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[Commlist] CFP: Film and Television’s Transformations in the Streaming Era
Tue Jan 14 22:11:17 GMT 2025
*Film and Television’s Transformations in the Streaming Era.
Reconceiving Aesthetics, Narratives and Forms*
*ECREA Film Studies and Television Studies Sections 2025 Conference*
Università di Bologna, Dipartimento delle Arti – DAMSLab, September
8th-9th, 2025
Organised by Luca Barra, Marco Cucco (Università di Bologna, Italy),
Cathrin Bengesser (Aarhus University, Denmark), Deborah Castro
(University of Groningen, Netherlands), Miguel Fernández Labayen
(Universidad Carlos III de Madrid, Spain), Jono Van Belle (Örebro
University, Sweden).
The development and rapid diffusion of audiovisual streaming platforms
has undoubtedly been one of the most important events that happened in
the film and television landscape over the last thirty years.
Specialized companies such as Netflix have emerged, becoming leaders in
the market and establishing practices and models soon adopted by other
players. Digital retailers like Amazon started producing and
distributing film and television products as part of their multifaceted
activity. Production companies, film distributors and broadcasters that
have long operated in the sector have been forced to rethink both their
long-term strategies and their daily operations. Viewers have grown
accustomed to different modes of domestic consumption, including lower
access prices, the easy availability of a supposedly large choice of
content, the accessibility to films and shows anytime and anywhere, and
the possibility of binge-viewing to overcome the limits of television
schedules and theatrical distribution. All these changes, often
presented as revolutionary, have received great attention from film and
television scholars around the world, including Europe, stimulating rich
and diversified research in many areas: attention has been given to
national and global markets, to business models, to changes in
production practices and in distribution patterns, to varied audience
habits and engagement, to regulatory policies, and so on. As a result,
the evolutions in digital screen media have been widely studied at their
local, transnational and international levels.
While the evolving markets, industries, technologies and audiences have
been at the center of the analysis on audiovisual platforms, the
cultural and textual dimensions have sometimes been overlooked.
Therefore, this year two ECREA Sections, Film Studies and Television
Studies, exceptionally join forces to organize this conference. It aims
to stimulate research contributions on the lesser explored impact that
digital audiovisual platforms have had, and still have, on films, on
television series, on television shows, and on other screen content
(e.g., documentaries, or video-based digital media) through their
on-demand logic, catalogues and interfaces. Key questions we ask are:
How are new forms of distribution and viewing practices impacting the
ways film and television content is created, written, developed, and
produced? In which ways are the industrial, regulatory and technological
developments changing the aesthetics and textuality of film and television?
We encourage submissions covering diverse topics, approaches and
methodologies, including:
- the impact of streaming platforms on the format of film and/or
television texts;
- recurrent aesthetic traits tied to, or even fostered by, digital
distribution;
- changes in narrative structures, characters and storylines;
- the redefinition of genres, and the establishment of new,
specific sub-genres;
- the consequences of changing viewing practices on film and
television development;
- the different value of film, television series and television
shows in digital libraries;
- emerging labels, or the redefinition of previous ones (i.e.
quality and prestige content, straight-to-video and made-for-TV movies,
serial documentaries and reality television, …);
- changing production models and changing distribution practices;
- how the redefinition of policies for the digital market
influences film and television texts;
- the historical development of streaming texts, and possible
antecedents in film and TV history;
- the negotiations between global trends and local specificities;
- transnational and trans-European case histories in film and
television;
- theoretical frameworks and methodological tools to study change
at both textual and contextual level.
Abstracts should be up to 300 words, plus key references. Proposals
should add a short biographical note of the author (max. 150 words).
Evaluation will focus on relevance to the conference topic, selection of
research objects and clarity in the use of methodology. Only one
abstract per author can be submitted.
The conference will be in person, with no option for remote
presentation. Submission should be made to both email addresses:
(_filmstudiesecrea /at/ gmail.com) <mailto:(filmstudiesecrea /at/ gmail.com)>_ and
(_ecreaTVstudies /at/ gmail.com) <mailto:(ecreaTVstudies /at/ gmail.com)>_, by March
31st, 2025. Notification of acceptance will be sent by April 28th, 2025.
Moreover, the conference lobby will host a posters exhibition devoted to
international research projects funded by national and/or international
institutions and other funding bodies. Projects need to involve at least
two universities from different countries. Poster proposals should
include: project title, name of the funding body, list of partners,
project summary (up to 300 words), short bio of the PI/project leader
and/or the researchers attending the conference (max 150 words).
ECREA membership is not required to participate in the conference. A
registration fee will be requested upon acceptance (approximately €100)
and will include coffee breaks and two lunches.
The call for papers is available on the ECREA website:
_https://ecrea.eu/event-6025195 <https://ecrea.eu/event-6025195>_.
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