[ecrea] cfp - symbiotic cinema - confluences between film and other media

*CFP - REMINDER  - DEADLINE APPROACHING
*

*/SYMBIOTIC CINEMA: /*

*/CONFLUENCES BETWEEN FILM AND OTHER MEDIA/*

*//*

*6-8 September 2018, Växjö, Sweden*

**

Linnaeus University Centre for Intermedial and Multimodal Studies,

and SERCIA: Société d'Études et de Recherches sur le Cinéma Anglophone

As early as 1911, Ricciotto Canudo coined the term “Seventh Art,” 
bringing aesthetic considerations to bear into the realm of 
entertainment. Walter Benjamin, on the other hand, rejected cinema for 
being a mass medium devoid of artistic aura, which, according to him, 
was forever lost in the process of mechanical reproduction (1936). No 
matter how one looks at cinema, its appreciation or criticism is 
entirely dependent upon its physical and technical nature as a medium, 
especially since its technical properties and consumption platform(s) 
affect the form and content of specific products (i.e. films). Since 
cinema/film is a medium that evolves in time and is anchored in space 
during the viewing process, it has always, from its inception, shared 
properties with other media. Some films or television series are 
self-reflexive and use these confluences as a discursive trait where the 
linkages may become the subject and/or a shared method.

“Intermediality” is the word that defines these junctures and the 
research field within which these confluences take place. Such a 
relationship may occur on a one-on-one basis, in which a media form or a 
media product is transposed to another media form or product, or it can 
occur in a more multimedial basis, in which a complex transposition 
involving several media takes place at once. The result is something 
which is different from the original and yet possesses some of the same 
properties. It can either be a transformation in the characteristics of 
the medium being transposed, i.e. an adaptation, or a different 
representation of the media in other media, i.e. /ekphrasis. /The advent 
of new media opened another field of inquiry within intermediality, 
namely digital cinema and its properties. Advocates pro and against the 
emerging computational technologies helped shed some light on matters of 
relative chronology and hybridity/media fusion in a more diversified 
environment. Both positions differ only in focus and degree, since 
cinema, from a technical perspective, has undeniably changed. The 
concept of “post-cinema” addresses the new technological forms and sites 
of consumption, which, in turn, results in new ways of film viewing, 
more or less immersive; as well as in new types of products, more or 
less fragmented and pushed towards the museum.

*Suggested topics: *

**

The present Film and Television conference, calls for rationale and 
analysis that bears on cinema/television as**technical media and its 
characteristics. Proponents are invited to establish connections with 
other media, within _English-speaking countries_. Both theoretical and 
practical analysis of film and other media are accepted. Possible topics 
include but are not limited to the following:

  * Definition of media, intermediality, intramediality.

  * Mediation, remediation, transmediation processes.
  * Narrative adaptation, cinematic /ekphrasis/.
  * Media characteristics and/or essence.
  * Pure and impure media/cinema.
  * Cinema as a limited or superior medium.

  * “Old”, new, and residual media

  * Digital cinema.
  * Post-cinema.
  * Hybridity and media borders.
  * New perspectives on the history/archaeology of cinema and other media.
  * The aesthetics of cinema and other media technologies.
  * Cinema/television and art forms: new artistic languages.
  * Cinema/television and society: social uses of media.
  * Cinema/television and ideology: the politics of media.
  * Cinema/television as communication.

  * Immersive qualities and spectatorial adhesion.
  * The invisible and the virtual.
  * Different products, different spectators.

*Keynote speakers: *

**

François Jost – Professor Emeritus at Sorbonne Nouvelle-Paris 3, France.

Lúcia Nagib – University of Reading, UK.

Miriam De Rosa – Coventry University, UK.

**

*Submission: *

The language of the conference is *English* and the focus is 
*Anglo-Saxon cinema.* Individual presentations should be set at 20 
minutes. Please send your proposal containing an abstract (500 words 
max.), 5 key-words, and a short bio (120 max.) *until 15^th February* 
2018 to the two followingemail addresses: (chinita.estc /at/ gmail.com) 
<mailto:(chinita.estc /at/ gmail.com)>and (ims /at/ lnu.se) 
<mailto:(ims /at/ lnu.se)>Notification of acceptance will be sent until 15^th 
March 2018. Upon acceptance, speakers will be required to become SERCIA 
members for 2018. Please, visit the website 
http://sercia.net/index.php/how-to-join-sercia/17-how-to-join-serciafor 
further instructions on this.

*Conference fees: *

**

600 SEK (65 €) for lecturers / professors / independent scholars; 300 
SEK (35 €) for students / retired colleagues, which cover meals and 
other arrangements. The additional annual fee for SERCIA’s membership is 
30 € for lecturers and 15 € for students and independent scholars.

*Contact:*

Fátima Chinita ((chinita.estc /at/ gmail.com) <mailto:(chinita.estc /at/ gmail.com)>) 
and Eva Larsson ((ims /at/ lnu.se) <mailto:(ims /at/ lnu.se)>).

**

*Scientific committee: *

**

Jean-François Baillon, Dagmar Brunow, Fátima Chinita, Annelie Ekelin, 
Lars Elleström, Anna Gutowska, Liviu Lutas, David Roche, Anna-Sofia 
Rossholm, Niklas Salmose.

*Selected Bibliography: *

**

Acland, Charles R. (ed.). /Residual Media : Residual Technologies and 
Culture/.Minneapolis : University of Minnesota Press, 2007.

Bellour, Raymond. /La querelle des dispositifs. Cinéma – Installations, 
Expositions/. Paris: POL, 2012.

Brefer, Hans and Klaus Peter Busse (eds). /Intermedia: Enacting the 
Liminal/. Dortmund: Books on Demand, 2005.

Denson, Shane and Julia Leyda (eds.). /Post-Cinema: Theorizing 21^st 
Century Film/. Falmer: REFRAME Books, 2016.^

De Rosa, Miriam and Vinzenz Hediger. /Cinéma & Cie. International Film 
Studies Journal/, Vol. 26/27, No. 16 (2017).

Elleström, Lars. /Media Transformation: The Transfer of Media 
Characteristics among Media./ New York: Palgrave Macmillan, 2014.

Gaudreault, André and Philippe Marion. /The End of Cinema? A Medium in 
Crisis in the Digital Age/. New York: Columbia University Press, 2015.

Herzogenrath, Bernd (ed/.). Travels in Intermedia[lity]: Reblurring the 
Boundaries/. Hanover, New Hampshire: Dartmouh College Press, 2012.

Hutcheon, Linda. /A Theory of Adaptation/. New York and London: 
Routledge, 2006.

Jenkins, Henry/. Convergence Culture: Where Old and New Collide. /New 
York and London: New York University Press, 2006.

Jost, François. /Pour une éthique des médias: Les images sont aussi des 
actes/. Nouvelles Éditions de l’Aube, 2016.

Mannoni, Laurent. /The Great Art of Light and Shadow: Archeology of the 
Cinema/. Translated by Richard Crangle. Exeter: University of Exeter 
Press, 2000.

Nagib, Lúcia and Anne Jerslev (eds). /Impure Cinema: Intermedial and 
InterculturalApproaches to Film/. London and New York: I.I. Tauris, 2014.

Natale, Simone. “There are no Old Media,” /Journal of Communication/ 
(2016). doi:10.1111/jcom.12235

Oddley, Alison and Christine White. /Modes of Spectating/. Bristol, UK; 
Chicago, USA: Intellect, 2009.

Packer, Randall and Ken Jordan, eds. /From Wagner to Virtual Reality/. 
New York: W.W. Norton and Company, 2001.

Pethő, Ágnes. /Cinema and Intermediality: The Passion for the 
In-Between/. Newcastle upon Tyne: Cambridge Scholars Publishing, 2011.

Sager Eidt, Laura M. /Writing and Filming the Painting: Ekphrasis in 
Literature and Film/. Amsterdam and New York: Rodopi, 2008.

Schröter, Jens. “The Politics of Intermediality”, /Film and Media 
Studies/”, nº 2 (2010), pp. 107-124.

Uroskie, Andrew V. /Between the Black Box and the White Cube: Expanded 
Cinema and Postwar Art/. Chicago: University of Chicago Press, 2014.

**

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