[Commlist] 2nd International Baltic NeuroCine conference and Proceedings

2nd International Baltic NeuroCine conference
Time: April 23.-24. 2024
Place: Baltic Film and Media School, Tallinn University, Tallinn, Estonia
Deadline for proposals: February 01, 2024

Tallinn University/ FilmEU invites scholars and creative professionals 
to contribute to the 2nd International Baltic NeuroCine conference.

The aim of the NeuroCine conference is to enhance joint 
interdisciplinary research endeavours on cinematic storytelling, film 
viewing, and related first-person experiences. The paradigm of 
'neurocinematics' (Hasson et al. Projections 2008), refers to 
experimental studies that apply neuroimaging methods to study the 
functional brain of several film viewers, allowing generalisation over 
individuals in terms of what is called intersubject correlation (see 
reviews Jääskeläinen et al. 2020, 2021; Tikka et al. 2023). However, it 
has become evident that neuro-physiological measurements alone do not 
suffice to fully understand how the neural data of film viewers relates 
to the temporally unfolding narrative content they have been viewing on 
one hand, and film viewers’ embodied first-person experiences on the other.

Another issue the 2nd NeuroCine conference addresses is that, so far, 
the focus of neurocinematics has mainly been on the film viewers, while 
the study of professional filmmakers has been to a great extent 
neglected. This is why we turn the attention also to the filmmakers. We 
ask, how experiences and actions of filmmakers could be addressed using 
neurocinematic methods? Could the accumulated understanding of the film 
viewers provide some clues for such an endeavour? What type of 
challenges such a study program might face?

We trust that by associating accumulated knowledge from distinct domains 
will allow a more holistic window to the phenomena under scrutiny. 
Hence, the NeuroCine conference invites both local and international 
colleagues to join the effort of bridging the explanatory gaps between 
(1) neuro-physiological observation data, (2) first-person experiential 
data, and (3) descriptive data of the experienced film content.

We invite boldly multidisciplinary papers to contribute with 
theoretical, conceptual and practical approaches to the experiential 
nature of filmmaking and viewing. They may draw, for instance, from 
social and cognitive sciences, psychophysiology, neurosciences, 
ecological psychology, affective computing, cognitive semantics, 
aesthetics, or empirical phenomenology. Likewise, we welcome all 
relevant systemic models and epistemic considerations. The focus of a 
submission may also focus on a specific film expertise, for example that 
of the writer, editor, cinematographer, scenographer or sound designer.

Contributions may address e.g.

Social cognition and embodied intersubjectivity
Interdisciplinary challenges for methods; annotations linking cinematic 
features to physiological data
First-and second-person methodologies; empirical phenomenological 
observations
Enactive mind; embodied simulation and ToM
Embodied metaphors in film; embodied film style; bodily basis of film 
language; cognitive semantics;
Cinematic empathy; emotions; cognitive identification
Temporality of experiences; context-dependent memory coding; story 
reconstruction; narrative comprehension;
Experiential heuristics; multisensory and tacit knowledge;
Storytelling strategies, aesthetics, fIlm and media literacy; genre 
conventions
We look forward to proposals that target a broad audience beyond 
disciplinary niches in one of the following presentation categories:

Presentations including Q&A (30 min)
Presentations by filmmaker-scientist pairs including Q&A (40 min)
Doctoral student case studies (20 min)
Workshop proposals
Demonstrations or screenings related to the theme

PROCEEDINGS WITH JOURNAL PUBLICATION
Simultaneously with the conference call we also open a call for papers 
to appear in the issue on "Cinematic minds behind the screens" to be 
published by the International Journal of Film and Media Arts (IJFMA), 
Vol. 10 No. 2, first semester 2025.

See info about IJFMA at 
https://revistas.ulusofona.pt/index.php/ijfma/about 
<https://revistas.ulusofona.pt/index.php/ijfma/about>

We accept long research articles (4000 – 7500 words w/o ref) and short 
articles and commentaries (2000 – 2500 words w/o ref). Submitted papers 
need to follow Submission guidelines.

All full paper submissions go through the double-blind peer review process.

No fees are requested for submission or processing. IJFMA is licensed 
under a Creative Commons Attribution Licence that allows others to share 
the work with an acknowledgement of the work’s authorship and initial 
publication in this journal.

Read more at https://creativecommons.org/licenses/by-nc/4.0/ 
<https://creativecommons.org/licenses/by-nc/4.0/>


IMPORTANT SUBMISSION DATES FOR CONTRIBUTIONS

Key dates for submissions to the NeuroCine conference and the journal IJFMA:

1st of February 2024


Submit abstracts of 350-500 words with five literature references via 
email to (NeuroCineBFM /at/ tlu.ee) <mailto:(NeuroCineBFM /at/ tlu.ee)>

When submitting to the conference, please indicate your preferred type 
of presentation in one of the above listed categories  (1-5). Also write 
in the email heading (1) “Conference submission” if you are submitting 
only a conference presentation abstract; (2) “Conference and journal 
submission” if you are submitting both to conference and journal 
simultaneously; (3) “Journal submission” if you are submitting only to 
the journal)


20th of February, 2024
Acceptance of abstracts to the NeuroCine conference and/or to the IJFMA 
journal


30th of May, 2024
Submit full manuscripts for blind peer review following IJFMA Submission 
guidelines


20th of September, 2024
Resubmit date for revisions for IJFMA



CONTACT EDITORIAL TEAM at (NeuroCineBFM /at/ tlu.ee) <mailto:(NeuroCineBFM /at/ tlu.ee)>
Maarten Coëgnarts 
https://www.filmeu.eu/alliance/people/maarten-coegnarts 
<https://www.filmeu.eu/alliance/people/maarten-coegnarts>
Elen Lotman https://www.filmeu.eu/alliance/people/elen-lotman 
<https://www.filmeu.eu/alliance/people/elen-lotman>
Pia Tikka https://www.etis.ee/CV/Pia_Tikka/eng 
<https://www.etis.ee/CV/Pia_Tikka/eng>

Follow updates on: http://enactivevirtuality.tlu.ee/ 
<http://enactivevirtuality.tlu.ee/>

ACKNOWLEDGMENTS

The 2nd Biannual International NeuroCine conference has made possible by:

FilmEU_RIT pilot grant Artistic Research and Cognitive Film Studies: 
Towards a transdisciplinary understanding of cinema (ARCF) project.

Baltic Film, Media and Arts School (BFM), an institute with wide-based 
international education curricula embedded in the interdisciplinary 
community of Tallinn University. BFM BA, MA and PhD level study programs 
both in Estonian and English offer tools and skills for working on 
various positions in film production, TV, new media, communication, 
choreography, art and music. Its Centre of Excellence in Media 
Innovation and Digital Culture MEDIT, studies cultural change and 
innovation processes of digital media and offers a possibility to 
conduct artistic research in the field of audiovisual arts.

The Baltic NeuroCine research group at BFM is led by the research 
professor Dr. Pia Tikka and cinematographer Dr. Elen Lotman. Activities 
of the 2nd Baltic NeuroCine Conference are also supported by Pia Tikka's 
5-year team grant "Cinematic minds behind-the-scenes: A 
neurophenomenological window to filmmaker's enactive cuing of 
expectations" (PRG2109) awarded by the Estonian Research Council 
(2024-2028).

The FilmEU European University is co-funded by the Erasmus+ Programme of 
the European Union. The FilmEU_RIT Research, Innovation and 
Transformation project has received funding from the European Union's 
Horizon 2020 Research and Innovation Programme. FilmEU Ref. 101004047, 
EPP-EUR-UNIV-2020 | FilmEU_RIT Ref: 101035820, 
H2020-IBA-SwafS-Support-2-2020 | ERASMUS-EDU-2023-EUR-UNIV Project: 
101124314.

Views and opinions expressed are however those of the author(s) only and 
do not necessarily reflect those of the European Union, Erasmus Plus or 
Horizon 2020. Neither the European Union nor the granting authority can 
be held responsible for them.


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