segunda-feira, 17 de dezembro de 2018

The NECS 2019 Conference



NECS–European Network for Cinema and Media Studies



Structures and Voices: Storytelling in Post-Digital Times

13–15 June 2019
Hosted by the University of Gdańsk, Poland.

Deadline for submissions: 31st January 2019

https://necs.org/conference/cfp-2019/cfp-conference/

For ages, storytelling has been a source of pleasure and consolation. Telling stories brought people together, allowed them to share experiences and transfer knowledge. Narrative was the most efficient device for storing, ordering and disseminating information. Yet, the times, they are a-changing. New communication technologies appear, which bring about the crucial question: What is the place of storytelling nowadays? Born in times when verbal language and talking were the main means of communication, it seems to have inherited their basic traits: linearity, a sequential nature and logical structure, all of which have imbued reality with sense. The theatrical feature film, which dominated the media landscape throughout most of the twentieth century, enhanced basic traits of narrative, supplementing it with a visible human agent who occupied a central part of almost every frame, and was the principal force controlling the flow of events. Narrative—pleasurable, effective, inextricably close to common human experience—appears to be seriously challenged. According to Thomas Elsaesser, we are experiencing an epochal shift, passing from two symbolic systems of representation (visual-mimetic, embodied by easel painting, and verbal-symbolic, embodied by books) which have dominated since Renaissance, to a communication built around computers, wireless telephony and digitisation: “The consequence is that narrative (as the traditionally most efficient organising principle of connecting disparate information to a user) has to contend and rival with the archive and the database and their forms of organisation and user-contact.”

At this point the question arises: to what extent is narrative historically specific and technology- and medium-dependent? Can it still hold its role as a basic ordering device in times when information achieves the speed of light, when the logic of sequence is supplanted by the logic of immediacy and simultaneity, when simple causal relations are replaced by complex systems of multifaceted influences, where the effects are unpredictable and incommensurable with the causes, and where the agent who stands behind the events is not just difficult to detect, but very often simply undetectable?

The questions about the relationship between structures and technologies also apply to genres and media. How have classical narrative forms changed, such as novels, feature films, television series, and to what extent is this newness a result of a technological shift? What happens to a story when it changes its medium, moving between films, comic strips, graphic novels, photo-romances, computer games, animations, and many more? What role does storytelling play in genres which are not necessarily narrative, like many television genres, and also “internet genres”, like YouTube videos, web series, interactive video games, vines? And what about “new media”, and “new new media art”, like net art, bio art, location media art, software art? Do they tell stories? Do they use narrative formats? And if they do, what peculiarities ensue from this encounter of old structure with new materialities? One should also not overlook the phenomenon of hybridity in traditional cultural forms, like museums and art galleries. What we can witness there is a process of narrativisation of museum spaces and exhibitions, and also, of spatialisation of stories in art galleries, for example in installations.

The shift in storytelling also affects methodologies of media studies. Old “big master” narratives and teleology of progress, although still in use, have lost their appeal. New orientations and research perspectives have appeared, like big data, critical infrastructure studies, object-oriented ontology, media geology and geography, open science. They seem more “spatial” than temporal, more synchronic than diachronic, and in that they seem to be better suited to the post-digital era. Academics, scholars and critics have started to use new film forms. On the one hand, popular film critics upload their video reviews and video essays on YouTube, without using the written word, while on the other hand, critical consensus about certain films is presented as a mere number on aggregation websites, such as Rotten Tomatoes or Metacritic.

The NECS 2019 conference will focus on narrative structures and voices in post-digital times. Submissions may include, but are not limited to, the following topics:

classic and new approaches to storytelling
forms of organisation of the narrative
narrative structures and new technologies
beyond narration new approaches, constructs and ideas
between reality and fiction
genres, currents and their hybrids
speech genres in post-digital times
puzzle films and slow cinema
narrative techniques and complexity in TV genres
operational aesthetics
transmedia storytelling
diversity in storytelling: beyond (gendered, racialised or other) stereotypes
experimental and avant-garde cinema and their narrative techniques
new media art storytelling
human-less media
video platforms, home movies, smartphone films
storytelling in 5D, VR and expanded cinematic experience
the future of cinematic experience
storytelling in games and interactive environments
storytelling techniques in web genres: video essays, YouTube videos, vines and more
aural media and storytelling
narrativisation of museum spaces
new forms of media criticism
local and glocal narratives
subaltern narratives
small cinematographies and the politics of identity
local cultures and minorities in cinema
between national and transnational
censorship and disrupted narratives
marketing, PR, distribution techniques and their influence on narrative patterns
advertising, marketing and storytelling
teaching, designing programmes, and storytelling
media historiography and storytelling patterns
Scholars from all areas of cinema and media studies, whether previously affiliated with NECS or new to the network, are invited to submit proposals, but NECS membership is a requirement.

FORMATS

When preparing a submission for NECS 2019 please keep in mind the following restrictions. Individuals may submit only one paper proposal, either as individual presenters or as part of a pre-constituted panel or workshop. Conference participants may only serve in a MAXIMUM of two capacities. These might be:

delivering a paper and serving as a chair of either a panel or a workshop
delivering a paper and participating in a workshop
delivering a paper and serving as a respondent on another panel
chairing a workshop and serving as a respondent on a panel
chairing a panel and participating in a workshop

INDIVIDUAL PAPERS
Individual presenters wishing to submit a proposal for a paper presentation of max. 20 minutes are required to provide their name, email address, the title of the paper, an abstract (max. 300 words), key biographical references (max. 200 words), and a short bio of the speaker (max. 150 words).

PRE-CONSTITUTED PANELS
We support the submission of proposals for pre-constituted panels with 3 or 4 papers (3 papers only if there is a respondent) in order to strengthen the thematic coherence of panels. Furthermore, several thematically related panels may form larger clusters. We would like to strongly encourage members of the NECS workgroups to put together pre-constituted panels, but we also welcome submissions from academic research project teams, museums, archives, and other institutions. We highly recommend no more than two speakers from the same institution with a maximum of 20 minutes speaking time per paper. Panel organisers are asked to submit panel proposals that include a panel title, a short description of the panel (max. 300 words) and information on all of the individual papers of the panel, as described above.

WORKSHOPS
Events such as workshops, roundtables or seminars – both pre-conference and conference – concentrating on more practical aspects of our field, e.g. teaching, research methods, publishing, or networking with the media industry are also welcome. Speaking time should be limited to 10 minutes per participant. Organisers are asked to submit workshop proposals that include a title and a short description (max. 300 words) with a list of participants.

WORKGROUPS
There will be an opportunity for NECS workgroups to meet during the conference. Please notify the conference organisers if you wish to hold a workgroup meeting: necs2019gdansk@gmail.com
Please submit all proposals before 31st January 2019 using the submission form available at: https://necs.org/conference/proposal-submission-form/
The submission form is only open to registered NECS members who have paid the membership fee. For instructions on how to become a member of NECS and how to pay the membership fee please consult our website: http://necs.org/faq
Participants will have to cover their own travel and accommodation expenses. Travel information, a list of local hotels and information on further events will be posted on the NECS conference website in Spring 2019
See also: https://necs.org/faq.
Please email all inquiries that cannot be answered by the FAQ to: necs2019gdansk@gmail.com

ACCOMPANYING EVENTS
THE 17th NECS GRADUATE WORKSHOP
The NECS Graduate Workshop has been designed to give scholars at the beginning of their career a platform for networking with established European film and media scholars. The 17th NECS Graduate Workshop in Gdańsk (12 June 2019) is dedicated to the topic of Skill, Deskill, Reskill. Media Uses as Labour Protocols.
You will find the CFP online at: https://necs.org/conference/cfp-2019/cfp-workshop
Please send your submission with an abstract (max. 200 words) and a short bio (max. 150 words) to: graduates@necs.org

ORGANISING COMMITTEE: Paweł Biliński (University of Gdańsk), Patrycja Chuszcz (University of Łódź), Adam Cybulski (University of Łódź), Marta Maciejewska (University of Gdańsk), Paulina Pohl (University of Gdańsk), Łukasz Tokarczyk (University of Łódź)

NECS 2019 CONFERENCE ORGANISERS
NECS STEERING COMMITTEE: Judith Keilbach, Bregt Lameris, Skadi Loist, Michał Pabiś-Orzeszyna, Francesco Pitassio, Antonio Somaini, Alena Strohmaier
NECS CONFERENCE COMMITTEE: Marie Aude Baronian, Luca Barra, Laura Copier, Sudeep Dasgupta, James Harvey-Davitt, Rahma Khazam, Daniel Kulle, Marta Maciejewska, Raphaelle Moine, Michał Pabiś-Orzeszyna, Paulina Pohl, Mirosław Przylipiak, Antonio Somaini, Jan Teurlings

LOCAL ORGANISING TEAM: Paweł Biliński, Kamil Bryl, Grzegorz Fortuna, Joanna Kiedrowska, Marta Maciejewska, Paulina Pohl, Mirosław Przylipiak, Piotr Wajda, Krystyna Weiher-Sitkiewicz

segunda-feira, 19 de novembro de 2018

domingo, 11 de novembro de 2018

Final das aulas, informações gerais

Pessoal,

estamos na reta final. Para a próxima aula, dia 13 de novembro, terça-feira:

1)             apresentação dos trabalhos finais (VideoRemix).
2)             entrega de textos referentes ao processo de criação dos trabalhos finais (VideoRemix)
3)             entrega de Relatório Individual do Semestre
4)             data final para entrega de trabalhos pendentes.

Calendário e resumo geral:

13/11/18: Entrega do Relatório Individual do semestre;  apresentação dos trabalhos finais (VideoRemix); entrega de textos referentes ao processo de criação dos trabalhos finais (VideoRemix) e último dia para entrega de trabalhos pendentes.

20/11/18: feriado

27/11/18: último dia de aula, devolutiva dos relatórios, avaliação geral.


Envio abaixo mais informações sobre cada item.
Até breve!
LL

1.             Apresentação dos trabalhos finais (VideoRemix)

-                tempo total do vídeo: entre 1 a 3 minutos
-                tempo total da apresentação oral: 10 minutos
-                tempo para discussão em sala: 5 minutos
-                a ordem das apresentações irá seguir a chegada na aula

2.             Entrega de texto sobre o trabalho de VideoRemix

- O texto sobre o VideoRemix deve ter entre 2 e 10 laudas. Deve incluir:
- Nome do projeto
- Nome dxs autorxs
- Título da disciplina, Nome dx Professorx, Título do Texto
- Apresentação do argumento
- Descrição do processo de pesquisa e de criação do vídeo. Quando o trabalho for em grupo, incluir informações sobre a participação de cada membro do grupo
- Reflexão sobre as características do vídeo realizado (tamanho, técnicas empregadas, escolhas de imagens de arquivos, estilo de movimento de câmera, cores e luminosidade, montagem, efeitos, etc.)
- Reflexão sobre as relações entre as referencias escolhidas para o Remix e o vídeo realizado.
- Relações entre os contextos das obras (cultura, história, situação política, econômica etc.)
- Interpretação e considerações finais
- Referências citadas


3.             Entrega de Relatório Individual do Semestre

-       Sobre os relatórios individuais: o objetivo do relatório individual é promover a reflexão sobre os processos de trabalho dx alunx no semestre.
-       Assim, o trabalho consiste em elaborar um texto que relate a experiência vivida pelx alunx a partir de um memorial que aborde todas as aulas, trabalhos criativos e de pesquisa realizados, atividades complementares, etc.
-       O Relatório Individual do Semestre deve ter entre 3 e 10 laudas. Deve incluir:
-       Dados gerais, nome do alunx.
-       Título: Relatório Individual do Semestre
-       Texto do Relatório
-       Referências citadas


Modelo de Relatório

PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO
FACULDADE DE FILOSOFIA, COMUNICAÇÃO, LETRAS E ARTE
CURSO DE COMUNICAÇÃO E MULTIMEIOS

Disciplina: Processos de criação em diferentes mídias: da colagem ao remix
Professora: Lucia Leão

Alunx:
Email:
Turma:



RELATÓRIO INDIVIDUAL DO SEMESTRE






quinta-feira, 25 de outubro de 2018

Video remix


 



MAD MEN: Set Me Free
Elisa Kreisinger


The Evolution of Peggy Olson (Mad Men Supercut)
Elisa Kreisinger


Adrienne Maloof: Feminst, Peacemaker (Real Housewives of Beverly Hills SuperCut)
Elisa Kreisinger


Manifestoon
Jesse Drew

Remix de vários desenhos animados e leitura do texto do Manifesto Comunista de (K. Marx e F. Engels).
Dublado por Portal Vermelho


Referências

GALLAGHER, Owen. Reclaiming Critical Remix Video: The Role of Sampling in Transformative Works. Routledge, 2017.

MCINTOSH, Jonathan. A history of subversive remix video before YouTube: Thirty political video mashups made between World War II and 2005. Transformative Works and Cultures, v. 9, 2012.

-->

 


-->

Aula dia 23/10/18

Barbara Kruger (EUA, 1945)

 




sexta-feira, 28 de setembro de 2018

Google 20 anos :: entrevista com Jessica Yu sobre os processos de criação do Google Doodle

https://theculturetrip.com/north-america/usa/california/articles/how-google-celebrates-cultures-around-the-world-with-google-doodles/?utm_campaign=anexo&utm_source=anexo

Vejam também:

Comemoração a Georges Méliès


https://www.google.com/doodles/celebrating-georges-melies

quarta-feira, 26 de setembro de 2018

13ª Semana de Multimeios, 2018 :: Fora da caixa

Pessoal, 

semana que vem, de 1/10 a 4/10/18, das 13h às 19h, na PUC SP - Monte Alegre, vai ocorrer a Semana de Multimeios, com o tema "Fora da Caixa":