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CFP: Journeys Across Media 2020: Sharing Stories deadline 14 Feb 2020

Journeys Across Media 2020: Sharing Stories

University of Reading, 3rd April 2020

In the White Album, Joan Didion writes that “we tell ourselves stories in order to live […] We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices” (1). The act of storytelling involves a process of choice making – we choose the details to include and exclude, we shape narratives depending on who we share our stories with and how. This conference is interested in exploring methods and approaches to sharing stories in theatre, performance, film, television and literary practice. We are also interested in innovative ways of disseminating research stories. Through an interdisciplinary approach, we seek to investigate connections between different modes of storytelling through the varied forms of current postgraduate and ECR research.

The conference seeks to draw together panels on topics included but not limited to:

  • Stories and identity
  • False/misleading narratives (propaganda, self-mythologising, “Fake news”)
  • Re-sharing (translation, provocation, distortion, representation) Interpersonal connections in story-making
  • Human connections in sharing
  • Stories of exclusion and exclusion from stories
  • Stories as commodities
  • Sharing research stories: documentary and documented practice
  • Sharing across borders, cultures and communities through reflective practice.
  • Methods of storytelling in theatre and film
  • Digital and DIY storytelling

As a conference, we are open to applications for the following:

  • 20 minute papers
  • Shorter provocations of 5-10 minutes
  • Full panels of 3 x 20 minute papers
  • Participatory Workshops (up to 30 minutes in length)
  • Practice as Research disseminations (up to 30 minutes in length)
  • Video essays (Up to 20 minutes in length)

Please send proposals of 200 words to jamconference2020@gmail.com by 14th February 2020. We would welcome bios of up to 50 words along with your abstracts.

Journeys Across Media: Sharing Stories is organised by members of the postgraduate community at the University of Reading in the Department of Film, Theatre and Television.

The JAM Organising Committee (Mag Mosteanu; Chloe Duane; Sarah Byrne; John Whitney).

Citations

Didion, Joan. The White Album. London: 4th Estate, 2017.

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CHASE and UoL Screen Studies Group Training Day – 19 October 2019

We write to invite you to the annual Screen Studies Group Training Day on:

19 October, 2019 at Goldsmiths.

We attach a programme with a registration link.

https://www.chase.ac.uk/screen-studies-group

This is a one-day session presenting research methods for all new and returning doctoral students. We will address a variety of topics that now concern Screen and Film Studies such as online research, social media; installation work; music videos, production cultures, media industries, creative practice, and live cinema.  The day will include a roundtable on interdisciplinarity.

This event is funded by CHASE, however ALL Screen Studies researchers from ALL institutions are welcome.

Looking forward to greeting you there,

Rachel Moore, SSG coordinator, Goldsmiths College

Who we are:  The University of London Screen Studies Group was founded in 2001 to serve the varied interests of academic staff and postgraduate students who work on screen-related research across the University of London.

Screen Studies Today has two major goals.  The first is to bring together all new film and screen studies doctoral students in London and the environs. It will enable network building around shared specialisms beyond your home department.  Second, it will provide foundational training in methods that are relatively new to this field and which home institutions often cannot provide.

SSG website: https://www.gold.ac.uk/media-communications/research/screen-studies-group/

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Call for Proposals: Art at the Frontier of Film Theory: the Work of Laura Mulvey and Peter Wollen

Art at the Frontier of Film Theory: the Work of Laura Mulvey and Peter Wollen.

A student-led symposium: Saturday 29 June 2019

Birkbeck Institute for the Moving Image and the Essay Film Festival is inviting proposals from doctoral students for a one-day student-led symposium about the work of Laura Mulvey and Peter Wollen. The symposium will be the culmination of a programme of events dedicated to Mulvey and Wollen, taking place at Birkbeck from 22 March to 24 May 2019.

The programme is in three parts: an exhibition entitled “Art at the Frontier of Film Theory” which, according to the curators, Oliver Fuke and Nick Helm-Grovas, “uses the gallery space to refract the work of Mulvey and Wollen through the prism of art”; a retrospective of Mulvey-Wollen’s collaborative films, including Riddles of the Sphinx, and Penthesilea: Queen of the Amazons; and a series of public talks and workshops on topics such as “Film as Theory” and “Feminist Film Curating”. Information about the exhibition, the film season, and the public talks, is available from the CHASE website and from the website of BIMI and the EFF.

The symposium will take place on Saturday 29 June 2019, in Birkbeck Cinema. This is more than a month after the end of the programme, and therefore the idea of the symposium is to provide a space for critical reflection and debate, with a certain detachment from the programme itself.

Proposals are now welcome from doctoral students wishing to engage with any aspect of this programme of events, or indeed with aspects of the work of Mulvey and Wollen which are not covered by the programme.

Students with interests in any of the following fields may wish to put forward proposals: critical theory, feminism, sexual politics, film theory, experimental film, art practice, history of art, curatorial studies (art or film), cultural history, and others.

In addition to conference papers, the symposium will be open to presentations that take the form of video essays, sound compositions, visual studies, and other creative interventions in the debate around the legacy and contemporary relevance of the Mulvey-Wollen corpus.

We would also like to hear from CHASE students interested in taking an active role in the organisation of the symposium, and/or in the realisation of the actual programme as it unfolds – whether that be assisting with the preparation of certain events, or reporting on them in the form of written blogs or other forms of critical reflection (photography, video, sound).

Deadline: 22nd May – Expressions of interest and conference proposals should be sent to the following address, marked “Mulvey Wollen Programme”: bimi@bbk.ac.uk

On behalf of Birkbeck Institute for the Moving Image and the Essay Film Festival: Matthew Barrington, Leila Nassereldein, Michael Temple.

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Screening of A Fabrica de Nada (Pedro Pinho, 2017) @ Birkbeck Cinema on 6 March, 1PM-5PM, organised by CILAVS

One night, a group of workers realises that their administration has organised the stealing of machines from their factory. They soon understand that this is the first signal of a massive layoff. Most of them refuse to cooperate during the individual negotiations and they start to occupy their workplace. So when the administration vanishes to their great surprise, they’re left with a half-empty factory.

The closing of an elevator factory (one of many that close every month in the industrial outskirts of Lisbon) works in A Fabrica de Nada as a microcosm and a parable for dramatically exploring the textures and consequences of the feeling of impotence that most people felt during the years of austerity after the 2008 financial crash.

Under the shadow of bankruptcy, the characters in the film try to stay afloat and look for ways to reshape their lives. Driven by a sense of urgency and some kind of life instinct that remains, they are forced to embark, with reluctance and fear, in an unforeseen experience, a collective adventure. As the world around them collapses, new desires start to emerge…

Watch the trailer here: https://vimeo.com/218929595

The film will be followed by a discussion and Question and Answer Session led by Patricia Sequeira Bras (Birkbeck) and Luis Trindade (Birkbeck)

Wed 6 March 2019

1:00PM – 5:00PM

Birkbeck Cinema

43 Gordon Square

London

WC1H 0PD

Entrance free but booking here required.

 

This event is a collaboration of the Centre for Iberian and Latin American Visual Studies (CILAVS) with Birkbeck’s Centre for the Moving Image (BIMI)

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Screen Studies Group: Screen and Film Research Methods Today – 17 November

Screen Studies Group

Screen and Film Research Methods Today

Saturday 17 November

Venue: Safra Lecture Theatre, Ground Floor, Strand Campus, King’s College London

Screen and Film Research Methods Today relaunches the Screen Studies Group annual postgraduate training day.  The day has two major goals.  The first is to bring together all new film and screen studies doctoral students in London and the environs. It will enable network building around shared specialisms beyond your home department.  Second, it will provide foundational training in methods that are relatively new to this field and which home institutions often cannot provide.  

 This is a one-day session presenting research methods for all new doctoral students. We will address a variety of topics that now concern Screen and Film Studies such as online research, dating mining, social media; live television; installation work; music videos, gaming, AV/PhDs, Production cultures, media industries, creative practice, and live cinema.  The day include a panel on archives available for under researched or previously excluded cinemas and communities.

The Event is funded by LAHP And CHASE, but all post-graduate students are welcome.

Free. Registration Required: https://www.chase.ac.uk/screen-studies-group/

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Call for proposals: BIMI programme 2018/19 – deadline 18 June 2018

Call for proposals: BIMI programme 2018-19

Birkbeck Institute for the Moving Image (BIMI) is currently planning its programme of events for 2018-19.

We welcome proposals from researchers and students working in any discipline or field across the Schools of Arts, Law, SSHP, and Science.

We are very happy to work in collaboration with research centres and institutes at Birkbeck or at other institutions.

All our events take place in the Birkbeck Cinema, typically on Friday evenings 6-9pm and Saturdays 10-5pm.

We can show films in 16mm and 35mm, as well as a variety of digital formats.

We are especially keen to foreground film and other moving image material that is rarely screened in public.

If you would like to propose an idea for an event, please use the following form:

BIMI Call for proposals 2018-19 and send it to bimi@bbk.ac.uk – the deadline for submission is the 18th of June.

Looking forward to hearing about your ideas.

Michael Temple, Director, Birkbeck Institute for the Moving Image, and Essay Film Festival

Matthew Barrington, interim BIMI Manager

Sign up to our newsletter: bimi@bbk.ac.uk

Twitter: https://twitter.com/Birkbeck_BIMI

Facebook: https://www.facebook.com/Birkbeck-Institute-for-the-Moving-Image-542278625939273/

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Funding: Venetian Research Programme: British and Commonwealth Applicants – deadline 1st May 2018

Venetian Research Programme:

British and Commonwealth Applicants

The Gladys Krieble Delmas Foundation – British and Commonwealth Committee – announces its 2018-2019 programme of grants for study based on travel to and research in Venice and the Veneto and other territories of the former Venetian Republic.

Grants will be awarded for historical research on Venice and its empire, and for the study of contemporary Venetian society and culture. Applicants from all disciplines of the humanities and social sciences are eligible for areas of study including, but not limited to: anthropology; archaeology; architecture; art; bibliography; economics; history; history of science; law; literature; music; political thought; religion; theatre; film and television. Applications for research on the environment and conservation are welcomed. Other relevant research interests will be considered.

The application deadline for the British and Commonwealth Programme is 1st May 2018.

Applications should be submitted online at http://delmas.org/grants/venetian-program-grants/venetian-research-program-british-commonwealth/

The awards will be announced by the early summer.

Eligible applicants must:

  • Be citizens or permanent residents of Great Britain or the Commonwealth, and/or be enrolled for research at a British or Commonwealth university, and/or be permanent or affiliated members of a British or Commonwealth university. Experienced curatorial or conservation staff at British or Commonwealth galleries and museums are also welcome to apply.
  • Have experience of research at graduate level or equivalent. If a doctoral student, to have fulfilled all doctoral requirements before completion of the thesis.

Grants for the maximum amount – normally £5000.00 – are rarely awarded. Funding is granted primarily for transportation and accommodation, but additional research expenses may also be considered. Scholars who have already received and accepted a Delmas grant are eligible to apply for grants, normally for one month, to continue the work related to the previous grant, focused on Venetian material in libraries, archives, museums or galleries outside Venice. Applicants must not submit for funding for both grants within the same year.

Applicants must notify the Committee immediately upon receipt of any other grant for research in the same area.

Any person who has accepted three or more Delmas grants for Venetian research (regardless of amount or timing) will be ineligible for consideration for two programme years after the previous grant. Thereafter, the two-year hiatus continues to apply after each grant.

All successful applicants must submit a report to the Chairman within three months of completing their funded period of research. Failure to do so will render applicants ineligible for future Delmas funding.

How to apply

The Foundation is now using a two-step online application form.
Step 1: Register by providing your contact information and creating a login.
Step 2: Fill in the online application.  After your application has been submitted, you may log in to monitor the arrival of your Letters of Recommendation. Make sure you have given your referees ample notice of your intention to apply and the nature of your research.

 

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FREE screening ‘KING OF THE BELGIANS’ at BIMI this Wednesday 21 February 2018

FREE screening ‘KING OF THE BELGIANS’ at BIMI this Wednesday 21 February 2018

On the eve of the ‘Focus on Belgian Cinema’ season at Ciné Lumière (French Institute, 22-25 February), BIMI is hosting an introductory event about Belgian film, including a FREE screening of King of the Belgians (Peter Brosens, Jessica Woodworth, 2016). You can BOOK here: http://www.bbk.ac.uk/events-calendar/focus-on-belgian-cinema-king-of-the-belgians

Two speakers, Wouter Hessels, film lecturer and cinema programmer at the Brussels Royal Institute for Theatre, Cinema & Sound, and the film critic and author Louis Danvers, will each give a brief talk about contemporary Belgian cinema, and their presentations will be followed by a screening of King of the Belgians and a discussion chaired by Janet McCabe, director of the MA Film Programming and Curating at Birkbeck.

King of the Belgians is a road movie in which King Nicolas III (Peter Van den Begin), faced with a domestic crisis while on a state visit in the Balkans, embarks on a trip that awakens him to the real world. The movie has been selected for numerous film festivals and was described by Variety as “an enormously appealing mockumentary blending gently satirical humour with deeper underpinnings […] a delightful, surprisingly respectful ribbing of the incongruity of monarchy, Belgium and the Balkans”. Filmmaking duo Peter Brosens and Jessica Woodworth both come from a documentary background, and King of the Belgians marks a change in direction for them, as they explain in this interview about the film: http://cineuropa.org/ff.aspx?t=ffocusinterview&l=en&tid=3049&did=319853

This special event is organised with the support of Wallonie-Bruxelles International and Flanders House. For more information about the ‘Focus on Belgian Cinema’ season at the French Institute: https://www.institut-francais.org.uk/cine-lumiere/whats-on/festivals-series/focus-on-belgian-cinema/

Louis Danvers is a film critic living in Brussels, where he was born in 1955. He writes for Le Vif-L’Express, while also reviewing films for Telepro and for radio programs on RTBF. Co-founder of the film monthly Visions in the early 1980s, he is a long-time collaborator of the Royal Belgian Film Archive, and has written several film books, including Nagisa Oshima (Les Cahiers du Cinéma) and Brazil de Terry Gilliam (Yellow Now). He has directed documentaries about filmmakers, including Jaco Van Dormael and Abderrahmane Sissako. Under his real name, Michel Sordinia, he is the singer and songwriter of post punk cult band The Names, signed by Manchester’s Factory Records in 1979 and still active today.

Wouter Hessels teaches film history, Belgian cinema and media studies at RITCS, Royal Institute for Theatre, Cinema & Sound in Brussels. He also teaches at Vesalius College (Free University of Brussels) and at the Royal Academy of Fine Arts in Antwerp. Since 2009, he has been the film programmer at the art house CINEMA RITCS in Brussels, and he also worked for the Royal Belgian Film Archive, and as a film expert for Flemish national television. He publishes regularly on art, media, film, education and politics, and he creates poetry-music projects, such as Brussels North–Brussel Centraal–Bruxelles Midi (2015-2016). He writes, teaches and performs poetry in Dutch, French, English, Spanish and Italian.

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Derek Jarman Lab – Essay Film Course 20 – 23 January 2018

Essay Film Course

An intensive 4-day course in all aspects of audiovisual production related to essayistic and research-led filmmaking. Students work in small groups and learn how to use widely available DSLR cameras and popular editing software to create professional looking and intellectually engaging videos. At the end of the course they complete a short training film. This gives them an opportunity to put their new skills to use immediately and experiment with the form of the essay film in a stimulating environment and with the support of the Lab’s team. Key elements of the course are: introduction to film theory, session on making an impact with research, tips on production management, hands-on skills in lighting set-ups, recording sound, and using cameras (Canon and Panasonic DSLRs, Blackmagic Cinema Camera), a supervised location shoot, editing theory and editing on Final Cut X.

Our courses are designed to cater for a variety of levels of experience and to consider the different ways in which moving images can be used. An integral part of the training is discussing students’ research interests and how to make the best use of film in an academic context. We explore the conventions of documentary filmmaking but also talk about its alternatives, such as the essay film. The focus of this course is on films which combine an artistic form with an argumentative structure. We also engage with the concepts of visual methods of disseminating and conducting research in the humanities and social sciences.

The sessions take place in our offices:

The Derek Jarman Lab
36 Gordon Square
London WC1H 0PD

The training begins at 10am on each day of the 4-day course, and we aim to finish around 6pm.

The cost of the course for Birkbeck students and staff is £300.

If you are interested in enrolling, please send an email to bartek@jarmanlab.org

More information about the lab can be found here: jarmanlab.org.

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BIMI/Vasari Digital Animation Series: Joey Holder and Candida Powell-Williams – Friday 2 February 2018 6.30pm

Vasari Digital Animation Series: Joey Holder and Candida Powell-Williams
Friday 2 February 6:30 – 9:00
In collaboration with the Vasari Research Centre for Art and Technology

Artists Joey Holder and Candida Powell-Williams both use animation to explore the relationship between digital and biological forms. Holder’s work considers the structures and hierarchies of the technological and natural worlds, and how these systems are constantly abstracted. Powell-Williams’ practice merges sculptural installations, performance and GIFs, using them to address the construction of identity through objects and memory.
Following screenings of work by both artists, Holder and Powell-Williams will discuss hybrids, molluscs, fantasy and the interplay between the digital and the corporeal in their work.

Joey Holder is a London based artist who received her BA from Kingston University (2001) and her MFA from Goldsmiths (2010). Her artistic practice and research spans video and multimedia installations both online and offline. Her work raises philosophical questions of our universe and things yet unknown, regarding the future of science, medicine, biology and human-machine interactions. Working with scientific and technical experts she makes immersive, multi-media installations that explore the limits of the human and how we experience non-human, natural and technological forms. Mixing elements of biology, nanotechnology and natural history against computer programme interfaces, screen savers and measuring devices, she suggests the impermanence and inter-changeability of these apparently contrasting and oppositional worlds: ‘everything is a mutant and a hybrid’. Connecting forms which have emerged through our human taste, culture and industrial processes she investigates complex systems that dissolve notions of the ‘natural’ and the ‘artificial’. GM products, virtual biology and aquatic creatures are incorporated into an extended web; challenging our perception of evolution, adaptation and change. By contrasting so-called ‘organic’ and ‘man-made’ substances and surfaces through a series of abstractions, she creates a world of manifold layers, none more unified or natural than the next. These hybridities may suggest a particular function or natural form but remain elusive through their odd displacement.

Recent

solo/duo exhibitions include ‘SELACHIMORPHA’, Photographers Gallery, London (2017), ‘Ophiux’, Wysing Arts Centre, Cambridge (2016), ‘TETRAGRAMMATON’, LD50, London (duo w/ John Russell) (2016), ‘Lament of Ur’, Karst, Plymouth (duo w/ Viktor Timofeev) (2015);

‘BioStat.’, Project Native Informant, London (2015) and ‘HYDROZOAN’, The Royal Standard, Liverpool (2014). Recent group exhibitions include ‘HYDROZOAN’ at the 7th Moscow International Biennale Of Contemporary Art, Russia (2017), ‘WALLPAPERS’ at New Forms

Festival, Canada (2017), ‘Designing Desire’ at FACT, Liverpool, UK (2017), ‘Alien Matter’, Transmediale, Berlin (2017), The Noise of Being, Sonic Acts, Amsterdam (2017), ‘Winter is Coming’, Georg Kargl, Vienna (2016), ‘The Uncanny Valley’, Wysing Arts Centre,

Cambridge (2015); BODY HOLES, New Scenario, online exhibition at the 9th Berlin Biennale, Berlin, Germany (2016), ‘Sunscreen’, online and at Venice Biennale (2015); ‘A Plague of Diagrams’, ICA, London, UK (2015), ‘#WEC- Whole Earth Catalyst’, The Composing

Rooms, Berlin, Germany (2015); ‘h y p e r s a l o n’, Art Basel Miami, USA (2014); ‘Vestige: The Future is Here’, Design Museum, London (2013) and ‘Multinatural Histories’, Harvard Museum of Natural History, Massachusetts, USA (2013).

http://www.joeyholder.com/index.php/2017/porphyrin/

Candida Powell-Williams lives and works in London. She graduated from the RCA, London in 2011. Selected exhibitions include: ‘Boredom and its Acid Touch’, Frieze Live (2017); ‘Tongue Town’, Museum of Modern Art, São Paulo; ‘Cache’, Art Night, London (2017); and ‘Coade’s Elixir’, Hayward Gallery, London (2014). In 2013 Powell-Williams was awarded the Sainsbury Scholarship at BSR, Rome. She is currently artist in residence the Warburg Institute London.

https://www.candidapowell-williams.com

Elizabeth Johnson is an Associate Research Fellow in the Vasari Centre for Art and Technology, Birkbeck

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