[ecrea] Media Tactics and Engagement

Media Tactics and Engagement

HoMER@NECS Conference 2017, Amsterdam, 27–29 June 2018

Hosted by VU and UvA, Amsterdam, The Netherlands.

Deadline for proposals: 31 January 2018

Following several joint conferences in Prague (2013), Milan (2014) and 
Potsdam (2016), HoMER (http://homernetwork.org 
<http://homernetwork.org/>) is teaming up with NECS (http://necs.org/) 
again to offer a strand of panels at the 2018 NECS conference in 
Amsterdam, The Netherlands. Similar to previous such events, this will 
include a pre-conference day with a HoMER workshop (details tbc). NECS 
(Network for European Cinema Studies) is a dynamic forum supporting 
researchers working on film and media theory, practice and history. 
Bringing together cinema historians from all over the world, HoMER 
(History of Movie-Going, Exhibition and Reception) is an international 
network interested in understanding the phenomena of cinema and 
cinema-going from a multidisciplinary perspective. One of NECS’ and 
HoMER’s main purposes is to facilitate connections between acclaimed and 
aspiring researchers and the multitude of academic disciplines they 
represent. This year’s Call for Papers focuses on Media Tactics and 
Engagements, which will explore the various − (un)intended and (non) 
subversive − ways in which media are currently developed, deployed and 
distorted in both former and present times. There are many ways to think 
about the notions of tactics and engagement. For example, we may think 
of tacticsas the means to an overarching strategic end. Thus, the term 
can draw attention to larger trends within the film and media industry. 
Why and to what effect do media distributors like Netflix, retailers 
like Amazon and social media platforms like Facebook order original 
content? And how does that affect film production, distribution and 
consumption? Or how did film exhibitors in the post-war period organise 
themselves in cartel to respond to governmental film policies?

Thinking of the recent resistance to Netflix original films at the 
Cannes Film Festival, one may also ask how the film industry itself 
strategically responds to these kinds of developments. The cinematic 
text, for example, has seen continuous transformation through multiple 
digressions: nitrate short films, to 3D movies, roadshows, to DVD 
(extras), online publicity, and digital technologies generally have 
informed the status of film texts, their consumption and interactions 
with them. What further reflections around text, platform, user/audience 
engagement are necessitated in the context of these developments?


Possible topics could be:

  *

    Marketing strategies and tactics in film distribution and exhibition

  *

    Publicity material and paratextual material

  *

    Corporate identity of companies

  *

    Alternative circuits of film distribution and organizations that
    exhibit film

  *

    Tactics in engaging with audiences: international markets and US 
markets

  *

    Audience and institutional activism in relation to film exhibition

  *

    Memories of changing practices of cinema-going

  *

    The relationship between the industry and the reviewers

  *

    Education, engagement of younger generation

  *

    Past and contemporary distribution and content production models


Moreover, we launch a special call for papers on Latin American cinema 
cultures. Whereas traditionally Latin American film scholars have worked 
within a text oriented paradigm, recently there has been a series of 
projects and publications with a clear focus on audiences, exhibition 
and cinema-going, both in large film producing countries such as Brazil, 
Mexico and Argentina and in smaller cinema nations such as Colombia. We 
seek to bring together these studies to make a state-of-the-art of HoMER 
related research in Latin America.

We seek submissions of individual papers or pre-constituted panel (3 
papers) proposals from existing HoMER members and anyone interested into 
historical and contemporary film exhibition, distribution and 
experience. Please submit abstracts of individual papers of no more than 
300 words with a biographical note of no more than 100 words to both 
Clara ((c.pafort-overduin /at/ uu.nl) <mailto:(c.pafort-overduin /at/ uu.nl)>) and 
Daniela ((dtreveri-gennari /at/ brookes.ac.uk) 
<mailto:(dtreveri-gennari /at/ brookes.ac.uk)>). For panels, please send 
abstracts together with a 200-word note on the title and topic of the 
panel or workshop. You will be notified of the acceptance or decline of 
your proposal by28 February 2018. Please note, if you are accepted and 
would like to register for the conference, you will be asked to become a 
member of NECS and pay the membership fees by the 30th of April 2018.

Please do make sure you also check the NECS CfP, in case your proposal 
fits better their  call.

We look forward to all the proposals,

HoMER@NECS Team 2018: Clara Pafort-Overduin, Daniela Treveri Gennari, 
Philippe Meers, Talitha Ferraz, Asa Jernudd, John Sedgwick, Mario 
Slugan, Thunnis van Oort


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