[Commlist] Theme issue Cinéma & Cie: cfp Cinematic Continuities, Changes and Challenges in Europe: Reflections on Recent Shifts in European Cinema Cultures

CfE 41 - Cinematic Continuities, Changes and Challenges in 
Europe: Reflections on Recent Shifts in European Cinema Cultures

Call for Essays for the thematic section of Cinéma & Cie no. 41, 
edited by Daniel Biltereyst, Elena Gipponi and Andrea Miconi

Deadline for abstract proposals: *Extended: January 20, 2023*

When looking at recent trends in the European (and worldwide) 
film market, one cannot escape the idea that probably no other era in 
film history has seen so many disruptive changes and challenges as the 
last three decades. These changes obviously include 
technological disruptions triggered by digitization—a disruption that 
deeply transformed the filmed entertainment business model and one that 
had a fundamental impact on the way films are made, distributed, 
exhibited, and shown, as well as how it transformed people’s relation 
to, and enjoyment of, films.

Since the late 1980s one saw how the post-theatrical life of a film 
is extended to releases via video/DVD/Blu-ray rental; 
video/DVD/Blu-ray sales; pay-TV and different types of free linear 
television; all kinds of digital audiovisual services, subscription 
video-on-demand (SVOD) and streaming services platforms; and so on.

Although films are still watched in cinemas and other spaces with big 
screens (e.g. the lively film festivals landscape), consumers now see 
them more than ever on a multitude of screens—from TV sets, tablets, 
laptops, and smartphones, to other devices. Despite these significant 
evolutions in European cinema – and contrary to the many analyses on, 
for instance, the interwar period (1918-1939) or the postwar cinema 
period (1945-1969) – longitudinal analysis and reflections barely exist 
for the recent period—at least not on a pan-European level.

The aim of this theme issue is to invite authors to reflect on 
these recent cinematic trends in Europe from a longitudinal perspective 
and to go beyond the nation-state. How to make sense of the complexities 
of these recent shifts in the production, distribution, 
exhibition, consumption, and the experience of watching films in Europe?

What effects have these changes had on the shared perception of 
​European cinema? Has the relocation of the cinematic experience had 
an influence on the transnational circulation of European films? How 
can we longitudinally trace and measure the processes of 
Europeanization in cinema production and consumption in the last three 
decades?

This call for essays for Cinéma&Cie #41 special issue 
“Cinematic Continuities, Changes and Challenges in Europe: Reflections 
on Recent Shifts in European Cinema Cultures” is conceived within the 
scope of the Horizon 2020 project EUMEPLAT – European Media

Platforms: Assessing positive and negative externalities for European 
Culture. Among the topics that could be addressed are:

• Shifts in European film production

• European co-productions

• Centers and peripheries in European cinema • Distribution and flows of 
European films • Genres and European film flows • Diasporic film 
cultures in Europe • Shifts in film experiences in the theatrical cinema 
environment • Post-theatrical film experiences • Audiences and European 
films • European film festivals • Revising Hollywood in/vs. Europe • 
European cinema in the world • Cinema, nation-building, and European 
identity(ies) • The persistence of cinema in the multiscreen environment 
• Cinematic representations of Europe • Platformization and European cinema

References

Bondebjerg, I., & Redvall, E. N. (eds.)(2015) European Cinema 
and Television. London: Palgrave Macmillan.

Elsaesser, Th. (2005) European Cinema: Face to Face to 
Hollywood. Amsterdam: AUP.

Gott, M. & Herzog, T. (eds.)(2015) East, West and Centre:

Reframing post-1985 European cinema. Edinburgh: EIP.

Harrod, M., Liz, M. & Timoshkina, A. (eds.) (2014). The Europeanness 
of European Cinema: Identity, Meaning, Globalization. London: I. B. Tauris.

Jäckel, A. (2003). European Film Industries. London: British Film Institute.

Liz, M. (2016) Euro-Visions. New York: Bloomsbury.

Rivi, L. (2007) European Cinema after 1989. New York: Palgrave.

Submission details

Please send a 400-word abstract in English or in French, 
three/five bibliographical references, five keywords, and a short 
biographical note to (daniel.biltereyst /at/ ugent.be) 
<mailto:(daniel.biltereyst /at/ ugent.be)> <mailto:(daniel.biltereyst /at/ ugent.be) 
<mailto:(daniel.biltereyst /at/ ugent.be)>>, (elena.gipponi /at/ iulm.it) 
<mailto:(elena.gipponi /at/ iulm.it)> <mailto:(elena.gipponi /at/ iulm.it) 
<mailto:(elena.gipponi /at/ iulm.it)>> and (andrea.miconi /at/ iulm.it) 
<mailto:(andrea.miconi /at/ iulm.it)> <mailto:(andrea.miconi /at/ iulm.it) 
<mailto:(andrea.miconi /at/ iulm.it)>> by 20 January, 2023. Notifications 
of acceptance will be emailed by the end of January 2023. If 
the proposal is accepted, a 6,000/7,000-word essay must be submitted 
for double-blind peer review by the end of June2023.

Cinéma & Cie promotes open-access knowledge and no payments or article 
processing charges will be required.

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