/onal and indispensable–is now 21!

Inaugurated at Duke University in 1994, Visible Evidence has met annually ever since–in Canada, the UK, France, Germany, the Netherlands, Brazil, Australia, and most recently in Sweden, as well as in the US (eleven 9mes).

This year the conference will be held in New Delhi, India from December 11 to 14 2014. Co-hosted by Jawaharlal Nehru University and Jamia Millia Islamia, the conference will be held at the India Interna9onal Centre, Max Mueller Marg, New Delhi. In 2014 we are mee9ng in Asia for the first 9me, and for the second 9me only in the global south!

Visible Evidence 21, as is tradi9onal, will feature a range of panels, workshops, plenary sessions, screenings and special events around documentary, its prac9ces, histories and theories.

Proposals for panels, workshops, presenta9ons, screenings and individual papers are solicited according to the following guidelines and themes.

Please check out for informa9on about travel arrangements, the conference site, and registra9on, etc.


Proposals may address any aspect of documentary screen cultures, histories and prac9ces by engaging with, but are not restricted to, the following themes (we aim for a broad, diverse and inclusive scope for this first Asian VisEv):

Documentary /Art: Exploring new spaces, narra9ves, rela9onships and audiences
Documentary/Social Sciences: Engaging with poli9cs, methodologies, ethics and evidence
Documentary/Selves: Addressing autobiographies, memoirs, home-movies, confessions and self-fashioning
Documentary/Ci9es: Crowds and communi9es, onscreen and offscreen. Documentary/ Pedagogies: Making as teaching, producing as mentorship. Documentary/Affect: Bodies, sensa9ons, feelings and rela9onships Documentary/Trash: Shame, gossip, scandal, exploita9on and the sensa9onal Documentary/Sexuality and Gender: Diversity, dissidence and disclosure
Documentary/Produc9on: Prac9ces and authors; screenings, streamings and (emergent) pla\orms
Documentary/Economies: Techno-materiali9es, virtuali9es, fes9vals and archives
Documentary/Modes: Fic9on, anima9on, performance, voice and hybridity
Documentary/Violence: Trauma, tes9mony, index, performance and memory
Documentary/Truths: Analog to digital, cinéma-vérité to docu-menteur, phones and phoneys
Documentary/Transna9onal: Migra9ons, transgressions, diasporas, scapes and refugees Documentary/Environment: Interven9ons, debates, exposures
Documentary/Archives: Memory, preserva9on, restora9on, historiography Documentary/Ac9vism: Transforma9on, mimesis, witness.
Documentary/South Asia: Historicising state, independent, experimental and regional interven9ons… iden9fying parallels in other postcolonial traditions.  

Panel, Workshop and Papers: Guidelines and Deadlines

We invite submissions of pre-constituted panels, pre-constituted workshops and individual paper proposals.  Each panel and workshop session is allotted 90 min. Each panel will have three papers of not more than 20 min followed by discussion. Workshops, usually addressing  practice-related issues, will feature 4 to 6 opening statements (totalling up to 30 min of prepared material), setting the stage for an exchange of ideas and skills  among workshop participants.

Proposed panels and workshops may be pre-constituted either through public calls for submissions, or through individual solicitation by interested convenors.

Panel and workshop calls may be posted publicly by interested convenors on the Conference Website (coming soon) until May 1, 2014. Convenors must notify selected participants by May 15, 2014. Convenors of pre-constituted panels and workshops are expected to submit proposals in standard format (see below) both for the event as a whole and for each individual contributions (for example a submission for a pre-constituted may be up to 8 pages in length, and for a workshop up to 14 pages).


Deadline for all open call individual paper proposals and pre-constituted panels and workshops: June 1, 2014. Participants will be notified of their acceptance or not around June 23.


Submission Format:

Proposals for panel papers and workshop contributions include a descriptive title, an abstract (of 250-300 words), biblio- /filmography (5 or 6 items maximum) and brief bio (150 words maximum). The proposal should not exceed two pages.

In all individual proposals for panel contributions, please indicate whether or not, in the instance that the panel is rejected, you would like your individual proposal to be considered as an open call submission.

Please submit your proposal by the above deadlines as a PDF document to

Website address:

Deadline Summary:

March 1: Call for papers

April 1: Conference website operative.

May 1*: End date for solicitation by interested convenors for participation in pre-constituted panels and workshops.

May 15: Convenors notify participants of pre-constituted panels and workshops.

June 1: Deadline for all submissions of individual paper proposals (open call) and preconstituted panels and workshops.

June 23: Notification of acceptances for Visible Evidence 21.

December 11: Welcome to Delhi! Conference begins.

*Because of our delay in setting up our website, we are allowing some slight flexibility around the May 1 and May 15 deadlines for preconstituted panels and workshops; however the June 1 and June 23 deadlines are unchanged.

Organizing committee: 

Jawaharlal Nehru University: Ira Bhaskar, Ranjani Mazumdar, Veena Hariharan, Kaushik Bhaumik

Jamia Millia Islamia: Shohini Ghosh, Sabeena Gadihoke

University of Pittsburgh: Neepa Majumdar

Concordia University: Thomas Waugh.

for further information visit


DOWNLOAD the Call for Papers


SYNOPTIQUE Call For Papers


Only in the last twenty years have Film and Media scholars begun to grant film festivals significant attention. Bill Nichols’ seminal text “Global Image Consumption in the Age of Late Capitalism” (1994) is often cited as the first attempt at theorizing these complex phenomena. The initiative to bring Global Studies into contact with Film Studies has been followed by a number of scholars, some of whom contributed to the organization of the sub-field of film festival studies. As they were part of the discussion of global flows though, film festival networks were simultaneously thought as an alternative circuit for film distribution.


Synoptique  seeks to expand the conversation by proposing a special issue designed to encourage new frameworks for thinking about film festivals as a multi-faceted film industry and institution in an increasingly interconnected, or conversely disconnected, world. We welcome papers that experiment with new approaches to studying film festivals and their networks. We are particularly interested in interventions that take into account the multiplicity of scales often left out by, or subordinated to, the global focus that kicked off the scholarship on the topic, including the region or the diasporic. In addition, we believe that renewed attention to non-European and non-A-list film festivals, as well as historical perspectives, can contribute to illuminating the complexity of actors involved in film festivals, and question the festivals’ economical and political roles.  Thinking of the variety of existing festival circuits also entails theorizing networks as disrupted, open, or even incoherent and unstable. This special issue is therefore seeking to position film festivals within a variety of contemporary and historical networks so as to appreciate the multiple ways in which they contribute to shape film cultures. To this end, we invite submissions by scholars and festival professionals. Festival reports as well as interviews, will also be considered.  Submissions can include, but are not limited to topics such as:


–      online film festivals
–      formal and informal networks
–      non-European and non A-list film festivals and their networks
               –      film festivals and tourism
–      film festivals and national, regional or diasporic cinemas
–      issues of programming, the politics of film selection
–      Approaches to the study of film festivals (e.g. Transnational vs. Global Studies)
–      film festivals and activism
–      film festivals and global cinema
–      how prizes, awards, competitions, and premiers influence programming
–      minorities film festivals (queer, LGBT, diaspora)
–      film festivals and narrow topics (e.g. bicycles, human rights, food, etc.)
–      film presentations as a part of festivals not solely devoted to film, or, conversely, other events offered within film festivals
–      film festivals and their audiences (as participants, spectators, consumers)
–      changes in long-running festivals due to shifts in politics, economics, demographics or


Submissions should be approximately 15-30 pages (interviews and reports may be shorter), written in either English or French, formatted according to MLA guidelines. Papers should be submitted by April 3rd, 2014. A link on will guide you through the submission process. Feel free to contact us at should you have any questions.

SYNOPTIQUE Appel à contributions


Ce n’est que ces vingt dernières années que la recherche en études cinématographiques et médiatiques a commencé à porter attention aux festivals de cinéma. Le texte fondateur de Bill Nichols, « Global Image Consumption in the Age of Late Capitalism » (1994), est souvent cité comme étant le premier à tenter de théoriser ces phénomènes complexes. Le rapprochement entre les études sur la mondialisation et les études cinématographiques a offert de fait bon nombre de nouveaux terrains de recherche, dont celui du champ d’étude des festivals de cinéma. Cependant, alors qu’ils étaient inscrits dans le dialogue sur les flux mondiaux, les réseaux des festivals de cinéma ont au même moment été pensés comme un circuit alternatif pour la distribution des films.

Synoptique cherche à enrichir le débat universitaire en proposant un numéro spécial qui encourage la création de nouveaux cadres théoriques pour penser les festivals de cinéma comme une industrie et une institution aux facettes multiples, dans un monde de plus en plus connecté – ou déconnecté. Nous accueillons toute contribution qui expérimente de nouvelles approches pour étudier les festivals de cinéma et leurs réseaux. Nous sommes particulièrement intéressés par des interventions qui prennent en compte la multiplicité des échelles souvent oubliées ou subordonnées aux logiques mondiales qui ont présidé à la création de ce champ d’étude, ainsi le régional ou le diasporique. De plus, une nouvelle attention portée aux festivals non-européens ou autres que de catégorie A, ainsi qu’à des perspectives historiques, contribuerait à mettre en valeur la complexité des acteurs impliqués dans les festivals de cinéma, et questionnerait le rôle économique mais aussi politique des festivals. Penser la variété des circuits de festivals mène donc aussi à théoriser ces réseaux comme discontinus, ouverts, ou encore incohérents et instables. Ce numéro spécial vise donc à situer les festivals dans une variété de réseaux historiques et contemporains afin d’apprécier les multiples façons dont ils ont influencé les cultures cinématographiques. À cette fin, nous accueillons des contributions d’universitaires et de professionnels des festivals. Les comptes-rendus de festivals ainsi que les entretiens seront aussi pris en compte. Les soumissions peuvent inclure, mais ne sont pas limitées à des sujets tels que :

  • –  festivals de cinéma en ligne
  • –  réseaux formels et informels
  • –  les réseaux des festivals non européens et autres que de catégorie A
  • –  les festivals de cinéma et le tourisme
  • –  les questions de programmation et les politiques de sélection des films
  • –  festivals de cinéma et activisme
  • –  l’influence des prix, récompenses, compétitions et primeurs sur la programmation
  • –  festivals de cinéma pour les minorités (queer, LGBT, diaspora)
  • –  les festivals de cinéma et les sujets précis (cf. cyclisme, droits humains, nourriture, etc..)
  • –  projections intégrées dans des festivals autres que de cinéma, et inversement, événements extérieursintégrés dans les festivals de cinéma
  • –  les festivals de cinéma et leur public (en tant que participant, spectateur et consommateur)
  • –  les changements dans les festivals installés à cause de revirements politiques, économiques outechnologiques.

Les contributions doivent faire entre 15 et 30 pages environ (les entretiens et comptes-rendus peuvent être plus courts), être écrites en anglais ou français, et respecter le style de formatage MLA. Les textes doivent être soumis au pus tard le 3 avril 2014. Vous serez guidée dans la démarche par un lien sur le site de Synoptique N’hésitez pas à nous contacter pour toute question à l’adresse suivante:


The first Dalhousie-Université de Paris 3 Summer Institute in Film Studies will bring together Haligonian and Parisian researchers for three days of seminars and four evenings of screenings, which will be followed by a mini-conference for graduate students. Our topic will be “Global/Local Film.” Each day will feature one seminar in English and one in French, along with a mid-day screening session connected to those seminars’ topics. We will also feature free public screenings of The Artist (Michael Hazanavicus, France, 2011), Nostalgia de la luz (Patricio Guzmán, France/Chile, 2011), and Arctic Defenders (John Walker, Canada, 2013, with John Walker in attendance), along with a programme of political documentaries curated by Halifax-based filmmaker Sylvia Hamilton. 

Interested graduate students should apply with a preliminary abstract of a paper that they will work on during the Summer Institute. Seminars will be held on 8-10 July. On 11 July, the Halifax- based core faculty members will hold office hours, and graduate students will have access to workspace at Dalhousie’s Interdisciplinary Studies house. The Summer Institute will conclude with a daylong mini-conference on 14 July where students will present their papers in a workshop environment.

There will be three $1000 bursaries plus a registration fee waiver available for graduate students coming from outside of Halifax (this will be paid as an expense-style reimbursement after the Institute is over). Those interested in being considered for the bursaries should include a CV as well as an abstract with their application. They should apply (without the registration fee) no later than 1 April 2014. Those who apply for a bursary but are not selected will be able to register with the early fee as late as the first day of the Institute.

Core faculty: Shannon Brownlee (Dalhousie), Laurent Creton (Paris 3), Raphaëlle Moine (Paris 3), Emmanuel Siety (Paris 3), Jennifer VanderBurgh (Saint Mary’s), Jerry White (Dalhousie)

Contact: Jerry White, Dalhousie University –


Le tout premier Institut d’été Dalhousie-Université de Paris 3 consacré aux études cinématographiques réunira des chercheurs haligoniens et parisiens pendant trois journées de séminaires ponctuées de quatre soirées de projections, lesquelles seront suivies par une mini-conférence pour étudiants des cycles supérieurs. Le thème retenu pour cet événement est : « Global/Local Film – Le cinéma entre le global et le mondial ». En point d’orgue de chaque journée, un séminaire en français et un autre en anglais, ainsi qu’une séance de projection à la mi-journée en lien avec les problématiques abordées lors de ces séminaires. Seront également présentées trois projections publiques gratuites à savoir : The Artist de Michael Hazanavicus (France, 2011), Nostalgia de la luz de Patricio Guzmán, (France- Chili, 2011), Arctic Defenders de John Walker (Canada 2013, en présence du réalisateur), ainsi qu’un programme de documentaires politiques rédigé par Sylvie Hamilton, cinéaste basée à Halifax. 

Les étudiants des cycles supérieurs intéressés sont priés de joindre à leurs dossiers de demande un exemplaire du résumé préliminaire de la communication qu’ils présenteront lors de l’Institut d’été. Les séminaires auront lieu du 8 au 10 juillet 2014. Le 11 juillet, les membres du corps professoral d’Halifax offriront à leurs bureaux des heures de disponibilité, selon un horaire qui sera communiqué aux étudiants participants en temps utile ; ces derniers auront accès à un espace de travail au Centre d’études interdisciplinaires de Dalhousie University. Les travaux de l’Institut d’été s’achèveront par une mini-conférence d’une journée – le 14 juillet – au cours de laquelle les étudiants seront invités à présenter leurs communications dans un environnement d’atelier.

Trois bourses d’un montant de 1000 $ seront octroyées, en plus d’une exemption de paiement des frais d’inscription, exclusivement pour les étudiants des cycles supérieurs venant d’autres villes qu’Halifax. Ces paiements qui se feront sous forme de remboursements au titre des frais engagés ne débuteront pas avant la fin de l’Institut d’été. Les candidats qui souhaitent être considérés pour ces bourses doivent manifester leur intérêt au moment  la soumission de leur demande, qui devra être accompagnée d’un CV et d’un résumé de leur communication. Ces étudiantes devront transmettre leur demande (sans frais d’inscription) au plus tard le 1er avril 2014. Toutefois, les candidats aux bourses qui ne seront pas sélectionnés pourront toujours s’inscrire et bénéficier d’un tarif réduit (inscription à l’avance), à condition que ces personnes s’acquittent des frais exigibles au plus tard le premier jour de l’Institut d’été.

Corps professoral:  Shannon Brownlee (Dalhousie), Laurent Creton (Paris 3), Raphaëlle Moine (Paris 3), Emmanuel Siety (Paris 3), Jennifer VanderBurgh (Saint Mary’s), Jerry White (Dalhousie)

Contact: Jerry White, Dalhousie University –



The Corpus: Bodies on Film/Bodies of Film 


Film Studies Association of Canada 16th Annual Graduate Colloquium
Hosted by the Cinema Studies Institute at the University of Toronto
Toronto, Ontario
February 28 – March 2, 2014


Keynote by Melinda Barlow, Associate Professor of Film Studies at the University of Colorado, Boulder.

La version française suit.

Turning towards the important roles sensory and visceral experiences play in our apprehending of media texts, scholars of the moving image have endeavored to call attention to the ongoing need for media scholarship and theory to explore questions pertaining to the cinematic “body.” These inquiries probe not only the embodied experience of the spectator, but also how media objects might constitute a body or corpus. The continuing evolution of the digital has paralleled the degradation and demise of more traditional film bodies, perhaps best exemplified by the phasing out of celluloid. However, it has also contributed to the growth of new archival bodies of cinema, while engendering a recast relationship between the corporeal entity and the virtual body of the avatar. As such, the aim of this colloquium is to examine the shifting relationships between the spectatorial and textual body, as well as the extent to which film and media texts constitute a body to be collected, archived and fetishized by fans and cinephiles alike.

How can our conception of ‘body’ extend to include cinema and moving images as forms of corporeality? As contemporary media moves toward the virtual, what can be said about the materiality of analogue media? Is celluloid forever condemned to the realm of waste and lost objects? What insights can we glean through analyzing our corporeal relationship to media texts? Does our understanding of established bodies of the moving image (e.g. archives, collections, canons) influence our research practice?

Possible presentation topics may include, but are not limited to:

  • Materiality/Material culture of the Cinema (industrial and amateur)
  • Transgressive or Marginalized Bodies/Alienated or Neglected Archives
  • Body Modification or Body as Art Piece
  • Cinephiles and the Fan Collection/Connoisseurship
  • Auteurism and the Cinematic Canon(s)
  • Abjection and Disgust/Film Decomposition and the “Lost” film
  • Body Genres (e.g. Horror, Melodrama, Pornography)/Genres as Bodies
  • Necrology and Dead Bodies/Orphan Films and Lost Corpuses
  • Embodied performance in video art and avant-garde practices
  • Cinematic waste (e.g. deleted scenes, found footage, home movies, blooper reels)
  • Film Preservation and the Archive

Please submit a 300 word abstract including your name, degree/department, email address and title of your presentation by December 9 to Submissions are welcome in both English and French from graduate students in film, television, and media studies or other disciplines with a focus on the moving image. Notices of acceptance will be sent by early January 2013.


Le corpus: les corps dans le cinéma/ corpus d’oeuvres filmiques


Le Seizième Colloque Annuel de l’Association Canadienne D’Études Cinématographiques
Organisé par le Cinema Studies Institute de l’Université de Toronto
Toronto, Ontario
28 février – 2 mars, 2014


Discours d’ouverture par Melinda Barlow, Professeur Adjoint de l’Étude du Cinéma à l’Université de Colorado, Boulder.

Les experiénces sensorielles et viscérales jouent un rôle très important dans notre compréhension des textes médiatiques. Les savants du film et média continuent d’explorer des questions associées au corps, ou le corpus filmique. Ces questions explorent l’experiénce du spectateur, ainsi que les objets médiatiques eux-mêmes, qui peuvent être considérés comme ‘un corps’. L’objectif de ce colloque est d’examiner les relations en flux entre le corps réel (humain) du spectateur, et le corps du texte/sur texte (film). Ce colloque désire d’aussi examiner comment des textes filmiques ou médiatiques peuvent être considérés comme des ‘corps’ pour être collectionés par les ‘fans’ et par les cinéphiles.

Est-ce que le celluloïde, un corps filmique, est condemné d’être seulement un ‘déchet’, dans l’ère numérique? Quel en est l’avantage d’analyser notre relation comme spectateur, comme corps humain, avec le corps du texte? Comment est-ce que notre recherche comme savants peut être influencer par des collections, ou corps, filmiques?

Des thèmes possibles sont:

  • Le matière du cinéma
  • Des corps marginalises (sur film/du film)
  • Les collections des ‘fans’ et cinéphiles
  • La décomposition du film (celluloïde)
  • Le corps comme objet d’art
  • Le film ‘perdu’
  • Les performances du corps dans le film

Nous invitons donc ceux et celles qui le désirent à nous soumettre un extrait de leur papier (300 mots environ.) Chaque extrait devra être accompagné d’une courte note biographique (votre nom, département/diplôme et le titre de votre présentation), ainsi que d’une adresse de courriel.
Le dernier délai pour l’envoi des inscriptions est le 9 decèmbre, 2013. Veuillez les envoyer au courriel: 

Les avis d’acceptation seront envoyés début janvier 2013.



Cultural Crossings: Production, Consumption, and Reception across the Canada-US Border

Second international Culture and the Canada-US Border conference
University of Nottingham, 20-22 June 2014

Keynote Speakers: Charles Acland, Danielle Fuller, and DeNel Rehberg Sedo

Call for papers (click to download) 

The Leverhulme Trust-funded Culture and the Canada-US Border international research network is pleased to invite proposals for papers or panels addressing topics related to cultural production, consumption, and reception across the Canada-US border. The 49th parallel has been considered by many Canadian nationalists to symbolize Canada’s cultural independence from the United States, with attendant anxieties about how an “undefended” border might fail to safeguard Canadian culture adequately. This conference seeks to probe the implications for the production, consumption, and reception of literature, film, television, music, theatre, and visual art in relation to the Canada-US border. We encourage analysis of cultural texts, phenomena, and industries both in terms of how they might operate differently in Canada and the United States and the ways in which they might straddle, or ignore, the border altogether. We invite proposals on both contemporary and historical cultural texts and contexts.
Although submissions on any relevant area of interest are welcome, we particularly welcome papers focusing on the following in a cross-border and/or comparative context:

  • book histories and publication contexts
  • reading cultures and communities
  • Hollywood North/runaway film and television production
  • Film exhibition and television broadcast
  • Performance
  • Re-mounts, re-makes, and adaptations
  • Musical production, consumption, or reception
  • Museum and gallery exhibition
  • Aesthetic influences
  • Cultural policy
  • Economics and their implications for cultural production and consumption
  • Fan cultures
  • Celebrity culture
  • Cultural workers
  • National habitus
  • Prize culture
  • Reading and/or viewing
  • Cultural censorship

Please send 300-word proposals for 20-minute papers and a brief bio to by 1 November 2013. Panel proposals should include individual paper proposals plus a 100-words summary of the panel’s theme.

A limited number of bursaries are available for graduate students delivering papers. Please email for details.
The CCUSB network, funded by the Leverhulme Trust, grew out of a conference held at the University of Kent, UK, in 2009. Its core members are located at the Universities of Kent and Nottingham, SUNY Buffalo, Algoma, Mt. Royal (Calgary), and Royal Roads (Victoria). Participation in the network’s activities does not require membership. For further details visit:


First International Conference in Film Studies

Tbilisi, Georgia, November 1-3, 2013

Shota Rustaveli Theatre and Film Georgia State University announces the First International Conference in Film Studies. The topic of the conference is “Georgian Film: Present and Past”. We invite all scholars in film studies and other related fields to submit their proposals.

There is no registration fee. The language of the conference is English. Participants will cover their own expenses for travel and accommodation.

Please send your 300-word proposal by e-mail to Dr. Prof. Zviad Dolidze at

Deadline for proposals: September 3, 2013.


The Soundtrack journal is soliciting calls for a special issue devoted to sound and music in games. How is the soundtrack of games similar to or different from that of film or other time-based image? What new approaches to loop-based composition have been developed? How does sound scale, from smart phone game apps to immersive home environments? What are the implications for pedagogy, when sound design programs have traditionally been developed in relation to film and video? These and other questions are fair game for this special themed issue.

The Soundtrack is a multi-disciplinary journal which brings together research in the area of sound and music in relation to moving image. We are calling for articles from a range of approaches – theoretical, historical, industrial, aesthetic or technological – that fit the theme of ‘Game Sound and Music.’ Professional sound designers and composers are also invited to submit.

Contributions (5000–6000 words for major papers, 1000–3000 words for reviews and shorter articles) should include original work of a research or developmental nature and/or proposed new methods or ideas that are clearly and thoroughly presented and argued. We also welcome relevant book reviews and artist statements (up to 1000 words). Articles should be formatted according to the Intellect Style Guide, which can be downloaded from:,name=journalresources/

Submissions should be submitted as Word files, and include abstract, keywords and short bio, references in Harvard format, endnotes rather than footnotes, and emailed to

Deadline for submissions: June 1st 2013