[ecrea] CfP: Ubiquitous Cinema

*Ubiquitous Cinema - Education, Mobility, and Storytelling in the 
Digital Age*

Call for Papers

*Beijing, Beijing Film Academy, April 27-29, 2017*

Beijing Film Academy, China Film Education Research Centre, in 
cooperation with the Amsterdam Centre for Globalisation Studies (ACGS), 
University of Amsterdam

Convenors: Liu Jun, Jeroen de Kloet, Xu Hang, Rowan Parry

*Keynote speakers*:

*Chris Berry *(King’s College London, co-author of /China on Screen: 
Cinema and Nation/, editor of /Chinese Films in Focus, /and co-editor of 
/Public Space, Media Space/ and /Cultural Studies and Cultural 
Industries in Northeast Asia/)

*Yomi Braester*(University of Washington, author of /Painting the City 
Red: Chinese Cinema and the Urban Contract /and /Witness against 
History: Literature, Film and Public Discourse in Twentieth-Century China/)

*Song Hwee Lim*(The Chinese University of Hong Kong, author of /Tsai 
Ming-liang and a Cinema of Slowness/ and /Celluloid Comrades: 
Representations of Male Homosexuality in Contemporary Chinese Cinemas/)

*Patricia Pisters*(University of Amsterdam, author of /The Neuro-Image: 
A Deleuzian Filmphilosophy of Digital Screen Culture/ and /The Matrix of 
Visual Culture: Working with Deleuze in Film Theory/)

Cameras and screens have become ubiquitous in everyday life. This 
provokes questions about the ways we produce, perceive, distribute, but 
also teach and study cinema today. For this conference, we aim to 
discuss three entangled phenomena to probe into the ubiquity of screen 
cultures in the digital age: education, mobility, and storytelling.

First, *education*. Phones are used to shoot anything from cat videos to 
entire feature films, which we share and watch on /Vimeo/ or /Tudou/. 
Increasingly, documentaries and short movies are made by what used to be 
called “amateurs.” What role does formal film education have then, when 
shooting and editing have become seemingly easy? How to educate the 
young in a time in which the visual and the digital reign? What are the 
problematics, if not dangers, of becoming visible (cf. Rey Chow)?

Second, *mobility*. Digitization allows for almost immediate mobility of 
images, but in its slipstream are also technologies, money and ideas 
(cf. Appadurai). Where do we stand twenty years after the rise of 
transnational cinema studies? How do film festivals facilitate the 
global circulation of film? When all that seemed solid becomes unstable 
and is on the move, what happens not only to scholarship, but also to 
our lived experiences of cinema? And how does it provoke a desire to 
stay put and be slow?

Third, *storytelling*. How has increased mobility provoked 
cross-fertilization amongst forms, genres, national cinemas, and their 
storytelling conventions? How is the Internet used as a platform to 
experiment with form, content and technology to tell the stories of our 
digital age? How does the emergence of virtual and augmented realities 
affect the ways in which films are made and perceived? How do new visual 
regimes emerge and alter the language of cinema? What are the 
theoretical and political implications of these transformations, and do 
they provoke a redistribution of the sensible (cf. Rancière)? How is the 
movement-image, with its focus on plot, and the time-image, with its 
focus on point of view, supplemented by the neuro-image, in which we 
experience the mental landscapes of characters (cf. Deleuze and Pisters)?

This conference brings together scholars from various disciplines to 
reflect on these questions related to film education, mobility, and 
cinematic storytelling in the digital age. We invite both paper and 
panel submissions that engage with (one of) the themes of this 
conference through specific case studies.

Possible topics among the three leading themes include (but are not 
limited to):

*Education*

Children and cinema

The role of film schools and formal education

Changing curricula in times of globalisation

Teaching creativity

Digital tools and methods in film education

The role of the amateur filmmaker

*Mobility*

Cinema of stasis and slowness

Mobility in cinema: cars, planes, trains, subways

Globalisation and the moving image

Transnational film production

Mobile cinemas and pop-up screenings

Film festivals

*Storytelling*

Cross-fertilization and hybridity in storytelling modes

Technology and storytelling

Digitization and film aesthetics

Virtual and augmented realities and cinema

The rise of the neuro-image

Regimes or distributions of the visible

Changing modes of film reception

Please submit an abstract (200-300 words) and short bio (max. 100 words) 
by *1 December* 2016 to Vincent So: (v.h.so /at/ uva.nl) 
<mailto:(v.h.so /at/ uva.nl)>. For panels, please submit a general panel 
description of 200-300 words, four abstracts (200-300 words each) and 
biographies (max. 100 words each).

Language: English

Notice of acceptance will be given by 1 January 2017.

While there is no conferenceregistrationfee, neither transport nor 
accommodation can be covered by the organiser.

This conference is part of the project ChinaCreative, funded by a 
consolidator grant of the European Research Council (ERC-2013-CoG 
616882-ChinaCreative).

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