[Commlist] Call for articles - IJFMA Vol. 8 No. 2 (2023) Precarity and the Moving Image

Submissions for a special issue of IJFMA Vol. 8 No. 2 (2023) are now 
open "Precarity and the Moving Image"

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 the topics of:

  * 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

Keywords: precarity; film; audiovisual; screen culture; politics; 
funding; media culture

Abstracts to be submitted by 5th November 2022.
Provide two Word documents (.doc) with:
_1. ABSTRACT_, no longer than 500 words with 5 keywords.

The abstract should not have any reference to the authors or the 
institution they belong to. The authors must ensure that their 
manuscripts are prepared in such a way that they do not reveal their 
identities to reviewers, either directly or indirectly.

 1. _BIO_, no longer than 300 words. Name, Email address and
    institutional affiliation.  Authors should indicate the call for
    papers they are submitting

*Guest Editors:*
Francesco Sticchi – Oxford Brookes University (UK)
Maria Elena Alampi – University of Exeter (UK)
André Rui Graça – University of Beira Interior (Portugal)

Please submit to:
(anna.coutinho /at/ ulusofona.pt) <mailto:(Anna.coutinho /at/ ulusofona.pt)>  or 
https://revistas.ulusofona.pt/index.php/ijfma/about/submissions 
<https://revistas.ulusofona.pt/index.php/ijfma/about/submissions>

Authors should indicate the call for papers they are submitting.

Schedule for publication:

Abstract Submission: 5th November 2022
1st round feedback from reviewers: 21st December 2022
Full Paper Submission: 31st March 2023
2nd round feedback from reviewers: 31st May 2023
Final Revisions: 21st June 2023
Online Publication: October 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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