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

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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The second edition of the biennial research workshop organised by Birkbeck Institute for the Moving Image (BIMI) and Film Studies at the University of Pittsburgh will take place Wednesday 10 May to Friday 12 May 2017. The idea of the workshop is to bring together faculty and postgraduate students from Birkbeck and Pittsburgh to share their ongoing research, to get to know each other in person, and to develop collaborative research projects together. The first edition, “Cinema and the City”, May 2015, was a productive and enjoyable occasion, which has already generated several joint research initiatives, including journal publications, student and staff exchanges, public lectures, curatorial projects, and study days.

The forthcoming edition, entitled “Urban Change”, pursues the broad theme of cinema and the city, while addressing more precisely how moving image culture – in all its changing forms and formats, both aesthetically and technologically speaking – has responded and continues to react to the ongoing economic, social and political transformation of urban environments. These environments are understood as physical spaces but also as places to live, work, love and play, both individually and in terms of interpersonal and community relationships. While the cities of Pittsburgh and London remain significant topics for exploration, the geographical and historical coordinates of this workshop are entirely open, and participants will be exploring urban contexts and examples drawn from France, Algeria, Canada, India, Russia, Japan, Hong Kong, Denmark and Sweden.

The workshop is open to all, from Birkbeck and beyond, and we will be especially happy to welcome students and researchers working across the range of research areas and disciplines that BIMI is committed to representing as part of its mission: Film and Media, English, History of Art, Languages, Law, History, Philosophy, Politics, Geography, Psychosocial Studies, Applied Linguistics, and Psychological Sciences.


Below you will find the BASIC PROGRAMME of the workshop: if you wish to read the presentation abstracts, the contributor profiles, and details of screening materials, or BOOK a place for this FREE event, please follow this link:




WELCOME/INTRODUCTION with tea & coffee in Cinema foyer


Presentation #1

Randall HALLE, Pittsburgh: The Record of Modernity, the Poetics of Urban Change – Heinz Emigholz’s Architecture and Autobiography

12:30-1:30 LUNCH BREAK


Presentation #2

Joel McKIM, Birkbeck: Transitional Vancouver: Stan Douglas’s Circa 1948


Presentation #3

Curry CHANDLER, Pittsburgh: Visualizing Urban Change and Differential Space in Chris Ivey’s East of Liberty series: Gentrification, Community Activism, and Documentary Film as Aesthetic Spatial Practice

3:30-4:00 TEA BREAK


Presentation #4

Melissa BUTCHER, Birkbeck: Creating Hackney as Home – Five Reflections on a London Borough 


Early Film Exhibition Tour, with Ian Christie, Birkbeck: Early Cinema Sites in Leicester Square and the West End

Meeting point for the walk: Birkbeck, School of Arts, 43 Gordon Square.




Presentation #5

Neepa MAJUMDAR, Pittsburgh: Wiring for the Talkies: Bombay’s Cinema Theatres, 1927-1940


Presentation #6

Nikhil Thomas TITUS, Pittsburgh: Curated Desires: Examining Intersections of Low-Cost Film Exhibition, Migrant Audiences, and Gentrification in Mumbai

12:30-1:30 LUNCH BREAK


Presentation #7

Michael ALLEN, Birkbeck: What Goes Up Must Come Down – Negotiating Social Continuity and Change in the Representation of Post-War Architecture in British Film and Television.


Presentation #8

Adam HEBERT, Pittsburgh: Wheels and Reels on Both Sides of the Pond – Skateboarding and City Planning from Philadelphia to London

3:30-4:00 TEA BREAK


Presentation #9

Nancy CONDEE, Pittsburgh: Moral Repository – “The landscape of the Russian soul corresponds with the landscape of Russia”




Presentation #10

Mark BEST, Pittsburgh: Giant Monsters, the City of the Future, and Spectacles of Urban (Non-)Destruction: Gamera visits Expo ’70


Presentation #11

Kevin FLANAGAN, Pittsburgh: Hong Kong-D.C. Connection – Transnational Martial Arts Cinema between Regional Production Contexts and Global Audiences

12:30-1:30 LUNCH BREAK


Presentation #12

Kelsey CUMMINGS: Analysing Evocations of Urban Destruction in Romantic Comedy, with a Focus on Representations of Women’s Bodies


Presentation #13

Janet McCABE, Birkbeck: Female Cartographies, Spatial Mappings, Regional Tourism – Location and The Bridge (Bron/Broen)

3:30-4:00 TEA BREAK





Nikolaus Geyrhalter, Austria, 2016, 94 minutes, followed by a response to the film by Carl Lavery, University of Glasgow, in conversation with Anna Reading, Kings College London. More information:




Contemporary Urban Media Tour, with Scott RODGERS, Birkbeck: Media and Everyday Life in the Urban Spaces of Fitzrovia, Marylebone, and Soho

Meeting point for the walk: Birkbeck, School of Arts, 43 Gordon Square.


Michael Temple

Director of Birkbeck Institute for the Moving Image and Essay Film Festival








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CFP: Deeper than Swords: Fear and Loathing in Fantasy and Folklore – Deadline 11 November 2016

University of Edinburgh Fantasy and Folklore Postgraduate Conference and Creative Writing Seminar

Deeper than Swords: Fear and Loathing in Fantasy and Folklore

18th-19th January 2017

School of Literatures, Languages and Cultures

University of Edinburgh


“Fear cuts deeper than swords.” A Game of Thrones, George R.R. Martin

Shakespeare acknowledged that “in time we come to hate that which we often fear” (Antony and Cleopatra). Fantasy and folklore literature have long explored these themes and their interdependent relationship. From the threat of the wicked witch in traditional fairy tales to new and terrifying monsters such as A Song of Ice and Fire’s White Walkers, it is from these stories that our worst nightmares are drawn and our deepest hatreds formed. Yet what is it about these genres that make them so well suited to depicting fear and hate? How do fear and hate symbiotically engage with each other within these genres, and how do these genres use this relationship to comment on wider socio-political issues?

The University of Edinburgh’s Fantasy and Folklore Reading Group is hosting its first, interdisciplinary postgraduate student conference on the 18th and 19th January 2017. We welcome submissions for 20 minute individual papers as well as panel proposals exploring manifestations of fear and hatred throughout fantasy and folklore literature. Potential topics can include, but are not limited to:

  • Fear of the Other. Is fantasy literature particularly well placed to respond to the Other, and does it agree with or challenge normative perceptions?
  • The uncanny. How do fantasy and folklore work to make the familiar frightening?
  • Critical fear of fantasy literature. Why are fantasy and folklore still maligned within the academic community?
  • How do cultural norms dictate what is understood as frightening? How is this typified or interrogated in fantasy narratives?
  • How is death, as a concept or a real threat, handled in fantasy and folklore?
  • How do fantasy narratives engage with themes of contemporary terror and psychological warfare?
  • Fear, fantasy and psychoanalysis. Freud used fairy tales to extrapolate his theories – how can we, in turn, trace these theories through contemporary folklore?
  • Are fear and loathing gendered? How can fantasy and folklore’s engagement with these themes be refracted through feminist perspectives?
  • How do space, place and landscape influence our experiences of horror and hated?
  • Trauma and survival: how do these narratives represent the impact of that which “cuts deeper than swords”?

We are also interested in papers which explore the intersections between fantasy, folklore and

  • Cinema
  • Television
  • Theatre
  • Creative Arts

Creative Writing Seminar

On Friday 19th January, we will also be holding parallel creative writing sessions. Writers working in any genre, from both the academic and local communities, are invited to join us for a stimulating day of workshop and discussion, led by postgraduate students and professional practitioners. The discussions will be influenced by papers presented on the first day of the conference and will allow writers to incorporate elements of fantasy and folklore into their work, even if they are not writing purely within those genres. The sessions will culminate in a reading, where delegates will be invited to present short pieces of work.

What to send

Conference abstracts:

250 word abstracts should be submitted by Friday 11th November 2016. Please include a short bio of up to 250 words.

Creative writing attendees:

If you are interested in presenting and taking part in the creative writing sessions, please indicate this in your email.

If you are only interested in the creative writing seminar, please email us to register your interest.

Organising chairs: Harriet MacMillan and Anahit Behrooz


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