[Commlist] CFP - International Journal of Film and Media Arts Vol. 8 No.2

*Call for papers - IJFMA Vol. 8 No.2 (2023)*

*/Precarity and the Moving Image/*

**

*Francesco Sticchi, Maria Elena Alampi and André Rui Graça*

Audiovisual Arts (both in their intra-cinematic elements and through its 
extra-cinematic contexts) have always been a vehicle to display and 
discuss precarity, as well as affected by it in their modes of production.

The notion of Precarity, however, in itself, is also a very open and 
problematic concept. Often used in reference to changes in labour 
dynamics, associated with the neoliberal turn, and with the mechanisms 
of gig-economy, this term has assumed the most various significance up 
to the point of becoming capable of embodying and speaking in the name 
of an entire collective predicament  in the contemporary world. From the 
politics of debt/credit and the digital economy, to ecological crises, 
passing to accounting for the current reassessment of violent 
identitarian regimes (in the broad sense of the word), precarity seems 
to identify both mechanisms and dynamics of exploitation and 
marginalisation, and the awareness of a sense of vulnerability and 
interdependence existing between subjects. These latter elements, in 
fact, also allow for open and creative critical opportunities to be 
explored and mapped and, at the same time, actively mobilised in their 
counter-subjectivating potentialities.

Exactly by taking into account the openness and polysemic nature of the 
notion of precarity, this call for papers is directed to the 
investigation of how such issues variably relate to Screen Culture. 
Indeed, the connection between precarity and the moving image can refer 
to modes in which subjectivities and spaces of precarious existence are 
displayed on screen, or rather to the ways in which such dynamic is 
intersected on the line of class, race, gender, ability/disability. It 
can take into account new productive and distributive dynamics, helping 
in effectively assessing new tensions between mainstream and ‘niche’ 
screen culture and/or strategies to challenge such divisions. Likewise, 
understanding these mechanisms is also connected with the possibility of 
tracing genealogies of precarity in the multiple histories of cinema and 
audiovisual productions examining hegemonic and counter-hegemonic trends 
in their developments or even entrenched in the very emergence of a 
visual culture. In addition we are also interested in the relation 
between precarity and public policies concerning cinema, as well as film 
and AV laws, i.e., how policies have addressed it (case studies are 
welcome) or how legislators may address the broader topic of precarity 
with regard to the moving image.

It is for these reasons that the call follows a double-trajectory: on 
the one hand, it is directed to the analysis of cinematic experiences 
and, on the other, it encourages examinations of the infrastructure 
within which these images operate and exist and, concurrently, of the 
multiple strategies meant to counteract it. Indeed, as precarity seems 
to permeate more and more strata of contemporary life (and threatens to 
do so even more after the pandemic), it becomes all the more important 
to be tackled, studied, explained and, ultimately, solved. That is why 
we encourage more than purely critical or analytical discussion.

Addressing precarity and the moving image also means putting in relation 
screen with wider media, social, and environmental ecologies and 
accounting for how much cinema, television, and audiovisual experiences 
in a broad sense, always exist by interrelating to wider and, in turn, 
evolving, reality.

This special issue of the International Journal of Film and Media Arts 
invites film makers, artists and researchers to submit papers that deal 
with but are not limited to:

   * Precarity in Production, Circulation, and Participation in Media 
Culture

   * Precarity in Production, Circulation, and Participation in Media 
Culture
   * Political and Productive Strategies Responding/Resisting Dynamics 
of Precarisation
   * Precarious Subjectivities and Spaces On Screen at the Intersection 
of Class, Gender, Race, Ability/Disability
   * Precarity and the Neoliberal Governance; Dynamics of Necropolitics 
and Border as a Method
   * Genealogies of Precarity Beyond the Limits of Contemporaneity
   * Precarious Narratives and Counter-Subjectivation
   * Precarity and the Affective Labour in Relation to Transfeminist 
Thought
   * Ecological Precarity and the Precarious State of the Human
   * Ways to Address Precarity in Terms of Public Policies
   * Analyses of Legislation Concerning Precarity in Film and 
Audiovisual Sectors

Please send chapter abstracts no longer than *500 words* with *5 
keywords* and a biographical note no longer than *300 words* name, email 
address and institutional affiliation. **Authors should indicate the 
call for papers they are submitting**. Please submit to Anna 
Coutinho ((anna.coutinho /at/ ulusofona.pt <http://ulusofona.pt>) 
<mailto:(anna.coutinho /at/ ulusofona.pt <http://ulusofona.pt>)>) or 
through the submission form ((revistas.ulusofona.pt 
<http://revistas.ulusofona.pt> /index.php /ijfma/ about /submissions)) 
by*2 October, 2022*. We will notify authors of acceptance by 16 
November, 2022. Final chapters of 7500-10000 words are due by 16 January 
2023.Submission online or via email will be made **anonymously**. 
Submissions will be reviewed by at least 2 peer reviewers. Accepted 
abstracts will be given guidelines for the preparation and submission of 
the final text for the 2nd round of double blind peer-reviews. **No fees 
are requested for submission or processing**.

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