https://cinergie.unibo.it/cinergie/gateway/plugin/AnnouncementFeedGatewayPlugin/atom Cinergie – Il Cinema e le altre Arti: Announcements 2021-07-20T19:26:02+02:00 Open Journal Systems <strong>Cinergie – ISSN 2280-9481</strong> is an open-access, peer-reviewed, class-A journal. Its first on-line issue first appeared in 2012, but the journal has been published in hard copy since 1999. Cinergie is a wide-ranging film journal, that aims to publish original articles about national and international cinema, building a bridge to related fields. https://cinergie.unibo.it/announcement/view/461 Call for Papers - Critical Performances. Media Performers at the Time of the COVID-19 Crisis in Italy 2021-07-20T19:26:02+02:00 Cinergie – Il Cinema e le altre Arti <p>The COVID-19 pandemic has greatly impacted on media production, distribution, and experience. Long-established practices have undergone dramatic interruptions or major shifts and respective laborers have been forced to strongly revise their activities (Hediger, Keidle, Melamed, Somaini 2020; Damasio 2020; Adgate 2021; Fortmueller 2021). For instance, film sets and television studios reconsidered their modes of operation in the face of Covid-prevention rules, protocols and requirements. Likewise, in an epidemic scenario in constant change, film festivals and awards found themselves in the need to repeatedly revise their rituals and forms, to be able to carry on at least part of their activities. Media practitioners have thus been faced with the need of reflecting and discussing pitfalls and opportunities brought to light by the pandemic, while also implementing strategies for facing and countering the crisis.</p> <p>In Italy, media performers have been among the most affected groups of professionals. Whereas the usual pace of film, television and media production, release and promotion has met deep alterations, as much as usual networking activities during periods of lockdown, fame and exposure have foregrounded celebrities in social engagement activities and as testimonials of public health campaigns (including the first tentative rules, the lockdown periods, and the efforts towards mass vaccination).</p> <p>The aim of this issue of <em>Cinergie</em> is surveying and understanding the manifold impact of the COVID-19 crisis on Italian media performers. Topics within the scope of this issue include but are not limited to:</p> <ul> <li>Training media performers at the time of the COVID-19 crisis: schools, academies, coaching</li> <li>Media production, performance, and restrictions: emergency, strategies, and tactics</li> <li>Promoting media products: from testimonials to remote endorsers?</li> <li>Performers, irregular work, labour activism: workers’ solidarity and institutional and commercial policies during the pandemic</li> <li>Acknowledging performers: festivals, awards, and the economy of prestige during the COVID-19 crisis</li> <li>Celebrities, public health, and social engagement</li> <li>Social networks, self-promotion, and media performers during the COVID-19 crisis</li> <li>Job-seeking: finding acting jobs at the times of the pandemic</li> <li>Performers, intermediaries, and the COVID-19 crisis: coaches, agents, management, casting departments, press agents, and social media managers during the pandemic</li> <li>Theoretical and methodological contributions on media performers in the pandemic</li> <li>Case histories on specific performers, film productions, television shows, digital platforms in the national context and/or in the transnational connections between Italy and other markets.</li> </ul> <p>&nbsp;</p> <p><strong>Submission details</strong></p> <p>Please send an abstract and a short biographical note to Luca Antoniazzi, Cristina Formenti, and Giulia Muggeo at: <a href="mailto:luca.antoniazzi3@unibo.it">luca.antoniazzi3@unibo.it</a>, <a href="mailto:cristina.formenti@uniud.it">cristina.formenti@uniud.it</a>, and giuliafrancesca.muggeo@unito.it&nbsp;by <strong>October 24, 2021</strong> — [subject: Cinergie Media Performers + name surname author(s)].</p> <p>Abstracts, in English or Italian, should be from 300 to 500 words of length. Notification of acceptance will be sent within&nbsp;<strong>November 5, 2021</strong>.</p> <p>If the proposal is accepted, the author(s) will be asked to submit the full article by&nbsp;<strong>January 16, 2022</strong>.</p> <p>The articles must not exceed 5,000/6,000 words and can include images, clips, and links for illustrative purposes. Please, provide correct credits, permissions and copyright information in order to be sure that the images, clips, and links are copyright free and can be published.</p> <p>Contributions will be submitted to&nbsp;<a href="https://cinergie.unibo.it/about/editorialPolicies#peerReviewProcess">double-blind peer-review</a>.</p> <p>The issue will be published in <strong>July 2022</strong>.</p> <p>&nbsp;</p> <p><strong>Bibliography</strong></p> <p>- B. Adgate (2021), <em>The Impact Covid-19 Had on the Entertainment Industry in 2020</em>, “Forbes”, <a href="https://www.forbes.com/sites/bradadgate/2021/04/13/the-impact-covid-19-had-on-the-entertainment-industry-in-2020/?sh=50049538250f">https://www.forbes.com/sites/bradadgate/2021/04/13/the-impact-covid-19-had-on-the-entertainment-industry-in-2020/?sh=50049538250f</a> (Last access: July 9, 2021).</p> <p>- M.J. Damasio (2020), <em>Covid 19. The End of the Audiovisual Sector?</em>, “CST online”, <a href="https://cstonline.net/covid-19-the-end-of-the-audiovisual-sector-by-manuel-jose-damasio/">https://cstonline.net/covid-19-the-end-of-the-audiovisual-sector-by-manuel-jose-damasio/</a> (Last access: July 9, 2021).</p> <p>- K. Fortmueller (2021), <em>Hollywood Shutdown. Production, Distribution, and Exhibition in the Time of COVID</em>, University of Texas Press, Austin, TX.</p> <p>- Vinzenz Hediger, Philipp Dominik Keidl, Laliv Melamed, and Antonio Somaini (eds) (2020), Pandemic Media: Preliminary Notes Toward an Inventory, Meson, Lüneburg.</p> 2021-07-20T19:26:02+02:00 https://cinergie.unibo.it/announcement/view/429 Call for Papers - Film Heritage and Digital Scholarship: Computer-Based Approaches to Film Archiving, Restoration and Philology 2020-12-28T11:25:20+01:00 Cinergie – Il Cinema e le altre Arti <div> <div> <h3><strong><span lang="EN-US">Edited by Rossella Catanese (University of Udine), Adelheid Heftberger (German Bundesarchiv, Berlin), and Christian Gosvig Olesen (University of Amsterdam/Utrecht University)</span></strong></h3> <p>&nbsp;</p> </div> </div> <p>In recent years, film and media studies have witnessed an emerging interest in integrating computer-based techniques for analyzing and visualizing both quantitative and qualitative data relating to film. This emerging interest can be seen in the development of approaches that involve new and practice-based audiovisual methods, such as videographic criticism and video annotation, as well as various data visualization and digital humanities techniques that rely on empirical methods such as data mining, linked data, geo-tagging and mapping, in order to study, among others, filmic structure, style, discourse, storytelling and reception (Grant, 2012; Ingravalle, Prelinger &amp; Latsis 2015; Ferguson, 2016; Verhoeven, 2016). This development has opened new paths for film history scholarship and its traditional focus on the cultural significance of films in terms of aesthetics and medium specificity, while also leading scholars to explore and reflect on potential new paths for interdisciplinary research methods (Grant, 2012; Acland &amp; Hoyt, 2016). Through new tools and collaboration with scholars from disciplines that were traditionally distant from film and media studies - such as data, computer and information science, and practice-based research - the relation between researchers and their sources, films and related materials, is being reconfigured.</p> <p>This development creates new expectations and challenges for film heritage institutions as well, specifically with regard to the role that they may play in relation to digital scholarship in creating and offering access to archival collections and data. As still larger digitization projects have continued to emerge in recent years, within a political climate that promotes and stimulates digitization and development of digital research infrastructure for studying collections, film heritage institutions need to develop sustainable and critical models for facilitating, shaping and benefiting from digital scholarship in film and media studies, all the while being mindful of their own institutional core values and missions. This endeavor, we suggest, entails that film heritage institutions develop a greater sensitivity towards key concerns of digital scholarship in film and media studies at large, while also making sure that digital scholarships in turn develop a better sense of archival concerns in their practice (Heftberger, 2014).</p> <p>Taking the cue from this suggestion, this special issue offers a platform for thinking through productive connections, synergies and frictions between emerging methods in film and media studies and the current work of film heritage institutions. In doing so, we encourage contributors to stage speculative encounters between approaches and practices as well as to discuss concrete case studies, so as to imagine future paths.</p> <p>With the issue we are looking for a broad range of approaches and contributions pertaining to a wide variety of practices. Some of the questions we specifically invite contributors to consider are:</p> <ul> <li class="show">How may the comparative study of film prints, an integral part of film philology and restoration, benefit from videographic approaches to film analysis and data visualization, both elements that often involve comparative analysis of film “texts”?</li> <li class="show">How may scholarly annotations made within online research infrastructures or environments feedback into archival databases through linked data and inform archival work in a “virtuous cycle” (MEP/Williams, 2018), and what may best practices look like?</li> <li class="show">How may film heritage institutions support the concerns of digital scholarship by highlighting bias, ambiguity and uncertainty in collection data so as to avoid the risk of “engaging in positivist reductionism and of fundamentally ignoring philosophical aesthetics and its analytical tradition” (Flueckiger 2017)?</li> <li class="show">How may film heritage institutions nurture “distant viewing” of collections (Tilton &amp; Taylor, 2019) through interface development based on existing collection data and/or on data created with visual analysis software?</li> <li class="show">How may the affordances of high-resolution scanning and scanning of the edge area of film elements benefit aesthetic and historical analysis of archival film as a material artefact, as well as close reading approaches?</li> </ul> <p>In addition to these questions, contributors are invited to take into consideration theoretical issues as well as specific case studies related (but not limited) to these themes:</p> <ul> <li class="show">Theoretical reflections on the relationship between digital humanities and film archiving, restoration and philological analysis, with regard to digital film historical research methods and traditions focusing on specific questions, epistemes, and assumptions;</li> <li class="show">Specific case studies involving application of digital methods and tools in the context of film history research projects;</li> <li class="show">Research design in digital humanities projects, i.e. the development of databases, algorithms, software, tools, digital and virtual research environments;</li> <li class="show">Digital archives (online database, data management systems, online exhibitions, etc.), indexing and distribution for film heritage;</li> <li class="show">The role of digital humanities in the development of technology for film restoration (scanners, laser printers, etc.).</li> <li class="show">Mapping and sharing of filmographic data, as well as developing new (interactive) platforms.</li> </ul> <h4>&nbsp;</h4> <h4>Submission details</h4> <p>Please send an abstract and a short biographical note to Rossella Catanese, Adelheid Heftberger, and Christian Gosvig Olesen at: <strong>rossella.catanese@uniud.it</strong>, <strong>a.heftberger@bundesarchiv.de</strong>, and <strong>c.g.olesen@uva.nl</strong>&nbsp; by<strong> April 1st, 2021</strong> — [subject: <em>Film Heritage and Digital Scholarship</em> + name surname author(s)].</p> <p>Abstracts should be from 300 to 500 words of length (English). Notification of acceptance will be sent within&nbsp;<strong>April 10, 2021.</strong></p> <p>If the proposal is accepted, the author(s) will be asked to submit the full article by <strong>June 15, 2021</strong>.</p> <p>The articles must not exceed 5,000/6,000 words and can include images, clips, and links for illustrative purposes. Please, provide correct credits, permissions and copyright information in order to be sure that the images, clips, and links are copyright free and can be published.</p> <p>Contributions will be submitted to <a href="https://cinergie.unibo.it/about/editorialPolicies#peerReviewProcess">double-blind peer-review</a>.</p> <p>The issue will be published in <strong>December 2021.</strong></p> 2020-12-28T11:25:20+01:00 https://cinergie.unibo.it/announcement/view/408 Call for Papers – Immersive Stories. Virtual Reality, Post-Cinema and Storytelling 2020-07-30T00:00:00+02:00 Cinergie – Il Cinema e le altre Arti <h3>Edited by Simone Arcagni (Università degli Studi di Palermo) and Adriano D’Aloia (Università degli Studi della Campania “Luigi Vanvitelli”)</h3><p>In recent years, virtual reality (VR) has emerged as a new frontier of innovation and experimentation within what is known as “immersive entertainment” — gaming, art, museum exhibitions, TV and cinema. The proliferation on the market of new headsets (from the expensive HTC VIVE and Oculus to the popular Google Cardbox), the spread of platforms, apps and also VR cinemas around the world, and the inclusion of VR productions in international film festivals (e.g. Sundance, Tribeca, Venice) are trends demonstrating that VR is no longer just a fascinating 1980s-inspired literary or cinematic subject (from <em>Tron</em> to the <em>Matrix</em> trilogy, to the recent Steven Spielberg’s <em>Ready Player One</em>). VR is also a new way of designing and creating an experience in which the spectator is more directly, immediately, and effectively involved and entertained through <em>immersion</em> and a strong sense of <em>presence</em>, i.e. the illusion of being part of an alternative world.</p><p>Moreover, VR (and immersive technologies in general) have seen a real explosion of new interest during the COVID-19 pandemic emergency, due to the need to avoid travel and social contact. The global crisis led many companies to adopt VR as a tool for their marketing and communication strategies. The entertainment industry has realized that the experience of simulating exploration and social interaction in safe conditions offered by VR deserve to be further developed.</p><p>Although we are in the early stages of the VR adventure, significant steps in theoretical reflection have already been taken regarding psychological and philosophical concepts such as presence, transportation, embodiment and empathy, or physiological issues such as motion sickness and other adverse responses to the VR experience in general. Much has been written on technical aspects of VR systems in cybernetics and artificial intelligence, and we have also learned a lot about the history of VR as an audio-visual media along a timeline that goes from Sensorama to the Oculus Rift. On the other hand, so far, very little has been said regarding the narrative dimensions of VR.</p><p>The special section of the issue aims to explore the relationship between VR and (post)-cinematic storytelling in both fiction and non-fiction modes.</p><p>The formal possibilities of VR actually change the way a story is told. The screen and the frame — emblematic of the “traditional” form of the filmic narrative experience — seem to vanish in VR. The expansion of the visual horizon to 360 degrees, in fact, disrupts the edges of the frame and creates a <em>field</em> that can be potentially explored in its entirety. Whereas in canonical narrative the storyteller (and the filmmaker) draw the viewer’s attention to precise and unequivocal locations, the VR story can be “located” anywhere around the viewer, and thus requires strategies that direct one’s attention so that narrative events can be properly experienced. So, what about the formal solutions that organize the user’s experience? What about the audio-visual “grammar” — framing, composition, editing, transitions, camera angles and movement, lighting, continuity, point of view etc. — which (both literally and figuratively) manipulate the user’s perspective and orient and steer his/her attention through the narrative?</p><p>Moreover, the medium of VR (namely tracking and rotational technology) allows different forms of “real-time storytelling,” which depend on the user’s response and ocular behaviour. For example, the story (i.e. the environment, the characters, the events) may develop differently depending on which characters or objects the user decides to concentrate on the longest. Although limited to a given number of options (as in interactive games), the user chooses how the story will proceed. Contrary to the traditional mode of narration, the power of narrative <em>choice</em> is thus transferred from the storyteller to a user conceived as a “storymaker.” What are the theoretical implications of VR real-time storytelling with regard to classical theories of film narration? VR technology creates new physical conditions for experiencing a story (seated on a rotating chair or free to move in space), which also depend on different levels of immersion (from 360° videos to interactive films and games); the user has the freedom (and the obligation) to explore the visual and narrative field, testing the response of the world to his/her own observation-shifts and movements. Are traditional accounts of film viewing still able to describe the condition of experiencing VR stories? The shift from <em>viewer of a film</em> to <em>explorer of a field</em> seems to call for theoretical paradigms that give the body and the sensorimotor level of experience a pivotal role.</p><p>VR is thus a hybrid and post-cinematic multi-medium able to offer a multisensory experience in which story continues to play a crucial role. VR calls into question and radicalizes the fluidity and openness of the relationship between the story and the spectator and probes the way in which storytelling has so far been analysed in film and media studies.</p><h4 id="references">References</h4><p>Arcagni S., <em>Visioni digitali. Video, web e nuove tecnologie</em>, Einaudi, Torino 2016.</p><p>Arcagni S., <em>L’occhio della macchina</em>, Einaudi, Torino 2018.</p><p>Bodini A., <em>Narrative Language of Virtual Reality</em>, World VR Forum, Geneva 2017.</p><p>Broadhurst S., Machon J., <em>Performance and Technology: Practices of Virtual Embodiment and Interactivity</em>, Palgrave Macmillan, Basingstoke 2006.</p><p>Bryant A., Pollock G. (eds.), <em>Digital and Other Virtualities</em>, Tauris, New York 2010.</p><p>Bucher J.K., <em>Storytelling for Virtual Reality: Methods and Principles for Crafting Immersive Narratives</em>, Routledge, New York 2018.</p><p>Calleja G., <em>In-Game. From Immersion to Incorporation</em>, The MIT Press, Cambridge (MA) - London 2011.</p><p>Carbone M., <em>Filosofia-schermi. Dal cinema alla rivoluzione digitale</em>, Raffaello Cortina, Milano 2016.</p><p>Casetti F., <em>The Lumière Galaxy. Seven Key World for the Cinema to Come</em>, Columbia University Press, New York 2015.</p><p>D’Aloia A., “Virtually Present, Physically Invisible. Virtual reality immersion and emersion in Alejandro González Iñárritu’s <em>Carne y Arena</em>,” <em>Senses of Cinema</em>, 87, 2018, <a class="uri" href="http://sensesofcinema.com/2018/feature-articles/virtually-present-physically-invisible-virtual-reality-immersion-and-emersion-in-alejandro-gonzalez-inarritus-carne-y-arena/">http://sensesofcinema.com/2018/feature-articles/virtually-present-physically-invisible-virtual-reality-immersion-and-emersion-in-alejandro-gonzalez-inarritus-carne-y-arena/</a>.</p><p>Dalpozzo C., Negri F., Novaga A. (eds.), <em>La realtà virtuale. Dispositivi, estetiche, immagini</em>, Mimesis, Milano-Udine 2018.</p><p>Dogramaci, B., Liptay, F. (eds.), <em>Immersion in the Visual Arts and Media</em>, Brill-Rodopi, Leiden-Boston 2016.</p><p>Dooley K., “Storytelling with virtual reality in 360-degrees: a new screen grammar,” <em>Studies in Australasian Cinema</em>, 11:3, 2017, pp. 161-171.</p><p>Hillis K., <em>Digital Sensations. Space, Identity and Embodiment in Virtual Reality</em>, University of Minnesota Press, Minneapolis - London 1999.</p><p>Mateer J., “Directing for Cinematic Virtual Reality: how the traditional film director’s craft applies to immersive environments and notions of presence,” <em>Journal of Media Practice</em>, 18:1, 2017, pp. 14-25</p><p>Montani P., <em>Tre forme di creatività: tecnica, arte, politica</em>, Cronopio, Napoli 2017.</p><p>Noë A., <em>Varieties of Presence</em>, Harvard University Press, Cambridge (MA) 2012.</p><p>Popat S., “Missing in Action: Embodied Experience and Virtual Reality,” <em>Theatre Journal</em>, 68 (3), 2016, pp. 357-378.</p><p>Ryan M.-L., <em>Narrative as Virtual Reality. Immersion and Interactivity in Literature and Electronic Media</em>, The Johns Hopkins University Press, Baltimore - London 2001.</p><p>Sherman W.R., Craig A.B., <em>Understanding Virtual Reality</em>, Morgan Kaufmann, San Francisco 2003.</p><p>Slater M., “Place Illusion and Plausibility Can Lead to Realistic Behaviour in Immersive Virtual Environments,” <em>Philos Trans R Soc Lond B Biol Sci</em>, 364/1535, 2009, pp. 3549-3557.</p><p>Sutherland I., “<em>The Ultimate Display</em>.” In: R. Packer, K. Jordan, eds., <em>Multi- media. Form Wagner to Virtual Reality</em>, W. W. Norton &amp; Company, New York 2002.</p><h4 id="submission-details">Submission details</h4><p>Please send an abstract and a short biographical note to both Simone Arcagni (<a class="email" href="mailto:simone.arcagni@unipa.it)">simone.arcagni@unipa.it)</a> and Adriano D’Aloia (<a class="email" href="mailto:adriano.daloia@unicampania.it">adriano.daloia@unicampania.it</a>) <strong>by October 25, 2020</strong> — [subject: Cinergie VR Storytelling + name surname author(s)].</p><p>Abstracts should be from 300 to 500 words of length (English) and include 3-5 fundamental bibliographical references.</p><p>If the proposal is accepted, the author(s) will be asked to submit the full article <strong>by January 15, 2021</strong>.</p><p>The articles must not exceed 5,000/6,000 words.</p><p>Contributions will be submitted to <a href="/about/editorialPolicies#peerReviewProcess">double-blind peer-review</a>.</p><p>The issue number 19 of <em>Cinergie</em> will be published in <strong>July 2021</strong>.</p> 2020-07-30T00:00:00+02:00 https://cinergie.unibo.it/announcement/view/358 Call for Papers – Unstable Images and Shifting Histories: Photography, Anthropology, Cinema 2019-11-08T11:41:34+01:00 Cinergie – Il Cinema e le altre Arti <h3>Edited by Dr. Hanin Hannouch (Kunsthistorisches Institut in Florenz, Max-Planck-Institut)</h3><p>If the scholarship on photography has often lodged its cultural and philosophical significance within the epistemological framework of evidence, it has also increasingly taken into account how photography was the medium of choice for bringing the foreign and the exotic to the salons of the European bourgeoisie thirsting for images and texts from newly-colonized territories (Sekula 1981, Shohat 2008, Göttsche 2013). By maintaining close ties with anthropology (Pinney 2001), as well as with colonial administrators and military personal, photography perpetuated long- held identity constructions within asymmetrical power relations and transmitted them as supposed “truths” to various European and American ethnological museums, thus accounting for their extraordinarily large archives (Geary 1988). Beyond its function as anthropological record, photography’s use as source for shaping historical narratives runs in parallel to its ability to provide a “reckoning with history” (Tucker, Campt 2009), by bringing (visual, textual etc.) sources to their limits and by unmasking the constructed dimension to the narratives they are meant to articulate. Moreover, though the archive bestows upon photography and cinema — its preeminent materials — the authoritative status of document (Ellenbogen 2012), differing epistemologies continue to underpin its various stakeholders (Hamminga 2016) exceeding their initial framework of reference. And although (moving) images suture the subject into a supposedly scientific, anthropological, or historical project, buried within the very process which representation eclipses is a greater uncertainty as to the kind of history that is being inscribed, and most importantly, <em>whose</em> history is being told.</p><p>Consequently, the special section of the issue number 17 of Cinergie analyzes how images “disturb the core nodes of historical relations and practices of history” (Edwards 2016) rather than how they constitute it through nation-building. By investigating how artists re- appropriate (anthropological, scientific, or historical etc.) photography and film, and how they re-read them against their own original trace, as in against the very object whose presence they inscribe, this volume examines how images are deployed against the history they are thought to depict. Cinergie seeks to historicize this failure of evidentiary and documentary claims to visual media as disturbances causing epistemic shifts. Furthermore, it focuses on how their narratives remain ever-shifting despite theorists' use of “context” (understood here as the fruit of a process of framing and of interpretation attempts to give meaning and coherence) as a reliable backdrop to comprehending them and pinning them down. By asking how certain archival practices and the system of knowledge they bespeak inadvertently undermine institutional power, this section considers how instability has always been integral rather than contingent to the image and how fractures are part of the archive, irrelevant of the framework made to fix its internal contradictions.</p><p>Contributions will be considered that include but are not limited to:</p><ul><li><p>How do artists employ colonial, scientific, or historical photography and film in order to shift their initial significance and what kind of new epistemologies do they create in the process?</p></li><li><p>How do scientists, photographers, officials etc. attempt to palliate contradictions between the visual materials they generate and the theories they formulate?</p></li><li><p>How do various artistic operations question the constitution of indexicality, and have the image emerge as a site of contested encounters resisting collection and interpretation even (or especially) within the archive?</p></li></ul><h4 id="submission-details">Submission details</h4><p>Please send an abstract and a short biographical note to Dr. Hanin Hannouch, Post- Doctoral researcher at the Kunsthistorisches Insitut in Florenz, Max-Planck-Institut at: <a class="email" href="mailto:hanin.hannouch@khi.fi.it">hanin.hannouch@khi.fi.it</a> <strong>by December 31, 2019</strong> — [subject: Unstable Images and Shifting Histories: Photography, Anthropology, Cinema + name surname author(s)].</p><p>Abstracts should be from 300 to 500 words of length (English).</p><p>If the proposal is accepted, the author(s) will be asked to submit the full article <strong>by February 15, 2020</strong>.</p><p>The articles must not exceed 5,000/6,000 words.</p><p>Contributions will be submitted to <a href="/about/editorialPolicies#peerReviewProcess">double-blind peer-review</a>.</p><p>The issue number 17 of <em>Cinergie</em> will be published in <strong>July 2020</strong></p> 2019-11-08T11:41:34+01:00 https://cinergie.unibo.it/announcement/view/345 Notice to Readers and Authors 2019-07-16T16:11:18+02:00 Cinergie – Il Cinema e le altre Arti 2019-07-16T16:11:18+02:00 https://cinergie.unibo.it/announcement/view/314 Call for Papers – The Migrant as an Eye/I. Transculturality, Self-Representation, Audiovisual Practices 2019-01-02T12:33:20+01:00 Cinergie – Il Cinema e le altre Arti <h3>Edited by Alice Cati (Università Cattolica del Sacro Cuore) and Mariagiulia Grassilli (Sussex University)</h3><p>Experiences such as those of exile, immigration, and transnationality are central in the current political and cultural debate. Several filmic works and visual artistic projects focus their narratives on life stories, as shaped by distance (either geographic or memory-related) and motion (in terms of travel, border crossing and disorientation). Meanwhile, a focus on exilic and diasporic identities may lead potential audience to perceive migrant works merely on the basis of personal traumas of displacement.</p><p>The special section of this issue of <em>Cinergie</em> aims at scoping the plurality of cross-media productions that define non-dominant forms of ethnic subjectivity, in the awareness of both the dynamic contamination of cultural models and the crisis of the ancient dichotomy between <em>Self</em> and <em>Other</em>. Challenging both the assimilationist logic and the processes of <em>othering</em> (Rings), we witness now the reclaiming of identities that have already internalised their ethno-cultural roots. In light of this, it appears urgent to revisit the value of certain terms, such as “Migrant/Post-Migrant” (Rings, Leal) “Third [World]” (Gabriel, Guneratne-Dissanayake), “Accented” (Naficy) — first applied to cinema productions, ethnographic films, experimental and visual-anthropological texts, and now including all other media productions (i.e. Bennett’s idea of ‘Accented Media’) — which are still defined by a hierarchy of values that place the Other in a condition of cultural subalternity.</p><p>In this sense, despite the intention to use media practices as a way to promote ethnic diversity and intercultural dialogue, the chance to actually access real forms of self-representation from the side of the Other is still to be verified. On the one hand, fueled by the political concern about the so-called ‘migrant or refugee crisis’, media seem more interested in embracing products about ‘migration’ to ‘Europe/US’, rather than the cultural background of professionals who work within the cultural and creative industries (filmmakers, producers, photographers, artists, writers, performers). On the other hand, the lack of recognition at the local national level, and the scarcity of provision for cultural diversity within many countries’ cultural policies, still impact at the level of identity and self-confidence, as necessary qualities for encouraging creativity to expression.</p><p>From the Seventies/Eighties on, the influence of post-modernism, feminist theories, and postcolonial studies has led to the emergence of <em>life-writing</em> as a tool to explore a multifaceted range of objects and processes, namely narratives, representations and performances of the Self. As Moore-Gilbert notes, there is an implicit opposition between <em>auto-biography</em> and <em>life-writing</em>: the former derives from a modernist perspective centered on the male/white/Western subject, who is often seen as a pure abstract state of consciousness; the latter is defined as a room of expression for an embodied and relational subject situated in historical, sexual, social terms, who is usually worn out by experiences of loss, vulnerability and displacement.</p><p>Despite the marginalization, repression and forgetfulness put forth by hegemonic political systems, the opportunity to for minorities to freely express themselves seems finally emerging, as well as the possibility to let counter-memories arise. Different conception of psyche and selfhood in the West can be reframed within non-western cultures, ideologies and epistemologies. Clearly enough, contemporary globalization has inevitably affected the sense of self and subjectivities in different social, political and cultural contexts, as well as the devices adopted for the self-construction and self-understanding (Tianqi Yu). The contemporary visual culture surrounding the subject enables thus to introduce a broad conception of ethnicity, intended as cultural formation determined by a media-based imaginary that is culturally contaminated (Russell).</p><p>In this age of highest expansion of new autobiographical forms made possible thanks to audiovisual and digital practices (autobiographical fiction and documentary films and videos, digital storytelling platforms, self-portraits and selfies, Vlog, Facebook and Instagram accounts, etc.), it is not only possible for anyone to produce and circulate self-representations as a banal and everyday practice, but it allows for current self-representations to challenge established discourses that reflect power relations at both social and geopolitical level (Thumim, Chouliaraki). How could thus ex-/post-colonial subjects and their antecedents/descendants represent their selves, tell their own stories and subverting the stereotypes of Western culture? How are hierarchies re-inscribed when the Other’s self-image is re-mediated in the Western media system? When and how does the Other actually have the possibility to really represent her/himself?</p><p>A cohesive exploration of the contemporary multiplicity of expressive forms as well as the various auto/biographic discursive regimes, may allow for the emergence of a plural identity, which is dynamically questioning itself and its own idiosyncrasies, by means of its own cultural and ethnic background.</p><p>Contributors are invited to take into consideration theoretical issues as well as specific case studies related (but not limited) to these themes:</p><ul><li><p>Theory and history of non-Western subjective/autobiographical/first person audiovisual works, which can help to reassess the predominantly Western-oriented scholarship on this field.</p></li><li><p>Family and personal images (small-gauge films, videos, pictures, mobile camera images) taken and collected by non-Western individuals for private use or recycled in artistic projects.</p></li><li><p>Genealogy and ancestry research devoted to identities that had been hardened by decades of racial categorization.</p></li><li><p>Migrant and refugee filmmaking in between autobiography, self-representation, as well as (co)productions, collective creativity and participatory projects.</p></li><li><p>Negotiation between written and audio-visual biographies in the narration of the migrant Self (memoirs, videotestimonies, interviews, talks, visual presentations etc.).</p></li><li><p>The re-mediation of migrant and refugee self-representation, geopolitical power relations and mainstream media.</p></li><li><p>Auto-ethnographies: creative analytical practices aimed at exploring personal experiences and understanding one’s own first-, second- or third-generation cultural background.</p></li><li><p>Digital storytelling platforms and digital archives as useful tools to establish a plural view on past and present, enabling at the same time the preservation of ethnic groups’ memories otherwise excluded from the dominant political logics.</p></li></ul><h4>Submission details</h4><p>Please send an abstract and a short biographical note to <a href="mailto:alice.cati@unicatt.it">alice.cati@unicatt.it</a> and <a href="mailto:m.grassilli@sussex.ac.uk">m.grassilli@sussex.ac.uk</a> <strong>by April 1, 2019</strong> — [subject: CfE #19 — The Migrant as an Eye/I abstract submission + name surname authour(s)].</p><p>Abstracts should be from 300 to 500 words of length (English).</p><p>If the proposal is accepted, the author(s) will be asked to submit the full article <strong>by June 30, 2019</strong>.</p><p>The articles must not exceed 5,000/6,000-words.</p><p>Contributions will be submitted to double blind peer review.</p><p>The issue number 19 of <em>Cinergie</em> will be published in <strong>December 2019</strong>.</p><h4 id="deadlines">Deadlines</h4><ul><li><p>Submission of proposals: April 1, 2019</p></li><li><p>Acceptance notified by: April 15, 2019</p></li><li><p>Submission of full articles: June 30, 2019</p></li><li><p>Publication: December 2019</p></li></ul> 2019-01-02T12:33:20+01:00