[Commlist] CFP - Revelation Academic Conference ‘21st Century Screen Media: Ruptures and Continuities’

CALL FOR PAPERS REVELATION Academic Conference ‘21st Century Screen 
Media: Ruptures and Continuities’

July 9 & 10, 2020

Abstracts/Synopsis EXTENDED Deadline: Tue 10th March 2020

Proudly presented by Curtin University's School of Media, Creative Arts 
& Social Inquiry

Venue: Art Gallery of WA Theatrette
Perth Cultural Centre, Perth, Western Australia
9 -10 July 2020

See CFP details at: https://www.revelationfilmfest.org/academic-conference

++++

REVELATION Academic Conference
July 9 & 10, 2020

CALL FOR PAPERS NOW OPEN

Abstracts/Synopsis Deadline Extended: Tue 10th March 2020

Proudly presented by Curtin University's School of Media, Creative Arts 
& Social Inquiry

‘21st Century Screen Media: Ruptures and Continuities’

Venue: Art Gallery of WA Theatrette
Perth Cultural Centre, Perth, Western Australia
9 -10 July 2020

The late 19th century’s technological race saw inventors like Lumiere, 
Edison, and Friese-Greene compete to create a functional mechanical 
device that would actualise the cinematic concept entertained at least 
since the invention of photography. This quest was in fact already 
energised by ancient visual tales and visual trickery shows based on the 
manipulation of light, shadow, and reflection. From Plato’s cave to 
Muybridge’s chronophotography, moving images had been conceived and made 
centuries before the development of the photographic and cinematic 
technologies that would so dramatically shape modern experience.

Well past the commemoration of cinema’s centenary in 1996 and the advent 
of the third millennium, moving images are incontrovertibly an essential 
constituent of contemporary culture and subjectivity, but the ways we 
make, use, exhibit, share and trade them today have changed dramatically 
since the heyday of cinema theatres and television living rooms. With 
the rapid development of interactive, portable, smart and immersive 
technologies of media, communication and visualisation, including the 
internet and virtual reality, cinema and television as we knew them 
until relatively recently have not only been under question but 
allegedly already reached its natural course. But is this so? Are we 
living through a transitional post-cinema, post-media period in which 
networked, interactive technologies of expanded vision and other sensory 
experience are increasingly replacing a still active but definitively 
atavistic screen culture? Or are traditional screen forms and concepts 
repositioning themselves within the emergent technological landscape? 
Did the cinema experience already prefigure through its myriad forms, 
genres, and approaches the essential aspects of the XR technology 
increasingly dominating today’s media culture just like the premise of 
shadow puppet or magic lantern shows could be sensed in the first 
screenings of celluloid films?

Writing in 1999, film and media scholar Malcolm Le Grice gauged that 
experimental and avant-garde film had indeed prefigured the essential 
elements of the innovative computer art and digital cinema of the 1990s: 
narrative non-linearity; transformative images; interactive and expanded 
or immersive viewer experience. In Le Grice’s words: “Many of the 
possibilities offered by computers and their links with other digital or 
analogue systems represent new directions not envisaged in previous art. 
However, the concepts embodied in the computer as a technology have 
emerged together in parallel with other contemporary philosophical, 
conceptual or aesthetic developments” (2001, 319-320).

Taking place at the very start of the century’s third decade, the 2020 
Revelation Academic Conference - 21st Century Screen Media: Ruptures and 
Continuities will be held in conjunction with two highly significant 
events: the 23rd Revelation International Film Festival and the 2nd 
XR-WA. Seeking to create a space of reflection and discussion about 
philosophical, cultural and technological continuities and 
discontinuities within screen culture and industry, the conference 
organisers would like to invite national and international proposals 
from scholars, researchers, creative practitioners, postgraduate 
students, cultural workers and cinephiles for 20-min papers, 5-min 
provocations and 5-min (or less) screen works. Proposals for panels of 
three presenters are also encouraged. Provocations and screen works will 
be presented alongside academic papers and/or in special screenings, 
displays and performances. The conference organisers welcome approaches 
from across the humanities and social sciences, as well as engagements 
with screen media and culture in areas of design, built environment, 
science and technology.

The following are potential topics but any relevant ones are also 
acceptable:

    Moving images: practice/cultural transitions in the 21st Century
    The visual turn and the affect turn within immersive visualisation 
media
    Technological, theoretical, socio-historical ruptures and continuities
    Obituaries: cinema, television, screen, DVD, video libraries, video 
stores
    Screen theory and education in the post-media age
    Futures: screen genres, narrative, writing, directing, performance
    Internet cinema and television
    Screen audiences: old, new, emergent
    From Industry to industries: collapsing, converging, emerging 
production, distribution and consumption models, old and new
    Concepts and expressions of interactivity, immersiveness, 
multi/inter/trans/hybrid-media in visual and screen arts, old and new
    Post-theory, post-media, post-cinema reconstructions in screen 
education
    Art/science visualisation experiments
    3D/VR/XR: affect, ethics, politics, ideology, genres, creative 
methodologies
    Drones, satellite and other surveillance vision in cinema, 
television and the web
    iCameras, GoPros, smartphones, iPads and other small image capture
    Screen commercial innovations
    Film & media collectives and alternative 21st century models of 
screen collaboration
    Viral video, memes and sharable content
    Evolving/emerging fan cultures
    Identity and diversity on 21st century screen: case studies
    Indigenous and community cinema and television in the age of the 
internet
    National cinema and television in a post-nation age of mass migration
    Third cinema and political media activism in the age of the internet
    The future of the auteur and/or art house cinema
    The future of film festivals and cinephilia
    Experimental cinema in the digital age
    The life and times (and future) of film, TV & sound archives
    Cinema, television and total media: climate change and the Anthropocene
    The evolution and/or future of gaming

Abstracts/Synopsis due: Tuesday 10th March 2020

Send a 250-word abstract/synopsis and 50-word author biography to: Dr 
Kath Dooley & Dr Antonio Traverso here: (MCASIAdmin /at/ curtin.edu.au)

For further information contact Dr Kath Dooley here: 
(kath.dooley /at/ curtin.edu.au)

Please note that the papers presented may be considered for publication 
in a journal special issue or edited collection after the conference.

Revelation Academic acknowledges and pays respect to the Traditional 
Custodians of the land on which we work and live, the Noongar Whadjuk 
People, and to their elders past, present, and emerging.

References

Le Grice, Malcolm (2001). Experimental cinema in the digital age. 
London: British Film Institute.
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