European Communication Research
and Education Association
September 8-9, 2022
The Drones in Society conference is only three weeks away and we are pleased to share with you the Conference Programme containing details of the presentations and short bios for each of our speakers.
Registration is FREE and open here: https://www.eventbrite.co.uk/e/drones-in-society-tickets-318517513457
We look forward to welcoming you in Sheffield or meeting you online!
Edited by: Ewa Mazierska
The last issue in 2022 is dedicated to Želimir Žilnik: one of two issues of Studies in Eastern European Cinema, dedicated to his work. There are many reasons we decided to honour this director with a series of articles. First, Žilnik (b. 1942) is one of the most important directors coming from Eastern Europe, in his case Yugoslavia, yet also one who attracts a cult following and niche popularity, rather than enjoying mainstream appeal. Consequently, although many articles and book chapters were devoted to his work (including two I have published myself), these publications are dispersed or are not widely available, due to being published in German or one of the ‘post-Yugoslav’ languages. Dedicating to Žilnik two issues of Studies in Eastern European Cinema is meant to allow the readers to learn more about Žilnik’s films, especially less-known facets of his activities and expand his audience. Second, Žilnik’s career demonstrates the complexity of Eastern European cinema and its entanglement in cinemas of other regions, given that during his career, lasting almost 60 years, he worked in Yugoslavia and after its dissolution, Serbia, as well as in Germany and Austria. He is thus a Yugoslav, Serbian and a transnational director. He also worked in different genres and utilised different media, most importantly film and television. Whatever Žilnik does, he also comes across as being able to remain relevant: notice the acute problems facing his compatriots, as well as the European and global community. Nobody can criticise Žilnik for shirking from difficult topics, such inequality in an allegedly egalitarian socialist country, Yugoslavia, unemployment and homelessness, in Yugoslavia and elsewhere, the plight of the Roma community, as well as sex workers and people who do not conform to heterosexual norms. As Gal Kirn, the author of one of articles published in this issue observes, ‘Žilnik’s work has become synonymous with political and engaged film already in the tumultuous time of socialist Yugoslavia in the late 1960s, which was marked by workers’ strikes, student protests and cultural experimentation. The engaged nature of his filmmaking can be traced both in the meticulous work about marginalised subjects, as well as in his methodology that recombines fictive and documentary means in displaying his marginalised protagonists.’ In this respect he reminds us of Jean-Luc Godard, with whom he also shares a resolve to carry on working, as long as the moving image does not reject him.
The vast majority of Žilnik’s films are set in contemporary times, including his debut feature, Rani radovi/Early Works (1969), which was sent to the 19th Berlin International Film Festival, where it received the Golden Bear award. However, all his films reveal an acute sensitivity to history. The past is like a heavy cloud hanging over the heads of his characters. The past usually means their class background – in his films, unlike in Hollywood fairy tales, people at the bottom of the social hierarchy usually stay at the bottom. If anything, their situation worsens rather than improves in the course of the narrative. For this reason, he is regarded as one of the principal representatives of the Yugoslav Black Wave of the 1960s and 1970s, and in many ways he remained faithful to this movement throughout his entire career.
Žilnik’s films often look back, like the characters in Early Works, who discover the signs of German presence on the Yugoslav territories they traverse. Past and present also intermingle in Ustanak u Jazku/Uprising in Jazak (1973), whose characters, villagers in the village Jazak thirty years after the war ended, tell the stories of the antifascist resistance. Another film showing the entanglement of the present with the past is Tito po drugi put medju Srbima/Tito’s Second Time Among the Serbs (1994), in which Tito (or Dragoljub Ljubičić who plays Tito) meets ordinary people who compare the past when he was his leader with the postcommunist reality. In all these films the past is alive – it is a matter of (re)discovery, of comparing different memories, rather than something which fills the pages of historical books. His films also look into the future. In particular, his 1986 science fiction film Lijepe žene prolaze kroz grad/Pretty Women Walking Through the City is regarded as a prediction of the fast approaching disintegration of Yugoslavia.
Much connects Žilnik with his older colleague and collaborator, Dušan Makavejev. Both were creators of the Yugoslav New Wave, both combined in their films fiction and documentary techniques. Both also spent parts of their lives abroad, where they made some of their most interesting films. However, there are also important differences between them. Makavejev has been always most interested in human psychology and sexuality. His films are made ‘under the sign of id’, whom ‘ego’ is unable to tame. For Žilnik, on the other hand, human psychology is chiefly the consequence of objective, mostly economic circumstances. In this sense he can be considered the follower of Marx. He is also a Marxist director because he shares Marx and Engels’ conviction that workers are robbed of the fruits of their labour and he shows us it how this happens, most poignantly, in Stara škola kapitalizma/The Old School of Capitalism (2009).
The articles chosen for this and the second issue dedicated to Žilnik, reveal different facets of his oeuvre, such as dealing with marginalisation and exclusion, using non-professional actors, shooting films in a ‘partisan way’ and engaging with various waves, dominating European cinema in the 1960s and 1970s. They also focus in on a variety of his films from disparate decades, from Early Works (1969) to The Most Beautiful Country in the World (2015).
The first article, authored by Vesi Vuković, is titled ‘Yugoslav(i)a on the margin: sexual taboos, representation, nation and emancipation in Žilnik’s Early Works’. In line with this title, Vuković draws attention to the fact that unlike the majority of Yugoslav New Wave Films, whose leading character is a man, Early Works is exceptional for having a woman as the main heroine. Jugoslava is treated by the author as an allegory of Yugoslavia and its revolutionary spirit, as well as a prototype of an emancipated woman, punished by rape and killing. However, rather than celebrating Žilnik as a champion of women, Vuković claims that Jugoslava is concurrently empowered and disempowered, and the director objectifies his female heroine.
The next film dissected in this issue, by Gal Kirn, is a short production titled Uprising in Jazak, made in 1973. Kirn argues that this film perfectly demonstrates how to make a partisan film in a partisan way in socialist Yugoslavia. In particular, the film’s raw image and cutting is a conscious politico-aesthetical intervention into the dominant genre of that time in socialist Yugoslavia – war partisan spectacles, also known as ‘Red Westerns.’ Žilnik’s method consists of a delicate bottom-up ethnographic reconstruction of partisan and antifascist memory of the Jazak villagers, who 30 years after the war collectively tell and renegotiate the stories of the antifascist resistance to the war.
The third article, by Michael Brady, considers the German chapter in Žilnik’s career, covering the years 1973-6. This period ended with the short feature Paradies: Eine imperialistische Tragikomödie/Paradise: An Imperialist Tragicomedy (1976). Brady observes that this rich and at times uncomfortably visceral and chaotic parody of far-left terrorism (the RAF or Baader-Meinhof group) does not feature in any of the myriad publications on New German Cinema, despite being much more audacious than the work of contemporary German directors. Brady suggests that if there is a German film Žilnik’s compelling mix of riotous anarchy, actionist body art, political satire can be compared with, then it is Fassbinder’s Die dritte Generation/The Third Generation (1979), possibly inspired by Žilnik’s film. While offering a detailed examination of this film, the author of the article points to the problems encountered by transnational directors, who often slip through the cracks of scholarship, conducted largely along national cinema lines.
Finally, Jelena Jelušić in ‘The politics of a rock ‘n’ road docudrama—genre and intertextuality in Žilnik’s Oldtimer (1989)’ examines Žilnik’s foray into television - his telefilm Stara mašina/Oldtimer (1989) as an example of the politically engaged use of genre and intertextuality in televisual representation. As a road movie, Oldtimer highlights how the journey trope imbued visual representations of movement with ideological and political meanings. At the same time, the film exposes the nationalist motivations behind the so-called anti-bureaucratic revolution in Serbia in 1988 and emphasizes television news department staff’s complicity in concealing them. Jelušić argues that Žilnik’s work contributed to the broadening of televisual potential for ideological signification, allowing the medium to function not simply as a propaganda instrument, but as a space of contestation of different ideological positions.
Although all the articles in this issue focus on individual films, their authors use them to tease out characteristics of Žilnik’s artistic method and style, together showing the director’s wide interests, but also consistency in his interests in Yugoslav and wider politics and the spirit of experimentation.
This issue contains three short articles in the review section. Veronika Hermann discusses the book Taking Stock of Shock. Social Consequences of the 1989 Revolutions, which does not address screen media directly but is of great importance for the studying of the culture of the region. Denise J. Youngblood introduces the journal Apparatus, and Ewa Mazierska commemorates the Polish composer Andrzej Korzyński.
Universidade Católica Portuguesa, Lisbon
This scholarship is financed by the Research Centre for Communication and Culture, through funding by FCT, with reference no. UIDB2022.3/00126/2020.
SUBMISSION OF APPLICATIONS
The call for applications shall be open from 8 August to 2 September 2022 at 23h59 (Lisbon time).
Applications and their respective supporting documentation, stipulated in the present Public Notice of Call for Applications, must be submitted via email to firstname.lastname@example.org.
TYPE AND DURATION OF SCHOLARSHIPS
Doctoral Research Scholarships are intended to finance students’ PhD research, leading to the attainment of a PhD degree in the Doctoral Programme in Communication Sciences at Universidade Católica Portuguesa.
The research leading to a PhD degree shall take place at the Research Centre for Communication and Culture (CECC) (UIDB2022.3/00126/2020), which shall thus be the scholarship recipient’s host institution, without prejudice to any other work undertaken in collaboration with one or more institutions.
The research leading to a PhD degree by the scholarship recipient must fall within the framework of CECC’s (UIDB2022.3/00126/2020) strategic activities plan and must be developed under the auspices of the Doctoral Programme in Communication Sciences, Universidade Católica Portuguesa.
This is, as a rule, an annual scholarship, renewable for a maximum period of two years (24 months). Scholarships cannot be awarded for periods of less than three consecutive months.
The following documents, without exception, must be included in the application, under penalty of exclusion from the call for applications:
DEADLINE FOR APPLICATION
2 September 2022
For all details please check the the official call: https://fch.lisboa.ucp.pt/system/files/assets/files/edital-50-alterado-03-08-2022-eng-signed.pdf
University of Nottingham Ningbo China
There are five vacancies at the University of Nottingham Ningbo China:
Please see specific postings for further information.
Join a unique British University in China. The University of Nottingham Ningbo China (UNNC) was the first Sino-foreign university to open its doors in China. This award winning campus offering a UK style education has grown to establish a student body of over 8,000 in just 16 years.
A pioneer in Sino-foreign tertiary education, UNNC is rapidly expanding as part of the University of Nottingham’s Global University. The institution seeks ambitious, talented academics with a flair for research and a passion for teaching to join its team of experts, offering unique teaching and research opportunities in a highly dynamic economy.
The School of International Communications is the largest school in the Faculty of Humanities and Social Sciences, and is affiliated to the Department of Culture, Media and Visual Studies at the Nottingham UK campus. Our BA (Hons) in International Communications is a provincial level accredited degree which includes a dedicated programme of study for a European or East Asian language. Its sister programme, BA (Hons) in International Communications with Chinese, has proved successful in attracting high quality international students to the school. We currently run an MA programme in International Communications and also have one of the most successful PhD programmes in the university.
The post-holder will be expected to teach across the full range of our programmes, undertake supervision of BA and MA dissertation students and PGR students, and conduct research and external engagement in the school’s main research areas. More details of the school and its teaching and research activities can be found here:
Comparative Cinema 20 (Spring 2023)
Deadline: January 15, 2022
Film scholars are today well aware of cinema’s multiple connections to the so-called “natural” world. From the very beginning, the medium’s technical affordances allowed it to draw attention to the hitherto unseen aspects of our environments, showing us in close-up and time lapse the minutiae of animal and plant life – what Siegfried Kracauer famously called the “reality of another dimension” (1997). More fundamentally, cinema’s longstanding dependence on a congeries of natural resources – silver, petroleum, gelatine – and the effects on screen of its inescapable “hydrocarbon imagination” (Bozak 2011), situate it both with and against the world it depicts.
Given cinema’s unique representational capacities, over the last century the same environments have afforded cinema a collection of vastly different images. The sea, for instance, has gifted us the pioneering representations of underwater fauna in the films of Jean Painlevé; the ethical compromises of Jacques Cousteau and Louis Malle’s Palme d’Or winning Le Monde du Silence (1955); and the disorienting GoPro footage of marine life in Leviathan (Lucien Castaing-Taylor and Véréna Paravel, 2012).
If nature has long presented a challenge, a resource, and a backdrop to filmmakers of all stripes, then film studies scholarship is only beginning to reckon with its sheer multiplicity as reflected in film history. The last decade especially has witnessed a flourishing of writing with an ecological bent, and has seen the rise of the field now known as ‘ecocinema.’ A number of collections (Willoquet-Maricondi 2010; Rust, Monani and Cubitt 2013) saw the coming together of ecocriticism and film studies over a decade ago, but scholars including Adrian Ivakhiv (2013); Kristi McKim (2013), Adam O’Brien (2016; 2017) and Jennifer Fay (2018) have since made exciting advances in other directions.
There is indeed already a vast proliferation of approaches to cinema in connection with nature, but recent developments – such as attention to the implications for particular national cinemas (Past 2019) – suggest that ecocinema as a field still holds many unexplored possibilities. As such, the 20th issue of Comparative Cinema is capacious in its focus, inviting contributors to consider novel ways of addressing cinema in connection with all manner of non-human environments and perspectives. Articles should employ a comparative methodology, and topics may include, but are not limited to:
- Cinema’s Natural Resources: Given the provenance of film materials like celluloid, and the massive carbon footprint of streaming technology, how heavy is the burden of cinema on the scarce natural resources of the world today? How might cinema’s materials – and its waste – emerge in film aesthetics and narratives?
- More-than-human Perspectives: To what extent can cinema de-centre our habituated ways of seeing the world on screen? How close can the camera, as what André Bazin called the “non-living agent,” take us to the non-anthropocentric possibilities of vision?
- Cinema and the Elemental: What role do the traditional elements – earth, air, water, fire – have to play in the images we see on our screens? How might the concept of “elemental media” (Peters 2015) or the notion of cinema’s “elemental imagination” (De Roo 2019) be deployed in comparative analyses of particular films, or of cinema and its environments? How are spectacular natural phenomena like storms, floods and fires represented on film?
- Extraction of Materials and Meaning: How has cinema represented the perils of extractive capitalism on screen? Or, considering the work of scholars like Leo Goldsmith (2018) and Daniel Mann (2022), how has the medium itself knowingly participated in this dynamic of extraction in its bid to draw meaning from the world? What are the gendered and colonial dimensions of environmental extraction in cinema’s history?
Comparative Cinema invites the submission of complete articles addressing ecocinema from a comparative perspective, which must be between 5500 and 7000 words long, including footnotes. Articles (in MS Word) and any accompanying images must be sent through the RACO platform, available on the journal website.
In addition to articles that respond to this particular topic, Comparative Cinema is also accepting submissions for ‘Rear Window,’ a miscellaneous section of the journal that will include articles focusing on other aspects of cinema using a comparative methodology. Please indicate in your submission if you wish to be considered for this section of the journal.
TIMELINE FOR ISSUE 20:
Bozak, Nadia. 2011. The Cinematic Footprint: Lights, Camera, Natural Resources. New Brunswick, NJ and London: Rutgers University Press.
De Roo, Ludo. 2019. “Elemental Imagination and Film Experience: Climate Change and the Cinematic Ethics of Immersive Filmworlds.” Projections: The Journal for Movies and Mind 13(2): 58-79.
Fay, Jennifer. 2018. Inhospitable World: Cinema in the Time of the Anthropocene. Oxford and New York: Oxford University Press.
Goldsmith, Leo. 2018. “Theories of the Earth: Surface and Extraction in the Landscape Film.” World Records 2. https://worldrecordsjournal.org/theories-of-the-earth-surface-and-extraction-in-the-landscape-film/
Ivakhiv, Adrian J. 2013. Ecologies of the Moving Image: Cinema, Affect, Nature. Waterloo, Ontario: Wilfrid Laurier University Press.
Kracauer, Siegfried. 1997. Theory of Film: The Redemption of Physical Reality. Princeton, NJ: Princeton University Press.
Mann, Daniel. 2022. “Red Planets: Cinema, Deserts, and Extraction.” Afterimage 29(1): 88–109.
McKim, Kristi. 2013. Cinema as Weather: Stylistic Screens and Atmospheric Change. New York: Routledge.
O’Brien, Adam. 2017. Film and the Natural Environment: Elements and Atmospheres. London: Wallflower.
———. 2016. Transactions with the World: Ecocriticism and the Environmental Sensibility of New Hollywood. Oxford: Berghahn Books.
Past, Elena. 2019. Italian Ecocinema: Beyond the Human. Bloomington: Indiana University Press.
Peters, John Durham. 2015. The Marvelous Clouds: Toward a Philosophy of Elemental Media. Chicago, IL and London: University of Chicago Press.
Rust, Stephen, Salma Monani and Sean Cubitt. eds. 2013. Ecocinema Theory and Practice. London and New York: Routledge.
Willoquet-Maricondi, Paula. ed. 2010. Framing the World: Explorations in Ecocriticism and Film. Charlottesville: University of Virginia Press.
Berlin School Of Public Engagement
The Berlin School Of Public Engagement at the Museum For Natural History Berlin has a vacancy for a Project Coordinator.
1. Location: Berlin School Of Public Engagement at the Museum For Natural History Berlin
2. Salary: German salary table E 11 TV-L: approx. 2209.27€ monthly, upgrading depends on work experience (taxes already deducted)
You can find all information about the vacancy and the application here: https://jobs.museumfuernaturkunde.berlin/jobposting/add5b81709f808eaa87c3cbe92c2ebcfdd16ad5b0
April 11-14, 2022
Deadline: November 4, 2022
The 18th Foundations of Digital Games (FDG) held in Lisbon, Portugal, invites all research contributions in the form of papers, posters, demos, doctoral consortium applications, as well as panels, competitions and workshop proposals. We invite contributions from within and across any discipline committed to advancing knowledge on the foundations of games: computer science, engineering, mathematics, natural sciences, humanities, social sciences, arts and design.
Papers should have a maximum of 10 pages, excluding references, reporting new research. Papers need to be anonymized and submitted in the ACM SIGCONF version of the ACM Master Template within their respective track using EasyChair. FDG 2023 is held in cooperation with ACM and ACM SIG AI, SIGGRAPH and SIGCHI.
Accepted papers will be included in the proceedings under the respective track submitted. When submitting, authors are requested to select the track that fits more closely to their submitted work.
Papers and Demos will receive double-blind peer reviews. All other submissions will be single-blind. All papers are guaranteed at least three reviews. Games and Demos are guaranteed two reviews. There will be no rebuttal.
Submission Deadline: 4th November 2022
Workshops, Panels and Competition Deadlines: 21st October 2022
Late-Breaking Paper: 27th of January 2023
Games & Demos Deadline: 27th of January 2023
Conference Dates: 11th-14th of April 2023
Conference website: http://fdg2023.org/
February 20-26, 2023
Indian Institute for Technology Roorkee (IIT Roorkee, India)
Deadline: August 31, 2022
we hereby invite you to submit an abstract for the Session “Culturally Sensitive Approaches – Potential New Directions of Empirical Research” at the “3rd International and Interdisciplinary Conference on Spatial Methods for Urban Sustainability” (“SMUS Conference”), which will simultaneously be the “3rd RC33 Regional Conference Asia: India”, and take place on site at the Indian Institute for Technology Roorkee (IIT Roorkee, India) from Monday, February 20th, to Sunday, February 26th, 2023.
The deadline for ‘Call for Abstracts’ for the conference has been extended till 31.08.2022. We kindly invite you to submit an abstract to this or to other sessions of this inspiring conference.
About the Conference
The six-day conference aims at continuing a global dialogue on methods and should attract methodologists from all over the world and all social and spatial sciences (e. g. anthropology, area studies, architecture, communication studies, computational sciences, digital humanities, educational sciences, geography, historical sciences, humanities, landscape planning, philosophy, psychology, sociology, urban design, urban planning, traffic planning and environmental planning). The conference programme will include keynotes, sessions and advanced methodological training courses. With this intention, we invite scholars of all social and spatial sciences and other scholars who are interested in methodological discussions to suggest an abstract to any sessions of the conference. All papers have to address a methodological problem.
Please find more information on the above institutions on the following websites:
If you are interested in getting further information on the conference and other GCSMUS activities, please subscribe to the SMUS newsletter by registering via the following website: https://lists.tu-berlin.de/mailman/listinfo/mes-smusnews
1. Co-Production (of Knowledge) as Pathway to Decolonization of Knowledge in the Global South
2. Decolonizing Social Science Methodology
3. Fieldwork in the Global South – Shedding Light into the Black Box
4. Assessing the Quality of Survey Data
5. Comparing Social Survey Data Collected During a Global Crisis? The Uncertainty of Comparative Research
6. Culturally Sensitive Approaches – Potential New Directions of Empirical Research
7. Application of Quantitative Techniques in Spatial Analysis
8. Ethnography as Spatial-Temporal Method
9. Ethnographic Methods: Constructing Public Space
10. Visualizing Urban Nature: Ethnographic Approaches and Explorations
11. Multimodal Data Integration for Spatial Research
12. How Modality Matters? Learning from the Multiplicity of (Non-)Digital Discourse Analytical Approaches
13. Discourse Analysis, Historical Analysis and Biographical Research: Multi-Method Approaches in Interpretive Empirical Research
14. The Individual and the City: Urban Life Stories
15. Measuring Change in Urban Space(s)
16. The Longue Durée in the 21st-Century Social Sciences: Methodological Challenges of Analyzing Long-Term Social Processes
17. Design Methods for Accessibility and Social Inclusion
18. Applying Spatial Methods in Homelessness Studies: Methodological and Ethical Challenges
19. Analysing Hidden Forms of Violence and their Spatialities: The Methodological Challenges of the Research on Intimate Partner Violence and Sexualized Violence
20. Spatial Methods in Healthcare Research
21. Methods of Transnational Organisational and Economic Research
22. Methods for Studying the Spatial Dimension of Global Digital Infrastructures
23. Digitalization, Political Participation and Transformation in the Global South
24. Cross-Cultural Research Methods in Community-Oriented Approaches in Human Behavior
25. Spatial Methods in Transdisciplinarity for Urban Sustainability
26. Methodological Overlaps, Misunderstandings and Conflicts between Spatial Planning and Social Sciences
Varda, the Cinema
29 November 2022
University of Genoa, Italy
Varda, Photography, Art, Words
21 April 2023
University of Naples Federico II, Italy
Deadline: September 5, 2022
Curated by Luca Malavasi and Anna Masecchia
School of Humanities-University of Genoa, DIRAAS-Department of Italian Studies, Romanities,
Antiquities, Arts and Performing Arts-University of Genoa, Department of Humanities-University of Naples Federico II.
Under the patronage of the Consulta Universitaria del Cinema.
Delphine Bénézet (Queen Mary, University of London) | Genoa
Emma Wilson (University of Cambridge) | Naples
Photographer, director, writer, designer, spectator, thinker… more simply: artist. It is difficult to sum up in a single definition the career of Agnès Varda (1928-2019), a key figure in contemporary culture, a tireless storyteller who knew how to use all forms of audiovisual communication in an always personal and often surprising way, beginning at the end of the 1940s with photography (after studying art history) and then, past the age of seventy, inaugurating a successful career as a visual artist. In between, a lot of cinema, both fiction and documentary, from the 1950s, when she made her feature film debut with La Pointe courte (1955), defined by André Bazin as "a true miracle", until the year of her death, when she presented Varda par Agnès (2019) at the Berlin Film Festival, a personal journey in her own adventure as a filmmaker, the ideal closure of an autobiographical journey that occupied the last part of her career.
The “nouvelle vague” success of Cléo from 5 to 7 (1961) is only the first stage of a six-decade-long journey, during which Varda has known very different seasons, marked by important technological, cultural and linguistic changes, always intuiting the most fruitful way to cross them and to continue and, at the same time, renew her own artistic path. And, above all, without ever losing that astonishment for life, reality, places and people that constantly marks her production.
The two conference days ideally take their cue from the book Pianeta Varda (edited by Luca Malavasi and Anna Masecchia, Edizioni ETS, 2022), the first attempt to take stock – without any pretense of “caging” Varda in a series of definitions – of the protean work of an artist still little studied in Italy.
The aim of this conference is to examine Varda’s work in its totality and complexity, directing reflection, on one hand, towards an analysis of her film production, considered in itself and in its relationship with the great aesthetic, technological and cultural junctures of the 20th century, with which she often dialogued in a crucial way (during the Genoese day); on the other hand, during the Neapolitan day, the reflection will be more oriented towards visual production (artistic and photographic, in the first place) but also literary (think, for example, of the central role of the words in her work) and television (for example, Agnès de ci de là Varda). A distinction, the one suggested by the two days, of perspective, in the full awareness that the quality of Varda’s work lies above all in its compactness and richness of dialogues and interweavings – often surprising – between different forms, genres and media.
Deadlines and Information
We invite abstract submissions for 20-minute papers. Abstracts should indicate clearly the focus (cinema, visual art, photography etc.) and should be between 1000 and 1500 characters long and accompanied by a short CV.
The deadline for submission of abstracts is 5th September 2022. Acceptance will be notified by 19th September 2022. The conference languages are Italian and English.
Abstracts should be sent to: email@example.com.
The proceedings of the conference will be published in 2023.
November 3-4, 2022
Lusofona University (Portugal)
Deadline: September 2, 2022
We invite submission of high quality papers for FL_Fashion Sustainability - International Conference focusing on relevant, original and previously unpublished research. Submitted papers must fit one of the 5 main thematic areas of the Conference.
All approved papers will be published in an electronic book of proceedings (eBook) with ISBN, provided they are received by the appropriate deadline and defined formatting standards.
- Proceedings book - eBook with ISBN
- Palgrave Book - Springer nature
- IJFMA Journal - Special issue - Scopus
FL_Fashion Sustainability - International Conference, is an International Conference that focuses on the discussion of Sustainability in Fashion, Design and Media. It proposes to be a space of union between Industry, Business and Academia around a common theme, however, with several very distinct approaches and with a very diverse exchange of experiences and knowledge.
Thus, we are looking for a Conference format that allows this exchange in moments of presentation of papers, in the presentation of projects in exhibition format, or other, leading to the richness of sharing.
The Conference is based on 5 main thematic areas: Fashion Sustainability; Fashion Trends Communication; Fashion and Audiovisual for Sustainability; Fashion Tradition and Identity; Education for Fashion Sustainability.
The official languages of the Congress are Portuguese and English. The oral presentation will be made in Portuguese or in English. The material supporting the presentation (slideshow) should be bilingual Portuguese/English. Papers submitted in Portuguese should be supplemented, in the final review process, with an English version. Papers submitted in English do not need to be submitted in another version.
More info: firstname.lastname@example.org
Conference website: https://flconf.ulusofona.pt/
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