ECREA WEEKLY digest ARTICLES

September 8, 2022

I am pleased to invite you to the next in the series of IPRA Thought Leadership webinars. The webinar Climate Change: how PR can save the world will be moderated by IPRA Secretary General Philip Sheppard in conversation with members of the IPRA Climate Change Chapter on Thursday 8 September 2022 at 12.00 GMT/UCT (unadjusted).

What is the webinar content?

The world needs action in the face of climate change. Which role does our profession play here? What are our possibilities and best practice examples? In this edition of the IPRA Thought Leadership webinar series, Daniel Silberhorn, Sophia Kudjordji and Svetlana Stavreva – all members of the IPRA Climate Change Chapter – discuss how communications can make a positive impact, thereby playing a responsible part in working towards achieving the UN’s sustainable development goal 13, Climate Action.

How to join

Register here at Airmeet. (The time shown should adjust to your device’s time zone.)

A reminder will be sent 1 hour before the event.

Background to IPRA

IPRA, the International Public Relations Association, was established in 1955, and is the leading global network for PR professionals in their personal capacity. IPRA aims to advance trusted communication and the ethical practice of public relations. We do this through networking, our code of conduct and intellectual leadership of the profession. IPRA is the organiser of public relations' annual global competition, the Golden World Awards for Excellence (GWA). IPRA's services enable PR professionals to collaborate and be recognised. Members create content via our Thought Leadership essays, social media and our consultative status with the United Nations. GWA winners demonstrate PR excellence. IPRA welcomes all those who share our aims and who wish to be part of the IPRA worldwide fellowship. For more see www.ipra.org

Background to the IPRA Climate Change Chapter

The Chapter of like-minded IPRA members pursues the following four objectives:

• To further knowledge and expertise among IPRA members, enabling them to play a valuable part in furthering communications aspects of climate change in line with UN sustainable development goal 13.
• To facilitate dialogue and best-practice exchange between IPRA members on communications aspects of climate change.
• To create communication materials for IPRA members and non-members on communications aspects of climate change.
• To promote entries to the Golden World Awards Climate Change category.

Contact

International Public Relations Association Secretariat

United Kingdom

secgen@ipra.org

Telephone +44 1634 818308

Kristiania University College, Oslo Norway

Kristiania University College is advertising several fully funded PhD positions in Communication and Leadership. Applications are due by 15 September. For full details and application information go to: https://www.kristiania.no/en/research/phd/

Positions include a good stipend plus full tuition remission. We have positions available on projects including: applied information technology, communication and leadership (specifically Scandinavian political communication during the pandemic), sustainability-oriented innovation, digital communication and social media engagement, disability representation in adventure tourism, and risk communication and community engagement.

Deadline: November 25, 2022

Dear professor;

A book, edited by me, named “The Competence of Communication in the Digital World: Persuasion and Perception” is going to be published. The book with its multi-directional concept carries out an embedded structure of the studies applied in the fields of communication. Changing and developing technologies, forms of lives, comprehension of consumption, succession forms of media and new media, ideological attitude and socio economic status all together influence the persuasion of individuals and masses. Particularly recently what lays in the center of agenda turns around convincing masses whether to get the vaccine applied or not, and creating a kind of perception among masses. That is to say, controlling persuasion and perception is included in every aspect of the agenda.

All the disciplines of communication unit (Public Relations, advertisement, political communication, new media, brand administration, credibility etc.) are based on persuasion of the target mass. Whatever communication discipline it is included, controlling persuasion and perception makes up a target goal. Shortly, controlling persuasion and perception is to alter and convert individuals and masses by convincing them for the desired thoughts, attitudes or opinions. In the process, the alteration occurs first in the thoughts, then opinions and lastly in the practice. Controlling persuasion and perception is put into usage not only in politics but in almost every other field as well. Commercials, public relation processes, social media projects, digital atmosphere, films, series and news all create effect on masses, and thus change thoughts, opinions, attitudes and forms of living. This change and transformation might be for the benefit of the individual and public, but it might as well be a benefit for the expedience, politics or financially strong groups.

It can be said that perception control and propaganda are ally concepts inasmuch as propaganda means “planting, sprouting”, which means it is similar to planting, watering and greening a thought, a belief, an opinion or attitude into masses like a seed into the soil. In order to affect society that is masses a thought in the form of a seed needs various communicational and ideological tools to grow and green. These communicational and ideological tools, in general meaning, lay widely around television, newspaper, internet, social media, education foundations, religious foundations, non-governmental organizations. There are a lot of ideological clutches wanting to roll up society for their own profit. Those bodies could be political bodies, an international non-governmental organizations, companies etc. And yet each of us undergoes a number of persuasion tactics, perception operations and propagandas throughout our lives. We, perhaps deliberately or unwittingly, embrace them because perception and persuasion control and propaganda methods take their effect in a long term gradually. This book is going to enjoy the persuasion and perception strategies within the potential of communication with their details, exemplifications, theoretical approaches, field studies and critical perspectives.

Shortly this book will include the genuine academic topics below depending upon the basic concepts of persuasion and perception management with the contribution of valuable American, European and Asian academicians. Thus this book having an international qualification will contribute to fields of communication below with contemporary approaches, recent studies and latest theories:

DIGITAL WORLD WITHIN PERSUAION AND PERCEPTION MANAGEMENT CONTEXT;

• Public Relation Practices
• Political Communication Practices
• Credibility Conspiracy Practices
• Advertisement Practices
• Brand Management Practices
• Credibility Management Practices
• Digital Communication and New Media Practices

The book will be published in December 2022 by a book company (Kopernik Publishing) with the status of Reputed International Press with existing Academic Incentive and Associate Professorship criteria. Each author will be sent three PDF documents of the pressed book and 3 pressed books by cargo. Besides a document with an official signature indicating that the press company is a book company with the status of Reputed International Press will be added in the cargo. The languages of the book will be Turkish and English. Depending on the volume of participation the book might have two volumes. The book will be sent to university libraries in Turkey and World, Political Party Leaders, non- governmental organizations and leading opinion leaders in the field.

DETAILS:

Written language: English/Turkish

Press: Kopernik Publishing https://kopernikpublishing.com/ (Agreed)​

Pages: 20-35

Latest date to send the article: 25th Nowember, 2022

Press date: December, 2022

Text flow of the article: Introduction, Main Text, Method, Conclusion, Resources and Additional Resource Indication. APA 6 method

Page arrangement:

∙A4 vertical with normal side gaps

∙Times New Roman – 11 font size (charts and block citations 9 font size)

∙1 row pitch

∙Text with block paragraphs

∙Paragraph gap first 0 nk then 6 nk

∙Paragraph 0

∙No upper and below footers or page numbers in the chapters

Dear Colleague,

Your participation in this book will be an honor for me. This work with its international status will contribute both to academic and applicable fields. It will enlighten latest contemporary information literature, and with its being international it will b a first.

Cordially,

Dr. Fatma Kamiloğlu

Communicatıon Deparment

Nişantaşı University, İstanbul, Türkiye

Mail: fatma.kamiloglu@nisantasi.edu.tr

Web: www.fatmakamiloglu.com

Link: https://fatmakamiloglu.com/gundem/the-competence-of-communication-in-the-new-world-persuasion-and-perception/

October 7, 2022

Online pre-conference

Dear members and followers of the Gender, Sexuality and Communication section,

We are pleased to present the preliminary programme of our online pre-conference "From unruliness to collective action: challenging norms on gender and sexuality in the media". On Friday October 7 2022, we will have a full day of interesting discussions on different aspects of resistance, collective protest and subversion of norms on gender and sexuality from artistic, activist, academic and media perspectives. There will also be two roundtable discussions on news and diversity (organised by Greta Gober) and feminist open-access journals (organised by ECREA Women's Network, supporting partner of the event). We hope you are as excited as we are to meet each other and exchange ideas about gender, sexuality and media.

Registration is free and open to non-members. Feel free to share the link with others who might be interested: https://www.eventbrite.ca/e/from-unruliness-to-collective-action-tickets-397067358157

Preliminary programme

9-9.15: Opening and welcome (Sara De Vuyst)

9.15-10.30: Collective action and protests (chaired by Greta Gober)

· Adolfo Carratala (University of Valencia): Fighting for equality, fighting disinformation: the strategies of LGBTQ+ organizations against fake news about the community in Spain.

· Katarzyna Ciarcińska and Katarzyna Zawadzka (University of Szczecin): Making dissent heard and visible. Polish women's protests during the pandemics.

· Louiselle Vassallo (University of Malta): #occupyjustice - an all-women pressure group campaigning for truth and justice in the wake of the assassination of investigative journalist Daphne Caruana Galizia in Malta.

10.30-10:45: short break

10.45-12.00: Unruly bodies and sexualities (chaired by Sara De Vuyst)

· Martina Vitackova (Ghent University): “Oud word is nie vir sissies nie“. Representations of older women’s sexuality in popular romance literature in Afrikaans.

· Christina Goestl (artist, cccggg.net, clitoressa.net): Orgasm. On the flux and flow of a term through times and spaces.

· Katrien Jacobs (Chinese University of Hong Kong): Algorithmic Fat Bellies and Menopausal Rage.

12.00-13.00: Lunch break

13.00-14:15: Fixing, diversifying and problematizing representations (chaired by Despina Chronaki)

· Brenda Murphy (University of Malta): FIXED-IT and PANELS NOT MANELS CAMPAIGNS APPLICANT Mediating Women: Balancing the Media - a foundation based in Malta, working to promote gender equality in and through the media.

· Paula Rodríguez-Rivera (University of Vigo) and Pedro Ferreira (University of Porto): Exploring trans* identity trough videogames: A Normal Lost Phone.

· Manuel Bolz (University of Hamburg): Queering 'Rape and Revenge'. Revenge cultures and sexualized violence beyond heteronormative worldmaking.

Taaka Irene (Friends UG): Friends UG In Ekigoma Flash Mob (Efm)

14:15-14:30: short break

14:30-15:30: Panel on news and diversity organized by Greta Gober

15:30-15:45: short break

15:45-17:00: Panel on feminist open access journals organized by the ECREA Women’s Network moderated by Tonny Krijnen

17:00-17.15: closing remarks

For more info/questions, please send an email to genderandcommunication.ecrea@gmail.com

We are looking forward to the event.

Kind regards,

The Organizing Committee

Sara De Vuyst (chair), Despina Chronaki (vice-chair), Greta Gober (vice-chair), Vittoria Bernardini (YECREA representative), Valentyna Shapovalova (communication officer), Elisa Paz Pérez (communication officer), and Aleka Stamatiadi (communication officer)

September 8-9, 2022

Sheffield (UK)/Online

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

https://www.tandfonline.com/doi/full/10.1080/2040350X.2022.2097612

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 concursos.cecc.fch@ucp.pt.

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.

APPLICATION REQUIREMENTS

The following documents, without exception, must be included in the application, under penalty of exclusion from the call for applications:

• the details stated on the identity card, citizen’s card, or passport;
• the candidate’s CV;
• certificates for each academic qualification held, which must specify, without fail, the final classification and, where possible, the marks received for each subject studied. Alternatively, should candidates be unable to access their undergraduate or Master’s degree certificate by the application deadline, a declaration upon honour that the candidate completed their undergraduate or Master’s degree studies prior to the application deadline;
• letter of motivation;
• letters of recommendation (optional);
• preliminary PhD project proposal in line with one of the following CECC research groups: a) Media Narratives and Cultural Memory or b) Digital Literacy and Cultural Change (max. 2000 words).

DEADLINE FOR APPLICATION

2 September 2022

FURTHER INFORMATION

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:

• Research Fellow in Cultural Heritage - https://www.jobs.ac.uk/job/CRV360/research-fellow-in-cultural-heritage
• Assistant Professor in Cinematography - https://www.timeshighereducation.com/unijobs/listing/303660/assistant-professor-in-cinematography/
• Associate Professor/Professor in Creative Technologies- https://www.timeshighereducation.com/unijobs/listing/303663/associate-professor-professor-in-creative-technologies/
• Associate Professor in Media Production and Product Development - https://www.timeshighereducation.com/unijobs/listing/303662/associate-professor-in-media-production-and-project-development/
• Professor of Creative Industries and Digital Media - https://www.timeshighereducation.com/unijobs/listing/301482/professor-of-creative-industries-and-digital-media/

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:

https://www.nottingham.edu.cn/en/humanities-and-social-sciences/international-communications/home.aspx

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:

• Deadline for submission of complete articles: 15/1/2023
• Peer review: 15/1/2023-28/2/2023
• Final copy deadline: 30/4/2023
• Publication: June 2023

REFERENCES

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.

https://raco.cat/index.php/Comparativecinema/announcement/view/170

Contact: comparativecinema@upf.edu

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