P R O @ R T E C L I P S
Boletim Eletronico do Projeto ProArte Brasil
Ano 8 N. 79 10/2004
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
PARTE 4: OPORTUNIDADES
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
@ Canal Brasil esta procurando documentarios com tematicas regionais
para a criacao de uma nova faixa no proximo ano
==========================================
prazo/plazo/deadline: n/c

Pessoal,

O Canal Brasil esta procurando documentarios com tematicas regionais para a
criacao de uma nova faixa no proximo ano. Procuramos filmes captados em
qualquer formato e que tenham ate 55' de duracao. Quem se interessar favor
entrar em contato com Tiago Vilar (21 2503-7793 tvilar@...).

Abracos,

Andre Saddy
Mkt e Projetos
Canal Brasil

@ Call for applications. 7th IFFR Trainee Project for Young Film
Critics. 34th International Film Festival Rotterdam
==========================================
prazo/plazo/deadline: 12 NOV 2004

26 January - 6 February 2005

The seventh IFFR Trainee Project for Young Film Critics of the
International Film Festival Rotterdam offers three young, motivated
and talented film critics a chance to get acquainted with the
festival and the cinema of the world. The project was created in 1998
motivated by the fact that young and upcoming film critics get less
opportunities to explore this range of cinema and the festivals, like
the International Film Festival Rotterdam, that present it.

In the past six editions we have welcomed trainees from Argentina,
Australia, Austria, Brazil, Bulgaria, Canada, Chile, China, France,
Hungary, India, Italy, Lithuania, Sweden and USA.


What to expect:
We offer three young film critics a press accreditation, budget hotel
accommodations during their stay at the festival and (part of) their
airfare according to their country of origin. The trainees are
allowed to use all the press facilities and will have time to explore
all aspects of the
festival, the film and exhibitions programme as well as the debates
and talk shows. The trainees will operate among hundreds of
international critics, and are able to meet filmmakers and industry
representatives.
We want the selected film critics to really participate in the festival:
attend the FIPRESCI Jury-meetings, contribute to the IFFR Daily Tiger
and/or report their experiences on the IFFR website. In addition,
they should work on articles to be published in their home country.
The three trainees will form a small team, supported by the IFFR
Press Office and Daily Tiger Editorial Staff.

Criteria for application:
Age under 30 years / Fluent command of the English language (written,
spoken) / Demonstrable experience in film criticism (printed media,
radio/television, online) / Not yet established enough to profit from
facilities as attending international festivals / Have agreement(s)
with
printed and/or online media to publish on the International Film
Festival Rotterdam 2005.

Your application should include all of the following documents and information:

- a motivation letter
- your resume (CV) including your contact details and date of birth
- up to three signed proofs of recent work published (hard copy or
photocopy) on film or film festivals (including English translations)
- Information about your affiliation (title, name of chief editor, address,
phone, fax, email account, periodicity, circulation, web address,
estimated page views per month)
- a recommendation letter (on company letterhead) of your
affiliation's editor assigning you to cover IFFR 2005 and confirming
that your IFFR 2005 report will be published.

Deadline for applications: Friday November 12, 2004, notification
before Dec 10, 2004

You can find more detailed information on the festival at:
www.filmfestivalrotterdam.com.

For further information, please contact IFFR press officer Bert-Jan Zoet,
via phone +31 10 8909090 or e-mail press@....

Regular mail address for applications: IFFR, Attn. Press Department, PO Box
21696, 3001 AR Rotterdam, The Netherlands.


@ Programa para a Valorizacao de Iniciativas Culturais ( SAO PAULO, BRASIL)
==========================================
prazo/plazo/deadline: 16 NOV 2004

Quem busca financiamento para desenvolver projetos culturais nao pode
perder as inscricoes do programa que prioriza propostas de jovens de
baixa renda de 18 de outubro a 16 de novembro

No ano passado, o VAI Programa para a Valorizacao de Iniciativas
Culturais concedeu incentivos de ate R$ 15 mil para projetos ligados
a cultura, com prioridade para aqueles apresentados por jovens de
baixa renda e de regioes com escassez de recursos e equipamentos.
Sessenta e seis grupos receberam o beneficio.

A boa noticia e que, depois desse sucesso, o VAI esta de volta.
Aceitam-se inscricoes de 18 de outubro a 16 de novembro. Podem se
inscrever diversos tipos de projetos: pecas sem atores famosos,
discos independentes, livros, fanzines, festivais, bibliotecas
comunitarias, oficinas, conjuntos de musica, danca, radios
comunitaria e outros, desde que procurem contribuir para o
desenvolvimento local.

Os grupos selecionados se comprometem com suas comunidades: uma das
regras do VAI e que 10% dos ingressos de espetaculos, ou de produtos
produzidos sejam distribuidos de graca para o publico da regiao do
ganhador isso quando haja cobranca de ingressos ou venda de
produtos, porque a maioria dos projetos selecionados na primeira
rodada do VAI ja propunham a gratuidade.

O VAI foi proposto por Nabil durante o mandato e, apos ser aprovado
na Camara e sancionado pela prefeita, e de responsabilidade da
Secretaria Municipal de Cultura. Para ver a lei que institui o
programa, acesse nosso <http://www.nabilbonduki.com.br/>site. As
inscricoes poderao ser feitas em diversos pontos da cidade, de
segunda a sexta-feira, das 14h as 18h. Confira os locais e se informe
sobre o que e necessario para se inscrever:

Secretaria Municipal de Cultura
Avenida Sao Joao, 473, 9o andar, Centro
3334-0001, ramal 1909

Zona Norte
Teatro Alfredo Mesquita
Avenida Santos Dumont, 1770, Santana
6221-3657

Zona Leste
Teatro Martins Penna
Largo do Rosario, 20, Penha
293-6630

Teatro Flavio Imperio
Rua Alves Pedroso, 600, Engenheiro Goulart
6621-2719

Teatro Arthur Azevedo
Avenida Paes de Barros, 955, Mooca
6605-8007

Zona Oeste
Teatro Cacilda Becker
Rua Tito, 295, Lapa
3864-4513

Zona Sul
Teatro Paulo Eiro
Rua Adolfo Pinheiro, 765, Santo Amaro
5546-0449

Teatro Joao Caetano
Rua Borges Lagoa, 650, Vila Mariana
5573-3774

@Call for Papers: Free, Libre and Open Source Software Communities. A
special issue of Knowledge, Technology & Policy

Guest Editors:

Ruben van Wendel de Joode, from the Delft University of Technology;

Yuwei Lin from the University of York, and Shay David from Cornell University.

Free, libre and open source software (FLOSS) has gained dramatic
attention from varying economic and social vectors. Its adoption by
both private and public organizations is accelerating as a preferred
software
development environment. Also, online and hard-copy scholarly
communications about FLOSS are being produced at a pace to match.
Yet, despite the growing interest, many topics regarding FLOSS
software and
the communities in which the software is created remain unexplored
and ill-understood. Here, we identify three clusters of questions to
be answered:

* Organizational structure and processes within or across FLOSS
communities. How is FLOSS software created in practice? How is
knowledge shared? How are bugs solved? Are there deviations from the
utopia of the
bazaar model? Both qualitative and quantitative data is missing on
this subject.

* Ethics and policy implications. Given that FLOSS is rapidly
adopted, a growing concern will be related to issues like ethics and
policy formation. Should governments adopt or have a FLOSS policy? Who
are the other stake holders? How are the virtues of the 'network
society' changing in response to FLOSS?

* International Perspectives. Even though FLOSS seems to be a
global phenomenon, most of the attentions and resources are focused
in the West. How are software developers who come from other
countries like India, Brazil, etc. getting involved in FLOSS? Will
FLOSS increase or decrease the digital divide?


This will be the second special edition on open source
software in Knowledge, Technology & Policy (See Vol XII, Number 3,
1999.) The editors of this edition would like to chart the progress
that FLOSS research has made since. We would like to invite authors
to write scientific state-of-art papers on either of the above topics
but we will would also consider accepting papers on other topics but
which are in the spirit of this purview.


The deadline for submission is December 1st. Prospective
authors are should send a 150 word abstract to the editors before
submitting their papers. Please send submissions to all three editors
simultaneously and mind the submissions directions
(http://www.moted.org/kt%26p/submit.htm).


For more information, please see http://www.moted.org/kt%26p/

@ Nebula is currently inviting papers for its third and special
Dec2004/Jan2005 issue.
==========================================
prazo/plazo/deadline: n./c

Nebula aims to represent as many diverse and various intellectual
systems of thought as possible in each issue. We encourage articles
that represent sound research and logical argumentation in any field
of academic study,
provided that the article is written in non-specialist language and
is therefore accessible to an inter- disciplinary readership.
Referencing style is open, however both consistency and thoroughness
are required.

In addition, Nebula aims to provide a platform for intellectual
writing and thought that is not always confined to the generic
conventions of the academic essay. Therefore we invite intellectual
writing that is neither
strictly a reflection of research findings or simply based on
opinion. We encourage active reflection on and analysis of current
military conflicts worldwide as well as sound scrutiny of various
political climates/contexts/
issues. We encourage writers to look beyond partisanship. Nebula also
accepts writing that is not politically motivated, but which may be
attuned to various other cultural, social or artistic concerns
(including
television, film, media or music studies).

We also welcome literary and art pieces that can be viewed on the
world wide web such as cartoons, short dramatic pieces, poetry,
painting, digital images and fiction. With NEBULA 1.2 now ONLINE,
this scholarly and literary project is beginning to take shape as a
unique international academic publication. You can view our latest
issue, as well as learn more about the
journal format @ http://www.nobleworld.biz . Please email your
submissions, enquiries or feedback to nebula@....


@ MERCADO DE Festival de Brasilia
==========================================
prazo/plazo/deadline: 8 NOV 2004

A Brazilian Cinema Promotion e o Grupo Novo de Cinema e TV, em
conjunto com a Apex e o Festival de Brasilia do Cinema Brasileiro,
promoverao de 25 a 28 de novembro de 2004 o II Mercado do Filme
Brasileiro. Segundo a organizacao, o evento contara com a presenca de
cerca de 30 distribuidores internacionais.

Serao aceitas as inscricoes em todas as categorias (longa, curta ou
media-metragens) e generos (ficcao, documentario e animacao) de
filmes finalizados em 35mm, 16mm, beta SP e suportes digitais, desde
tenham sido produzidos a partir de 2002. A inscricao e gratuita e o
prazo termina em 8 de novembro de 2004.

O regulamento completo e a ficha de inscricao estao disponiveis no
site <http://www.braziliancinema.com>


@ CALL FOR PAPERS: The online journal Invisible Culture
==========================================
prazo/plazo/deadline: 1DEZ 2004

<http://www.rochester.edu/in_visible_culture/ivchome.html> is seeking
papers for an upcoming issue on the theme of nature loving.

The issue will emphasize the relations between nature and love. Awash
in a culture of Disney animation, weather porn, interspecies family
albums and eco-tourism, we ask: How is nature produced and consumed
with love? How is nature used to produce and consume love? What does
it mean to be intimate with nature? Under what conditions and by what
means it is possible, desirable or obligatory to get close to natural
worlds? And what happens when we do?

Following Raymond Williams premise that the idea of nature contains
an extraordinary amount of human history, the issue will consider
nature s multiple meanings and uses in modernity. Nature, here, is
understood as a collection of artifacts jointly constructed through
cultural values, organic life and visual practices.

Topics for papers might include: Nature, sexuality and gender; Nature
and nationalism; Nature photography, film and television; Nature
display and aesthetics; Nature and discipline; Wild, urban and
domestic natures; Representation in the life sciences;
Environmentalisms; Anthropomorphisms; Particular species and their
representation.

The deadline for submissions is December 1, 2004. Papers should be
2500 to 6000 words in length. Please email inquiries to Peter Hobbs
(phlirt@...) or Lisa Uddin (ludn@...).
Submissions can be made electronically in Microsoft Word as an
attachment to either address, or as hard copies to: Invisible
Culture, Attn: Peter Hobbs and Lisa Uddin, 424 Morey Hall, University
of Rochester, Rochester NY, 14627.

@ Temporada de Projetos 2005-2006: PAco das Artes (SAO PAULO, BRASIL)
==========================================
prazo/plazo/deadline: N/C

O Paco das Artes abre inscricoes para a Temporada de Projetos 2005-2006.

Iniciado em 1996 este programa abre espaco a producao de artistas
emergentes assim como para jovens curadores e criticos de todo o
Brasil. O atual formato preve a abertura de inscricoes a cada dois
anos, prazo de realizacao das exposicoes dos projetos selecionados.
Nesta 5o edicao esta prevista a realizacao de 20 (vinte) exposicoes
individuais ou coletivas, selecionadas dentre os projetos inscritos.

Os interessados em participar poderao acessar o site
www.pacodasartes.sp.gov.br onde esta disponivel o edital e a ficha de
inscricao e os locais de divulgacao ou ligar para 11-3814-4832.


PACO DAS ARTES
Av. da Universidade, 01- Cidade Universitaria
Telefone: (11) 3814-4832 / fax: (11) 3815-7804
www.pacodasartes.sp.gov.br
pacodasartes@...
De terca a sexta, das 11h30 as 19h00
Sabado e domingo, das 12h30 as 17h30
Entrada franca. Venda de adesivos R$ 1,00.

Agendamento de visitas monitoradas
Horarios: terca a sexta, das 9h as 18h30
Telefone: (11) 3814-4832 r. 15 e 21 / Fax: (11) 3815-7904
educativo@...


@ Call for Artworks for Cultural Politics
==========================================
prazo/plazo/deadline: N/C

YOU ARE INVITED TO CONTRIBUTE ARTWORK FOR:

Cultural Politics

http://www.bergpublishers.com/uk/culture/culture_about.htm

CALL FOR ARTWORKS:

We are looking for relevant exciting and provocative artwork
contributions for Cultural Politics, a new interdisciplinary peer
reviewed journal published by Berg and co-edited by John Armitage
(Northumbria, UK), Ryan
Bishop (National University of Singapore) and Douglas Kellner (UCLA).
Cultural Politics achieves its aims through the efforts of an
editorial board and an editorial advisory board composed of globally
recognized and active scholars in cultural and political studies. The
journal publishes
cutting-edge work exploring new meanings of the cultural and the
political from the mainstream to the marginal and presents innovative
conceptions of cultural politics whilst contributing to contemporary
and future debates.
The traditionally limited definition of cultural politics,
understood as a sub-discipline of cultural studies, is being
questioned from numerous directions. The journal is committed to
opening a global space for discussion of alternatives to a limited
comprehension of cultural politics.
The shift from cultural studies to cultural politics is intentional
and significant. Moving to the emergent discipline of cultural
politics denotes a considerable mistrust of every suggestion that
cultural and political
theories and interpretations can any longer be wholly incorporated
within cultural studies. Alternatively, the journal aims to support
the examination and discussion of interdisciplinary understandings,
developments,
potentialities and alternatives that may comprise the contemporary
nature and future of cultural politics. Cultural Politics embraces
the study of transnational cultural identities and processes in
addition to the analysis of political problems and the examination of
the character and agency of cultural and political explanations.
To facilitate this range of global possibilities, the
journal is open to transnational fields of knowledge production.
These include cultural studies (performance, lesbian and gay studies,
race studies, women's studies, postcolonialism, communications and
media studies), the humanities (literature, history, philosophy,
psychoanalysis, art, museum studies, technology, education and
architecture) and the social sciences (political economy, geography,
politics, anthropology and sociology). Cultural Politics considers
contributions from any related disciplinary setting, but particularly
encourages interdisciplinary global research conducted by
contributors in both the advanced and developing countries. The role
of Cultural Politics is to play a key part in the construction and
development of the growing field of critical cultural politics, in
the quest for newly globalized forms of cultural and political
production, education, exchange, debate and action.
Cultural Politics is not limited to publishing dialogues
with and critiques of extant cultural studies, even if such dialogues
and critiques are an important element of the journal. Cultural
Politics engages with
global debates on the cultural nature and practices of transnational
political change. By including OEField Reports', the journal has
instituted a link between global cultural and political theory and
practice, between
interpretation and action, both within and beyond the academy.
Cultural Politics publishes high-quality work, in the form of
academic articles, illustrations and artworks, which is relevant and
comprehensible to the global public sphere, including those cultural
intellectuals and political
activists who practise a cultural politics exclusively in
non-academic fields in addition to university lecturers, researchers
and students.

AIMS & SCOPE:
Cultural Politics is an international, refereed journal that explores
the global character and effects of contemporary culture and
politics. Cultural Politics explores precisely what is cultural about
politics and what is political about culture. Publishing across the
Arts, Humanities and Social Sciences, the journal welcomes articles
from different political positions, cultural approaches and
geographical locations.
Cultural Politics publishes work that analyses how cultural
identities, agencies and actors, political issues and conflicts, and
global media are linked, characterized, examined and resolved. In so
doing, the journal supports the innovative study of established,
embryonic, marginalised or unexplored regions of cultural politics.
Cultural Politics, while embodying the interdisciplinary
coverage and discursive critical spirit of contemporary cultural
studies, emphasizes how cultural theories and practices intersect
with and elucidate analyses of political power. The journal invites
articles on: representation and visual culture; modernism and
postmodernism; media, film and communications;
popular and elite art forms; the politics of production and
consumption; language; ethics and religion; desire and
psychoanalysis; art and aesthetics; the culture industry;
technologies; academics and the academy; cities, architecture and the
spatial; global capitalism; Marxism; value and ideology; the
military, weaponry and war; power, authority and institutions; global
governance and democracy; political parties and social movements;
human rights; community and cosmopolitanism; transnational activism
and change; the global public sphere; the body; identity and
performance; heterosexual, transsexual, lesbian and gay sexualities;
race, blackness, whiteness and ethnicity; the social inequalities of
the global and the local; patriarchy, feminism and gender studies;
postcolonialism; and
political activism.

ARTWORK FOR CULTURAL POLITICS
Cultural Politics invites artwork contributions for the page
comprising a broad range of subjects, methodological approaches, and
historical and social events. Such contributions may take the form of
visual essays,
interventions and case studies.

SUBMISSIONS
Should you have a contribution you would like Cultural Politics to
consider, please send the relevant material to the arts editor in the
first instance:

Louise K Wilson
21 Spinkfield Road
Huddersfield
West Yorkshire
HD2 2AY
lkwilson@...
UK

NOTES FOR ARTWORK CONTRIBUTORS
As a rough guideline to the layout of a contribution we would like to
have a few images (between three and five) and a contextualising
text. The textual part can be either more academic or personal,
whichever best reveals the
specifics of the work. The images count toward the overall word
count for each issue, but it is possible to have a heavier image
presence and less textual content, if that is desired. For overall
journal presence, we are
thinking of 5-7000 words including images in that word count.

Contributions must include a three-sentence biography of the
artist(s). The Publishers will require a disk as well as a hard copy
of any contributions (please mark clearly on the disk what
word-processing program has been used). Berg accepts most programs
with the exception of Clarisworks.

Figures
All illustrative material (drawings, maps, diagrams, and photographs)
should be designated "Figures." They must be submitted in a form
suitable for publication without redrawing. Drawings should be
carefully done with black
ink on either hard, white, smooth-surfaced board or good quality
tracing paper. Ordinarily, computer- generated drawings are not of
publishable quality. The publishers encourage black and white
photographs. Whenever
possible, such photographs should be 8 x 10 to inches. The publishers
encourage artwork to be submitted as scanned files (300 dpi or above)
on disk or via email. All figures should be clearly numbered on the
back and
numbered consecutively. All captions should be typed double-spaced on
a separate page. Marginal notations on manuscripts should indicate
approximately where figures are to appear. While the editors and
publishers
will use ordinary care in protecting all figures submitted, they
cannot assume responsibility for their loss or damage. Authors are
discouraged from submitting rare or non-replaceable materials. It is
the author's responsibility to secure written copyright clearance on
all photographs and drawings that are not in the public domain.
Copyright should be obtained for worldwide rights and on-line
publishing.


@ Call for Papers: THE VELVET LIGHT TRAP
A CRITICAL JOURNAL OF FILM AND TELEVISION STUDIES Issue #57: Authorship
==========================================
prazo/plazo/deadline: 1 FEV 2005

Almost since the earliest constructions of the moving image, notions
of authorship have been developed and alternately contested. While
such aspects as authors' roles, creative circumstances, and perceived
autonomy
change across cultures and across time, the idea of "authorship" has
persistedeven in discourse that has proclaimed the very death of the
author. Perhaps owing its greatest historical debt to auteur theory,
authorship has, in cycles, both embraced this idea and attempted to
disengage itself from that ideal. To date, authorship remains a
complex aspect of media theory, possibly because no one theory of
authorship can account for the range of authorship experiences and
diversity of authored
products thriving in contemporary societies.

Issue #57 of the Velvet Light Trap will explore authorship as it
relates to and is a product of historical and contemporary discourse.
We are particularly interested in articles that highlight the
changing discourse on authorship in media theory. The editors are
also seeking submissions that address the historical evolution of
product branding and promotion through authorship, in particular as
it affects media distribution and consumption patterns. Submissions
from a variety of analytical approaches are strongly encouraged,
including reception, political economy, textual analysis, discourse
theory, historiography, feminism, queer theory, critical race theory,
psychoanalysis and any other methods in cultural studies.

Possible topics for this issue include, but are not limited to:

*Challenges to and/or reaffirmation of auteur theory
*Notions of authorship, mastery, and the canon
*Cooperative authorship practices and other complications of "the
master" filmmaker
*Ideology and authorship
*The resurgence of the documentary as privileged formincluding
increased visibility of the documentarian as author, public figure,
and/or political figure
*Reality TV's treatment of authorship in its productions
*Product branding via authorship, including trends towards the
Producer/Author and Actor/Author
*Authorship and representation of national identities, interests,
dominant and alternative voices
*Agenda-setting and authorship
*Historical perspectives of authorship
*Popular valorizations of authors
*The valorization or devalorization of authorship in industry,
including persisting "old guard" notions of authorship
*De- or re-mythologizing the author through metatexts, e.g. DVD
features, A&E Biography episodes, IFC programs, Behind the Scenes,
Extra, etc., including the entertainment press or "gossip industries"
*Alternative notions of authorship
*Alternative outlets for authored materials
*Censorship
*Plagiarism, Intertextuality, Homage, Notions of "originality"
*Methodologies and authorship, e.g. reception studies, audiences, and/or
cultural studies approaches to fandom in relation to authorship
*Pedagogy and theories of authorship
*Fostering authorship in classroom settings, e.g. teaching
screenwriting through editing and music composition, including
practices that result in circumscribing authorship

To be considered for publication, papers should include a 100-200
word abstract, be between 15 and 25 pages, double-spaced, in MLA
style, with the author's name and contact information included only
on the cover page. Authors are responsible for acquiring related
visual images and the associated copyrights. Queries regarding
potential submissions also are welcome. For more information or to
submit a query, please contact Jean Lauer at jalauer@....
All submissions are due February 1, 2005. Submit five copies of the
paper to:

The Velvet Light Trap
C/o The Department of Radio-Television-Film
University of Texas at Austin
1 University Station, A0800
Austin, TX, 78712-0108

The Velvet Light Trap is an academic, refereed journal of film and
television studies published semi-annually by University of Texas
Press. Issues are coordinated alternately by graduate students at
the University of Texas-Austin and the University of
Wisconsin-Madison. After a prescreening, articles are anonymously
refereed by specialist readers of the journal's Editorial Advisory
Board, which includes such notable scholars as Charles Acland,
Alexander Doty, David William Foster, Bambi
Haggins, Heather Hendershot, Charlie Kiel, Michele Malach, Dan
Marcus, Nina Martin, Walter Metz, Jason Mittle, James Morrison, Hamid
Naficy, Karla Oeler, Lisa Parks, and Malcolm Turvey.


@ CALL FOR PROPOSALS: Mysterious Bodies: Investigating the Corporeal
in Television Drama
==========================================
prazo/plazo/deadline: 1 DEZ 2004

Edited by Rayna Denison and Mark Jancovich

Horror has often been seen as incompatible with television given the
supposed conflict between the dangerous, fantastic and trangressive
nature of the genre and the safe, routine and domestic features of
television
programming. However, recently horror has become a major feature of
television programming and there has been an expansion of programs
dealing with graphic representations of the body. Increasingly
American
program makers, for example, have pushed the limits of acceptability
in terms of violent and sexual material. As a result, the collection
will look at a range of different types of television material in
which the body becomes the focus of graphic visual scrutiny as an
object of investigation and administration. The collection will
therefore look at a range of program from horror and science fiction
through medical dramas and those featuring forensic detection, to
program dealing with
sex and/or the sex industry. However, these concerns should not be
simply seen as contemporary developments and indeed horror
programming has been
a feature of television since the early days, with key shows such as
The Quatermas Experiment, The Outer Limits, Doomwatch, Dr Who, etc.
As a result, the collection will seek to explore the reasons for
contemporary developments while also investigating the historical
processes that prefigure it, and its various institutional and
cultural contexts.


Topics covered might include:

* An analysis of the institutional conditions which relate to these
changing representations of the body, particularly the impact of
cable and satellite networks and regimes of censorship.

* Generic studies of the body on television, such as the examination
of the body in horror, science fiction, medical and crime dramas, etc.

* Identity and the body. Obviously the mysterious bodies raise issues
about sex, gender, sexual orientation and race both in relation to
the subject and object of investigation, but they may also provoke
questions about our relationship to and understanding of bodies.

* The problematic body of the hero. In many dramas, the mysterious
body is not simply other but often that of the main protagonist. Many
heroes are engaged in quest to make sense of their bodies and the
destiny that it determines for them and this can be seen in a range
of shows, perhaps most noticeably in Buffy and Smallville but also in
dramas such as Nip/Tuck.

* Consuming the televisual body: fans, critics and other audiences.
While institutional and textual analysis has much to tell us about
these bodies, their representation also provokes powerful responses.
While many are the
focus of intensive fan cultures, which merit detailed investigation,
they have also been the object of intense criticism and condemnation.
What are the politics of such objections.

Shows discussed might include: Quatermas; Alfred Hitchcock Presents;
Outer Limits; Twilight Zone; Dr Who; Star Trek; Mission: Impossible;
Quincy; Dr Kildare; St Elsewhere; Twin Peaks; The X-Files; CSI;
Without a Trace; Coldcase; Silent Witness; Waking the Dead; ER; Law
and Order; Buffy the Vampire Slayer; Sex and the City; Smallville;
Nip/Tuck; Star Gate; Six Feet Under; Tru Calling

Proposals or finished articles by 1 December 2004
Acceptance by 1 February 2005
Finished articles by 1 July 2005
Requests for revisions by 1 September 2005
Revised articles due by 1 December 2005
Submission of final manuscript to publisher 1 April 2006

Please send your proposal or article to BOTH Editors

Rayna Denison
Media and Film Studies
School of Humanities
University of Sussex
Falmer Campus
Brighton BN1 9RH
Tel: 01273 876587
Email: r.denison@...

And

Mark Jancovich
2.45 Arts Building
Film and Television Studies
University of East Anglia,
Norwich, NR4 7TJ,
United Kingdom.
Tel: 01603 592787
Email: m.jancovich@...

@ LEA Gallery Special: Global Crossings (GX) Online Exhibition
==========================================
prazo/plazo/deadline: 15 NOV 2004

http://mitpress2.mit.edu/e-journals/LEA/LEA2004/authors.htm#gx
Guest Curators: Dennis Summers and Choy Kok Kee (gxgallery@...)

The Leonardo Electronic Almanac Gallery
(http://mitpress2.mit.edu/e-journals/LEA/LEA2004/gallery.htm) is
inviting submissions in conjunction with the Leonardo Global
Crossings Initiative. The Gallery is looking to make visible the work
of international artists, professionals and scholars who live and
work in a wide variety of situations where access to established
venues for exhibition, display and publication is limited. Difficulty
of access may be attributed to cultural, geographic, ethnic,
institutional or disciplinary diversity, or issues related to the
North/South divide, age, gender, etc. Through this Gallery we seek to
showcase little-known work in the art-science-technology field and to
counter the natural tendency of networks to be inward looking, thus
reinforcing established points of view.

We are looking for work that considers the global earth in some
fashion or another. It can be work that addresses global social,
political economic, spiritual, etc. issues. It can be work that
physically or metaphorically lies in multiple locations on the
planet, it can be work that may have personal relationships to
multiple locations on the planet. Or anything else that loosely falls
along the concept of being "global" in nature.

LEA encourages international artists / academics / researchers /
students to submit their proposal and explore global crossings in an
open context in their creative submissions and work. We particularly
encourage young authors outside North America and Europe to send
proposals.

Submission Procedure
----------------------------

Zip all necessary files into a folder named after the contributing
artist. Send as an attachment to gxgallery@... or if necessary,
provide ftp instructions.

Interested artists should separately send:

- A brief description of proposed text (100 300 words)
- A brief author biography
- Any related URLs
- Contact details

In the subject heading of the email message, please use Name of
Artist/Project Title: LEA Global Crossings Date Submitted . Please
cut and paste all text into body of email (without attachments).

Deadline for submissions: 15 November 2004 *** EXTENDED DEADLINE ***

Please send proposals or queries to:
Dennis Summers/Choy Kok Kee
gxgallery@...

or
Nisar Keshvani
LEA Editor-in-Chief
lea@...

http://lea.mit.edu

@ TRADUTORES VOLUNTARIOS PARA O Forum Social Mundial 2005 (BRASIL)
==========================================
prazo/plazo/deadline: N/C

Comite Organizador Brasileiro do Forum Social Mundial 2005 esta
convidando interessados em integrar o grupo que sera responsavel pela
traducao das atividades do evento a se inscreverem na pagina da
Babels (www.babels.org/registration). A Babels e uma rede
internacional de interpretes e tradutores voltada para os foruns
sociais e sera responsavel pela traducao simultanea. A estimativa e
que se possa reunir 1.200 tradutores e interpretes para assegurar a
comunicacao em ate 15 idiomas. Poderao se inscrever profissionais com
larga experiencia em traducao e interpretacao, bem como aqueles que
tenham experiencia ocasional na funcao ou mesmo os que nao tenham
experiencia profissional, mas dominem pelo menos um outro idioma.
Alem dos idiomas mais usuais, como ingles, espanhol, portugues,
frances, alemao e italiano, outras serao incluidas de acordo com a
disponibilidade de tradutores voluntarios e a demanda do Comite
Organizador, buscando atender e representar linguas de todos os
continentes. Mais informacoes pelo correio eletronico
poa2005@... ou pelo telefone (51) 3227-8622.

@ DOCUCLUB Call For Entries
==========================================
prazo/plazo/deadline: N/C

DOCUCLUB SEEKS SUBMISSIONS. Do you have a documentary rough-cut and
need constructive feedback? Submit to DocuClub's Fall In-the-Works
programs in NYC.

Visit http://www.docuclub.org for info.

@ PROGRAMA DE RESIDENCIAS DE LA AKADEMIE SCHLOSS SOLITUDE 2005-2007, ALEMANIA
==========================================
prazo/plazo/deadline: 31 OUT 2004

La Akademie Schloss Solitude es punto de encuentro de artistas de
varios continentes, y fue fundada en 1990 con el fin de promover el
arte interdisciplinario en el ambito internacional y generar
reflexion teorica, produccion artistica y divulgacion de nuevas
obras. La academia, con sede en Stuttgart, ofrece residencias de
entre 6 y 12 meses a artistas jovenes en las areas de arquitectura,
musica/sonido, artes visuales, video/cine/nuevos medios, artes
escenicas, diseno y literatura. El plazo limite para aplicar es el
domingo 31 de octubre. Para recibir los formularios de aplicacion se
debe enviar una carta a: Akademie Schloss Solitude, Solitude 3, 70197
Stuttgart, o un email a: mail@... o descargarlos del
sitio de Internet: <http://www.akademie-solitude.de/>

@ CONVOCATORIA AL TALENT CAMPUS, DEL FESTIVAL DE BERL N
==========================================
prazo/plazo/deadline: 1 NOV 2004

La tercera edicion del Talent Campus, prestigiosa seccion del
Festival de Berlin volvera a ser un punto de encuentro para jovenes
promesas del cine en todo el mundo. Del 12 al 17 de febrero del
proximo ano se desarrollara, en el marco de la famosa Berlinale, por
tercer ano consecutivo, esta seccion del Talent
Campus, que propicia el encuentro entre productores, directores,
guionistas, editores, camarografos, actores y el resto de
profesionales que intervienen en el proceso de produccion de una
pelicula, y ofrece la posibilidad de que jovenes talentos compartan
esos dias con colegas consagrados.

Los participantes tienen que enviar, antes del 1 de noviembre, un
minuto de su trabajo filmico (aproximadamente) a la siguiente
direccion: International Filmfestspiele Berlin, Berlinale Talent
Campus, Ptsdamer StraBe 5, 10785 Berlin (Germany), e-mail:
info@.... A los participantes extranjeros
seleccionados se les pagara los gastos de manutencion y parte de los
costos de viaje.

Dirigida tambien a jovenes cineastas, se convoca un Concurso de
Cortometrajes sobre Futbol. Los interesados deberan enviar un corto
de una duracion maxima de cinco minutos, en formato Mini-DV o DV-CAM
en donde muestren la pasion del futbol, la gente que lo vive y la
cultura que genera. Esta convocatoria se cierra el 15 de septiembre y
los artistas seleccionados seran invitados, en febrero del 2005, al
mencionado Berlinale Talent Campus y, en verano del 2006, a la Copa
del Mundo de Futbol FIFA que se llevara a cabo en Alemania.

@ CALL FOR PAPERS: SPECIAL ISSUE OF "FILM & HISTORY: AN
INTERDISCIPLINARY JOURNAL OF FILM AND TV STUDIES"
==========================================
prazo/plazo/deadline: 1 MAR 2005

www.filmandhistory.org

Film and Sport

The interdisciplinary journal Film & History seeks submissions for a
special issue focused on discussions of sport in film and television.
The topic will be approached broadly, with submissions sought on
American and international sport featured in both documentaries and
feature films. Sport scholars who have been engaged in filmmaking or
worked with filmmakers are invited to share their insights. In
addition, papers discussing how sport in film may be incorporated
into the classroom are encouraged. Both film and sport offer
insights into culture and history, and in combining these topics this
edition should make for some exciting reading and scholarship.
Film & History has been published since the establishment of the
Historians Film Committee by John E. O Conner and Martin A. Jackson
in 1970. This affiliated committee of the American Historical
Association encourages the use of film sources in teaching and
research through the publication of this journal and related
scholarly activities. Peter
Rollins of Oklahoma State University has edited the journal since 1994.
(All authors must be subscribers at the time of acceptance for
publication if they are not so previous to that time.) More
information on this semi-annual journal and its related activities
can be found at the website, www.filmandhistory.org.
Questions about this special issue may be directed to the Sport on
Film special issue editor Ron Briley (rbriley@...) or to
the General Editor, Peter Rollins, (RollinsPC@...). Deadline for
submissions is March 1, 2005. Please format manuscripts in Chicago
Manual of Style with endnotes or MLA format with Works Cited and
submit to:
Ron Briley
Assistant Headmaster
Sandia Preparatory School
532 Osuna Road, NE
Albuquerque, NM 87113
505-344-1671 (office)
505-266-5376 ((home)
505- 345-2336 (fax)


@ CALL FOR PAPERS: POSTCOLONIAL STUDIES JOURNAL: SPECIAL ISSUE: DIGITAL CULTURE
==========================================
prazo/plazo/deadline: 30 OUT 2004

Postcolonial studies is heavily affected by processes of
globalisation. Among these trends is the spread of networked
computing and digital culture, from email and websites, from Usenet
to massively multiple online games and digital art, from net news
journals to blogs. Digital culture also affects the world labour
market as workers around the globe are recruited into high technology
jobs as diverse as assembly line production of computers, homeworked
programming of software and call centres where workers are taught the
rudiments of foreign (mostly American) cultures to enable telephone
support for products and services. New media, in short, are now
global. This special issue inquires into the consequences of such
phenomena for the postcolonial condition.

Postcolonial Studies,
pcs@...
Final submissions will be due by 30 October 2004


@ CALL FOR PAPERS "A SCREEN OF ONE'S OWN: NEW PERSPECTIVES ON
WOMEN'S TV AUTHORSHIP". SPECTATOR, SPRING 2005
==========================================
prazo/plazo/deadline: 20 NOV 2004


Within the last few years, feminist scholars have begun to re-train
their eyes on the question of the kinds of roles women have been and
continue to be permitted to play in the production of television. In
many respects, this trend in "recuperative" history echoes a similar
project within the arena of feminist film studies and represents a
shift
away from the strict textual concerns of earlier efforts in feminist
television criticism toward a focus on women's varying abilities to
participate in the shaping of television. That is, in addition to
chronicling the kinds or numbers of images of women that were allowed
to circulate on television at various moments, such work endeavors to
explain the qualities of the influence women have historically been
able to exert on TV texts.

As in most areas of feminist scholarship, such inquiries present
difficult practical and epistemological questions. That is, given
the institutional and societal structures that have often put women
at a disadvantage in the realm of production, what sort of knowledge
gets to count as "evidence" of female authorship? Is there any place
in the field for a consideration of the "absence" of evidence?
Moreover, given the critiques of authorship as a concept over the
past few decades, what is at stake in insisting on the existence of
female TV authors at all?
What "new" light might feminist theory be able to shed on past and
present TV texts? And finally, what possibilities do such efforts
offer in terms of advancing the project of feminist TV criticism?

The Spring 2005 issue of Spectator seeks articles, interviews and
reviews that engage with the questions surrounding women's TV
authorship in the following areas:

* The relationship between TV authorship and star status
* "Unconventional" notions of TV authorship
* Female TV directors, writers and producers-past and present
* Local/national/global media
*TV animation
*TV Music
* The intersection between feminist theory and "popular" notions of feminism
* "Alternative" exhibition spaces, such as public access, public
television, the internet, or cable/satellite channels
* Critiques of television authorship
* Traditional "women's genres"
* Female network executives
* Production history
* TV historiography

Manuscripts to be considered for publication should be sent to:

Heather Osborne-Thompson
School of Cinema-Television
Division of Critical Studies
Lucas Building, Room 405
University of Southern California
Los Angeles, CA 90089-2211
Attn: Spectator Submission
hosborne@...

One hard copy of manuscript should be submitted as well as a copy on
disk. Submissions can also be emailed directly. Manuscripts should
include the title of the contribution and the name(s) of authors, as
well as the postal address, email address, and phone numbers for the
author who will work with the editor on any revisions. All pages
should be numbered consecutively. Contributions should be no more
than 5,000 words. They should also include a brief abstract for
publicity and authors should include a brief biography of themselves.
Rejected manuscripts will not be returned.

Articles submitted to the Spectator should not be under consideration
by any other journal.

Book reviews may vary in length from 300 to 1,000 words. Please
include the title of the book, retail price and ISBN at the beginning
of the review.

Forum or Additional Section contributions can include works on new
archival or research facilities or methods as well as other relevant
works related to the field.

Electronic Submissions and Formatting. Authors should send copies of
their work via email as electronic attachments. Please keep backup
files of all disks. Files should be Microsoft Word in PC format.
Endnotes should conform to the Chicago Manual of Style.

Upon acceptance, a format guideline will be forwarded to all
contributors as to image and text requirements.

Current Board for Spectator
Founding Editor: Marsha Kinder
Managing Editor: William Whittington
Issue Editor: Heather Osborne-Thompson

Subscription Information
Spectator is a bi-annual publication. Individual issues cost $10.00.
Institutional rate for US and Canada is $30.00 USD. All others $40.00
USD. Please contact the subscription editor for bulk discounts. To
order a subscription, please send $15.00* for the current volume year
to:

University of Southern California
School of Cinema-Television
Division of Critical Studies
Lucas Building, Room 405
Los Angeles, CA 90089-2211
Attn: Spectator Subscription
Tel: (213) 740-3334
Fax: (213) 740-9471

*If you subscribe now, you will receive one back issue free (based on
availability). For additional back issues, contact subscription
manager and include $12.00 per issue.

@ CFP: QUEER YOUTH CULTURES
==========================================
prazo/plazo/deadline: 1 NOV 2004

Editors

Susan Driver
Contemporary Studies
Wilfrid Laurier University
sdriver@...

Mocha Jean Herrup
Radio-Television-Film
Austin Community College
herrup@...

We are inviting submissions for an interdisciplinary collection on
queer youth cultures. From the everyday worlds of queer youth
self-representation and community involvement to spectacular displays
of performative
transgression, we are interested in essays that engage with the rich
textures of contemporary queer youth cultural formations. We are
gathering together essays that explore a broad range of queer youth
cultural issues
through multiple theoretical and empirical perspectives.

Overview

Academic discourses have historically worked to exclude gay, lesbian,
bisexual, transgender, queer and questioning youth from their
researchpractices and theoretical frameworks. This has resulted in
a predominance of heteronormative ways of understanding youth
experiences and creative cultural activities. It has also worked to
reinforce a gap between academic knowledges and the complex worlds of
youth who challenge and exceed binarysex/gender/sexual
categorizations. Our aim is to expand critical thinking
about youth cultures by compiling essays attuned to the specific
contexts, communities and subjectivities of queer youth. Over the
last decade a broad range of queer youth cultures have emerged to
transform relations of production and reception, as well as expanding
public spaces and textual forms through which youth make meaning for
themselves. At this historical moment it becomes important to
develop tools to recognize and engage queer youth cultures in ways
that are respectful and supportive, and that remain open to and
enabling of emerging social articulations. Our goal is to challenge
generalizing images of youth through representations and analysis of
queer youth cultures that utilize detailed textual and ethnographic
methods. Reflexive forms of writing are also encouraged as a way to
question and bridge relations between youth and researchers. Creative
visual artwork, comics and photography will also be considered as an
important element to enhance the field of queer youth cultural
representation. We are especially looking for new theoretical and
methodological approaches to studying youth that enable innovative
practices of interpretation.


Topics
We are interested in papers which deal especially (but
not exclusively) with the following topics:

-grrrl bands
-transgender youth
-online identities and networks
-community/festival organizing
-theorizing queer youth cultures
-youth produced video
-film and television representations
-grassroots activism
-performance cultures such as drag kings, burlesque and spoken word
-practices of self-representation
-alternative sexual cultures
-creative fictions by/for/about queer youth
-queer youth visual cultures

Submission Guidelines

Please send a 500 word abstract by November 1, 2004. Send your
submission as an email attachment in word along with a brief C.V. or
bio to both editors: sdriver@... and herrup@.... Please
feel free to contact us for further information.


@ Call for Papers: "Get a Life!"?: Fan Cultures and Contemporary Television
==========================================
prazo/plazo/deadline: 21 NOV 2004

Spectator, Fall 2005, vol. 25 n. 2

Theme Description:

This issue of the Spectator will focus on the increasingly prominent
area of television fan cultures, looking specifically to extend the
range and types of analyses of behaviors labeled "fannish." In
addition to looking at fan culture as an active, vital, and
productive force (as opposed to the often noted pathologized notion
of fans as obsessed couch potatoes), this issue will bring together
essays that investigate such questions as the legal status of fan
production, the potential impact that fans can have on the
"canonical" texts they engage with; the impact
that changing technologies have had on the development of fan culture
and communities; the way fan activity troubles basic divisions
between producer/consumer, author/viewer (or reader) or
active/passive participant; and the complex and often contentious
relationship between fans and academics.

Essays may come from a variety of perspectives and focus on
television fan cultures in any country or region.

Deadline for Submission (November 21, 2004)

Spectator is a biannual publication and submissions that address the
above theme are now invited for submission:

Topics may include:

-- investigations of interactions (actual or potential) between
show producers and fans
--the relationship between fans and academics
--analyses of questions of authorship and control of texts
--legal issues in fan production, including (but not limited to
copyright issues, censorship, and pornography)
--analyses of specific types of fan behavior (convention culture, fan
writing/art, collecting, body modification, etc.)
--issues related to specific television fandoms (including well known
ones such as Buffy/Angel, Smallville, Star Trek, Starsky & Hutch, or
smaller, less well known fandoms)
-- investigations of historical precedents for various fan activities
--community and identity building in fandom
--questions of resistance and appropriation in fan activity and
producer response
--analyses of the impact of technological developments on fan
production and distribution
--the rhetoric of media interactivity and its relation to fandom

Manuscripts to be considered for publication should be sent by
(November 21, 2004) to:

Lauri Mullens
School of Cinema-Television
Division of Critical Studies
University of Southern California
Los Angeles, CA 90089-2211
Attn. Spectator Submission

mullens@...

One hard copy of manuscript should be submitted as well as a copy on
disk. Manuscripts should include the title of the contribution and
the name(s) of authors. Submissions should also include the postal
address,
e-mail address, and phone numbers of the author(s) who will work with
the editor on any revisions. All pages should be numbered
consecutively. Contributions should not be more than 5,000 words.
They should also include a brief abstract for publicity. Authors
should also include a brief biography of themselves. Rejected
manuscripts will not be returned.

Articles submitted to the Spectator should not be under consideration
by any other journal.

Book Reviews may vary in length from 300 to 1,000 words. Please
include title of book, retail price and ISBN at the beginning of the
review.

Forum or Additional Section contributions can include works on new
archival or research facilities or methods, interviews, as well as
other relevant works related to the field.

Electronic Submissions and Formatting. Authors should send copies of
their work via e-mail as electronic attachments. Please keep backup
files of all disks. Files should be Microsoft Word in PC format.
Endnotes should conform to the Chicago Manual of Style.

Upon acceptance, a format guideline will be forwarded to all
contributors as to image and text requirements.

Current Board for Spectator

Founding Editor
Marsha Kinder

Managing Editor
William Whittington

Issue Editor
Lauri Mullens


Subscription Information

Individual issues cost $10.00. Institutional rate for US and Canada
is $30.00 USD. All others $40.00 USD. Please contact the
subscription editor for bulk discounts. To order a subscription,
please send $15.00* for the current volume year to :

University of Southern California
School of Cinema-Television
Critical Studies
Lucas Building, Room 405
Los Angeles, CA 90089-2211
Attn. Spectator Subscription

Tel: (213) 740-3334
Fax (213) 740-9471

*If you subscribe now, you will receive one back issue free (based on
availability). For additional back issues, contact subscription
manager and include $12.00 per issue.

@ RESIDENCIAS PARA ARTISTAS EN BERLIN. DEUTSCHER AKADEMISCHER
AUSTAUSCHDIENST (DAAD)
==========================================
prazo/plazo/deadline: 1 JAN 2005


TIPO estancia
DURACI N 6 o 12 meses
CONVOCANTE Deutscher Akademischer Austauschdienst (DAAD)
DIRECCI N DAAD Kunstlerprogramm, Postfach 240
POBLACI N 10106 Berlin
PA S Germany
TELEFONO +49 Fax +49
SITIO WEB www.daad-berlin.de/engl ish/kp/index.html
DIRECCI N ELECTR NICA bkp.berlin@...
DOTACI N salario sin especificar, gastos de viaje,
alojamiento, seguro medico, espacio de trabajo y materiales
PLAZO SOLICITUD 20050101
PA S DE DESTINACI N Alemania
DESCRIPTORES Bellas artes; Imagen y Sonido; Musica; Literatura
SOLICITANTE artistas
NACIONALIDAD Espana; Extranjero
RESIDENCIA Espana; Extranjero
RESUMEN Descripcion: subvencionadas por el Servicio de Intercambio
Academico aleman (DAAD) en Berlin, para realizar trabajos, talleres y
actividades diversas en el campo de las artes visuales, literatura,
musica y cine, a diferentes instituciones culturales de la ciudad.
Dirigido a: artistas, compositores, cineastas y escritores, de
cualquier nacionalidad y menores de 32 anos. Observaciones: las
estancias para los cineastas se limitaran a 6 meses.
Residencias para artistas en Berlin. Convocante: Servicio Aleman de
Intercambio Academico (DAAD)
Plazo: 1/01/05

Mas informacion: http://www.estudiasotrabajas.com/cas/z1/index5.html


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