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[ecrea] cfp - intermediality now: remapping in-betweenness
Thu Jun 21 19:18:19 GMT 2018
INTERMEDIALITY NOW: REMAPPING IN-BETWEENNESS
international film and media studies conference organized by the
Sapientia University Cluj (RO), 19-20 October 2018.
CALL FOR PAPERS
Connected to our new exploratory research project “Rethinking
Intermediality in Contemporary Cinema: Changing Forms of In-Betweenness”
funded by the UEFISCDI, and following up on the topics of our previous
conferences, we would like to bring into focus the idea of
“in-betweenness” set in a wider context of contemporary visual culture,
and to re-evaluate its relevance regarding the state of the art in
researches on intermediality. Digital media have not only prompted a
reassessment of the relationship of the “old” and the “new” through
their extraordinary capacity for absorption and remediation but have
literally flooded our life with their ubiquity and sheer excess. The
technological convergences of devices producing and displaying media,
the fusions, expansions, relocations taking place have effectively
challenged our perception of media differences. If the idea of
intermediality is based on the assumption of a productive interaction of
media, then there should be no more pressing issue regarding
intermediality studies today than fine-tuning its core concept of
in-betweenness to the phenomena of the so called post-media age, in the
spirit of Raymond Bellour’s concept of l’entre-images (i.e.
images-in-between/inter-images), in which novel forms are continuously
“hollowed out from within surrounded by the new forces that irrigate it”
(2012: 21). On the other hand, however, as recent theoretical approaches
imply by viewing media products embedded in their palpable, real-life
environment (i.e. in the dispositifs we experience them, in their
phenomenology that links them to our bodies, or in their concrete,
historical and socio-political context), the relevance of intermediality
is not limited to what happens to media, but it extends, even more
importantly, to what happens through the in-betweenness of media and
what is the agency of in-betweenness in our contemporary multimedia
environment. Besides the analysis of new configurations, we should also
examine what is inscribed and communicated through various intermedia
relations and what new types of passages are established in-between art
and life, in-between the emotional, spiritual and the material, as well
as the imaginary and the real, and so on.
We invite proposals to unravel the complex new relationships that define
our contemporary visual culture, and to map new, relevant areas of
in-betweenness that may enrich our knowledge of intermediality today.
We suggest the following tracks along which individual topics
(theoretical presentations or case studies) may be proposed:
• Classical cinema vs. expanded cinema in the digital age, cinema and
other forms of moving images
• The cinematic, the photographic, the theatrical, the painterly as
transversal concepts (applicable “outside” their media boundaries) in
the aesthetic of contemporary art and media • L-entre images
(inter-images) today: new passages between the visual arts in the
• In-between the real and the intermedial, the immediate and the
hypermediated, bodies and media, the sensual and the abstract
• Intermedial strategies in the aesthetic or the curating practices of
contemporary art and media, the politics of intermediality, the
“messages” of in-betweenness
• New technologies and experiences of in-betweenness: e.g. 3D, VR
cinema, computer games
• “In-betweenness” in between theories: concepts of liminality
articulated/applied through theories of intermediality, media
convergence, transmediality, philosophy, media archaeology and ecology,
intersections of media and cultural studies etc.
Confirmed keynote speakers:
MARTINE BEUGNET, Professor in Visual Studies at the Paris Diderot
University. Her current research interests include: cinema and video art
(phenomenology, aesthetics, reception), forms and practices of the
moving image in the era of the digital, and the relationship between the
arts. She is the author of Claire Denis (2004); Proust at the Movies
(with Marion Schmid, 2005); Cinema and Sensation: French Film and the
Art of Transgression (2007). Her latest books are on the aesthetic of
the blur in cinema: Indefinite Visions: Cinema and the Attractions of
Uncertainty (with A. Cameron and A. Fetveit, 2017) and L’attrait du flou
(The Attraction of the Blur, 2017).
THOMAS ELSAESSER, Professor Emeritus of the University of Amsterdam and
Visiting Professor at Columbia University. Besides publishing over 200
essays in journals and collections, he has authored, edited and
co-edited some 20 volumes on film history, film theory, media
archaeology and new media. Among his recent books as author are: (with
Malte Hagener) Film Theory – An Introduction through the Senses (2010)
and Film History as Media Archaeology (2016). He is currently completing
a book on European Cinema and Continental Thought: Film as Thought
Experiment (2018). He is also writer-director of the documentary film,
The Sun Island (2017) which premiered at the Kassel Documentary Festival
in November 2017. The conference will also include a screening of this film.
LARS ELLESTRÖM, Professor at the Department of Film and Literature,
Linnaeus University, Sweden. He is the head of the Linnaeus University
Centre for Intermedial and Multimodal Studies (IMS) and chairs the board
of the International Society for Intermedial Studies (ISIS).
LÚCIA NAGIB, Professor of Film, Director of the Centre for Film
Aesthetics and Cultures, University of Reading, UK. She is the leader of
the AHRC-FAPESP funded project, 'Towards an Intermedial History of
Brazilian Cinema: Exploring Intermediality as a Historiographic Method'
which focuses on cinema's nature as a mixture of arts and media in order
to produce the first, groundbreaking intermedial history of Brazilian
JOACHIM PAECH, Professor Emeritus University of Konstanz (Germany) whose
books and articles, the edited collections of essays are among the most
influential writings on intermediality of film.
And we are proud to present an exclusive video lecture by: RAYMOND
BELLOUR, the renowned French philosopher, theorist of film and interart
relations, whose concept of "in-betweenness" inspired this conference.
Submission of proposals
We invite proposals both for individual papers and pre-constituted
panels. Panels may consist of 3 or 4 speakers.
Deadline for the submission of proposals: June 30, 2018.
Please fill in one of the SUBMISSION FORMS accessible on our website:
(or click on the link in the attached pdf of this Call for Papers)
For additional information you can contact the organizers directly at
this e-mail address:
(2018.inbetweenness /at/ gmail.com)
The official language of the conference is English.
The time for presentations is limited to maximum 20 minutes, followed by
a 10-minute debate.
Conference fee (which includes participation, conference buffet and
banquet): 120 EUR, special fee for participants from
post-communist/communist countries: 70 EUR. The fee is to be paid on
arrival at the conference registration desk.
A selection of papers based on the conference presentations will be
published in our department's international, peer reviewed journal (Acta
Universitatis Sapientiae. Film & Media Studies) indexed in several
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