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[Commlist] CFP issue 12 Tecmerin: Journal of Audiovisual Essays
Tue May 16 12:28:03 GMT 2023
/Tecmerin: Journal of Audiovisual Essays /announces its twelfth call for
the publication of video essays. This journal is published by the
research group Tecmerin (Television, Cinema, Memory, Representation and
Industry) of Universidad Carlos III de Madrid (Department of Media).
For issue 12, the journal maintains its ordinary open call and, in
addition, announces the special dossier:/Urban Spaces and Cinema.
Ibero-American cities in the audiovisual field. /Coordinated by Nadia
McGowan (UNIR) and Luis Deltell (UCM).
Therefore, on the one hand, we invite scholars, researchers, and
creators to send pieces centered on film, TV and digital production,
consumption, circulation, and cultural exchange. We are particularly,
but not exclusively, interested in works that focus on Spanish and Latin
American cultural production. On the other, we are accepting proposals
for the special dossier.
//
Submission deadline: *20 September 2023*.
*Presentation of Dossier*/*Urban Spaces and Cinema. Ibero-American
Cities in the Audiovisual Field.*/**
The exponential development of the world's cities and the birth of
cinema went hand in hand. Thus, at the end of the 19th century, when the
Thomas Alva Edison and Lumière brothers' companies first began to
popularize moving images, European and North American cities experienced
their greatest growth in history. For decades, cinema was just another
event in the realm of modernity. Over the years, certain film styles
became unmistakably urban: the American film noir, the sophisticated
Hollywood comedy, Italian neorealism, to name but a few.
In the Ibero-American region, which includes Portugal and Spain
(according to the Spanish Royal Academy), cinema evolved alongside the
cities, but in a different way to the Anglo-Saxon and French. On the one
hand, the reality of each country was completely different. On the other
hand, the exponential growth of large cities such as São Paulo, Mexico,
Madrid, Lisbon, Lima or Buenos Aires led to the birth of a fast-paced
economy that encouraged cinema in those countries. Brazilian, Mexican,
Spanish and Argentinian cinema undoubtedly benefited from the momentum
of their big cities.
Naturally, some fictional filmmakers have managed to consolidate their
own image of the city. This is the case of Pedro Almodóvar's Madrid, the
Mexico of Luis Buñuel's American period, Juan José Campanella's Buenos
Aires, or the suburbs and outskirts in Lucrecia Martel's films...
Sometimes a single film can shape the image of an entire city for
decades, as in the case of:/São Paulo, Sociedade Anônima/(Luís Sérgio
Person, 1965) or /Cidade de Deus/(Fernando Meirelles and Kátia Lund, 2002).
But it is not only feature-length fiction films that have offered
creative representations of the cities inhabited by these communities.
Also in non-fiction, the theme of the Ibero-American city has been
essential on many occasions, for example, Lima in /Metal y
melancolía/(Heddy Honigmann, 1993), Havana in /Suite Habana /(Fernando
Pérez, 2003), Madrid in /Mourir à Madrid/(Frédéric Rossif, 1963) or the
city of Santiago in /La batalla de Chile, la lucha de un pueblo sin
armas /(Patricio Guzmán, 1975).
In the special issue */Urban Spaces and Cinema. Ibero-American cities in
film, /*the term ‘film’ is understood as a broad concept that
encompasses all moving image creation processes: fiction and non-fiction
films, series, short films and others. Therefore, the call is open to
all forms, with special emphasis on the most marginal or experimental
works such as the visions of Chilean cities and societies in the
documentaries of Maite Alberdi, or the portaite of Seville in the
video-guerrilla films of María Cañas.
In this context, the special issue */Urban Spaces and Cinema.
Ibero-American cities in the audiovisual field, /*is looking for
audiovisual essays on the following topics:
*//*
* The representation of Ibero-American cities in film (audiovisual)
and their impact on urban identity.
* The use of Ibero-American cities as a film setting and the role of
urban spaces in storytelling.
* The relationship between urban development and the film industry.
* The film representation of the different neighborhoods and
socio-economic groups in Ibero-American cities.
* The impact of digital technology on the filming of Ibero-American
cities.
* The role of independent and experimental cinema in the
representation of Ibero-American cities.
* The use of Ibero-American cities as a backdrop in films of different
genres, such as action, science fiction or horror, and their
contribution to the story.
* The impact of globalization in the portrayal of Ibero-American
cities in film.
* The representation of the urban environment in the cinema of
specific countries or regions.
* The use of film as a tool for understanding and analyzing cities and
urban problems.
* City/countryside relations and cinema.
* Other lines of research relevant to the proposed theme.
*Student section *in the special issue */Urban Spaces and Cinema.
Ibero-American/**/Cities in the Audiovisual Field:/***
University teachers are invited to submit the best student work on the
relationship between film and urban themes. We are aware that many
teachers of Communication and Fine Arts have begun to use the
audiovisual essay as a teaching tool, which is why, in this monograph, a
section will be included to receive and evaluate the work of students,
always following the criteria /of Tecmerin. Journal of Audiovisual Essays./
This issue is the result of the project titled: "Audiovisual fiction in
the Community of Madrid: filming locations and the development of film
tourism". Acronym: FICMATURCM. Ref: H2019/HUM5788. And from a research
stay in ECA at the Universidade de São Paulo by Luis Deltell.
*Instructions for authors:*
Researchers and creators may send their audiovisual essays to one of the
following sections:
1.Video-Essays: audiovisual essays that offer a critical take on diverse
aspects of cinema, television and popular culture.
2.Creators: experimental or documentary pieces that approach a specific
cultural topic, as long as it is related to the history of audiovisual
media.
3.Specify if you are submitting your work for the dossier.
Video-Essays must be uploaded on VIMEO, as private. If this were not
possible, contact us and we will offer an alternative. Each author will
send the following information to this email: (tecmerinrevista /at/ uc3m.es)
<mailto:(tecmerinrevista /at/ uc3m.es)>
1.Vimeo url address.
2.Password for video.
3.500-800 word text, presenting the video in word format (also anonymous).
4.Three-to-five (3-5) keywords.
5.A video frame that could work as thumbnail.
*Deadline: September 20*
Videos cannot contain the name of the author to facilitate the blind
peer review.
*Language*: Video essays can be in any language with Spanish or/and
English subtitles.
*Length*: the preferred length of the video essays is 10-15 minutes,
approximately.
*Guidelines for the text of the audiovisual essay*
The text must accompany the audiovisual essay and its purpose is to
deepen, in a scientific manner, aspects of the piece, such as the
theoretical background of the essay or the justification of the
analysis. In no case should it be a transcription of the voice-over used
in the video essay, and it should avoid reiterating the information seen
in the audiovisual essay.
The text should include:
1. Title of the piece (bold).
2. Author and full affiliation
3. Abstract (100-150 words)
4. Keywords (between three and five, arranged in alphabetical order)
5. Text (500-800 words)
6. Bibliography (and filmography)
This text must establish a dialogue with other previous theoretical
proposals, so it is necessary to reference the works it is based on.
These references should appear as in-text citations and in a
bibliography at the end of the text (which does not fall within the
500-800 word limit). It is also pertinent to add a filmography with the
titles referred to in the text or used in the audiovisual essay. Thus,
works that have not been cited in the body of the text should not appear
in the list of references.
It is also advisable to add a filmography with the titles referred to in
the text. Both bibliographical and filmographic references must follow
the APA rules (7th edition), which can be consulted in this document
<https://normas-apa.org/wp-content/uploads/Guia-Normas-APA-7ma-edicion.pdf>.
*Authors who publish an audiovisual essay will have to wait 1 year to
publish again.*
If you have any questions, do not hesitate to contact us at
(tecmerinrevista /at/ uc3m.es) <mailto:(tecmerinrevista /at/ uc3m.es)>
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