P R O @ R T E C L I P S
Boletim Eletronico do Projeto ProArte Brasil
Ano 9 N. 90 10/2005
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
PARTE 4: OPORTUNIDADES
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
@ BERLINALE TALENT CAMPUS
==========================================
prazo/plazo/deadline: 1 NOV 2005

El Festival de Cine de Berlin invita a todos los realizadores jovenes
a participar en el ya tradicional Talent Campus, encuentro que se
llevara a cabo del 11 al 16 de febrero de 2006 en el marco de la 56
Berlinale, y que aspira reunir a jovenes de mas de ochenta paises del
mundo. Para participar es necesario haber trabajado en al menos un
cortometraje que haya ganado algun premio o que haya sido invitado a
algun festival internacional. El Talent Campus esta dirigido a
profesionales o estudiantes de guion, produccion, direccion,
actuacion, edicion, diseno de sonido, composicion, direccion de arte
o produccion de diseno. La fecha de cierre de la convocatoria es el 1
de noviembre.
<http://www.berlinale-talentcampus.de/>

@ SEMINARIO INTERNACIONAL DE PRODUCCION Y COPRODUCCI N
CINEMATOGRAFICA "PRODUCIR EN EL SUR" BOLIVIA 2006
==========================================
prazo/plazo/deadline: 21 OUT 2005

Convocatoria

Con los auspicios de la Embajada de Francia en Bolivia, la Cinemateca
Boliviana y la Alianza Francesa se realizara un seminario intensivo
sobre viabilidad, produccion, financiacion y diseno de costos para la
coproduccion cinematografica entre Latinoamerica y Europa.

El Seminario Internacional de produccion y Coproduccion
Cinematografica esta planteado para ser un Punto de Encuentro entre:

- Productores de los paises andinos de Sudamerica con un
productor/distribuidor frances con experiencia en coproducciones con
America Latina, con el objetivo de ampliar el conocimiento acerca de
los mecanismos de acceso al Fonds Sud, fondo de apoyo a la
coproduccion entre Francia y los paises en desarrollo.
- Productores de los paises andinos con un experimentado productor
latinoamericano, con el objetivo de intercambiar informacion y
analizar experiencias de coproduccion internacional a traves del
Fonds Sud y de otros fondos similares (como Ibermedia o el World
Cinema Fund de Alemania).
- Productores de los paises andinos entre si, con el objetivo de
establecer relaciones, intercambiar informacion sobre la situacion
actual en cada pais y formar alianzas de cara a posibles
coproducciones entre paises andinos.

El Seminario se llevara a cabo durante cuatro jornadas de trabajo en
la ciudad de La Paz (Bolivia) entre el 16 y el 19 de Enero de 2006.

Las Embajadas Francesas respectivas llevara a cabo la seleccion de
dos proyectos por cada pais convocado, y de cuatro por el pais
anfitrion (Bolivia). Se buscara el mejor equilibrio de estos
proyectos, de modo que todos ellos salgan fortalecidos en los
conocimientos para la produccion, para el analisis de costos y la
produccion ejecutiva de los proyectos.

El trabajo sera enriquecido con los aportes y el acompanamiento de un
experto frances y un experto latinoamericano. El contrapunto de la
experiencia en coproduccion en los paises convocados es importante
para una eficaz respuesta a los desafios del Fonds Sud, como lo es
tambien la experiencia que se busca como aporte de los productores
participantes.

OBJETIVO DEL SEMINARIO
Capacitar tecnica y conceptualmente a productores/as para que
desarrollen proyectos cinematograficos que puedan insertarse en los
circuitos integrales de la industria cultural audiovisual de la
region, para acceder a fuentes de financiamiento, coproduccion y
alianzas con fondos internacionales, para el caso con Fonds Sud,
permitiendo crecer en las fortalezas de los proyectos a ser
presentados.


PA SES PARTICIPANTES

- Bolivia
- Colombia
- Ecuador
- Peru
- Venezuela


SELECCI N Y PARTICIPACI N

Podran participar productores de los paises participantes que cuenten
con un proyecto de largometraje en nivel avanzado de desarrollo. Para
ser considerada, la aplicacion debe incluir:

1. Sinopsis (1 pagina).
2. Tratamiento de por lo menos 10 paginas.
3. Documentacion que atestigue la propiedad de derechos sobre el
guion / proyecto.
4. Presupuesto.
5. Plan financiero.
6. Curriculum del Productor y del Director.
7. Nota del Director acerca de la motivacion y estetica del filme.
8. Nota del Productor sobre el estado actual de desarrollo del
proyecto, fondos existentes, posibles coproducciones, etc.

Cada postulante debera entregar tres originales impresos y tres
discos electronicos con la informacion constitutiva del proyecto.

Los proyectos deben ser presentados en la Embajada de Francia de cada
pais hasta el 21 de Octubre de 2005. La comunicacion a los proyectos
seleccionados se efectuara hasta el 2 de Noviembre de 2005.

Seran seleccionados dos proyectos por cada pais, cubriendo los costes
de transportacion, alojamiento y alimentacion del Productor de cada
proyecto seleccionado. Solamente se invitara al Director en caso de
que este sea ademas Productor de su pelicula. En el caso de Bolivia,
se aceptara la participacion de un maximo de cuatro proyectos de
diferentes regiones del pais.

Los participantes recibiran el certificado correspondiente de las
entidades realizadoras, Fonds Sud y FCB.

Para mayor informacion, contactarse con los agregados culturales de
la Embajada Francesa de cada pais, o con el Comite Organizador en
Bolivia a los correos electronicos:

Veronica Cordova: veronica.cordova@...
Eduardo Lopez: lopezavala2004@...
Cinemateca Boliviana: info@...

@ RESIDENCIAS PARA ARTISTAS EN EL ATELJE STUNDARS DE FINLANDIA.
==========================================
prazo/plazo/deadline: 31JAN 2006

T TULO
Residencias para artistas en el Atelje Stundars de Finlandia
TIPO
estancia
DURACI N
de 2 a 6 meses
CONVOCANTE
Atelje Stundars. KulturOsterbotten/SOF
DIRECCI N
International Artist in Residence. Handelsesplanaden 23 A
POBLACI N
FIN-65100 VAASA
PA S
Finland
TELEFONO
35863242211
SITIO WEB
www.svof.fi/artstundars
DIRECCI N ELECTR NICA
atelje.stundars@...
DOTACI N
estudio de trabajo, alojamiento y costes de material
PLAZO SOLICITUD
20060131; 20060731
PA S DE DESTINACI N
Finlandia
DESCRIPTORES
Artes y Creacion
SOLICITANTE
artistas
NACIONALIDAD
Extranjero; Espana
RESIDENCIA
Extranjero; Espana
RESUMEN
Descripcion: residencias para artistas en Finlandia. Se establecen 2
periodos diferentes de estancias: de agosto en enero (termine: 31/01)
y de febrero en julio (termine: 31/07) del ano siguiente. El artista
se tendra que hacer cargo de los costes de viaje y mantenimiento.
Dirigidas a: artistas en cualquier disciplina y de cualquier
nacionalidad.

@ CFP: FALLING IN LOVE AGAIN ROMANTIC COMEDY IN POST-CLASSICAL CINEMA
==========================================
prazo/plazo/deadline: 2 JAN 2006

Edited by Stacey Abbott & Deborah Jermyn (Roehampton University UK)

Proposals are sought for a new edited collection on romantic comedy
and post-classical cinema.

Romantic comedy has long been a stalwart of the movies but in recent
years it has been increasingly gaining momentum as one of the
cornerstones of contemporary popular cinema. More than three decades
into the post
classical period, then, this is an opportune moment in which to
revisit and reflect on the industrial/economic/aesthetic practices,
social meanings and textual pleasures of this most enduring of
genres. This collection will re-examine early post-classical rom-com
from the 1970s and 80s (e.g. Woody Allen, Neil Simon, and Rob
Reiner), while equally making a
major intervention into existing analyses of the genre by examining
its more contemporary guises and ideologies. While much has been
written on the genre in its classical period, as well as its
transition to post-classical cinema, little consideration has been
given to recent developments within the genre. Given, for example,
that the rom-com has played a major role in the recent fortunes of
British cinema; that it has demonstrated the power to transform the
careers of actors such as Hugh
Grant, Drew Barrymore and Cameron Diaz to render them global stars;
and given that we are seeing the genre undergoing a period of
shifting (gendered) inflections, from Farrelly Brothers style Orom
com for boys to the Opost-feminist Bridget Jones, the time is ripe
for this
publication. Investigating the ideological implications of the genre
while examining and celebrating its pleasures, Falling in Love Again
will provide a timely and necessary contribution to the study of
genre, gender and popular cinema.

Proposals are welcomed on, but not limited to, the following topics
and areas--relationship(s) between Classical Hollywood/screwball
comedy and post-
classical romantic comedy -sub-genres of rom-com (eg teen-pics;
Orom-com for boys ; animation)
-gender identities and gender politics; feminism and post-feminism
-issues around race/ethnicity/national identities
-theories and methodologies of the analysis of comedy
-space and place (eg the urban v rural; use of domestic settings)
-New York as quintessential rom-com city
-fashion
-nostalgia
-generic hybridity and intertextuality
-the crossover rom-com (e.g. television, stand-up)
-music/soundtracks/scoring
-sexuality/queer readings/camp
-national, historical and social contexts of production and
consumption (eg Bollywood cinema; changing representations of
marriage etc)
-stars/star power/star personas (eg Hugh Grant, Sandra Bullock, Meg Ryan)
-the new comedian-comedy (eg Jim Carey, Ben Stiller, Will Smith)
-issues relating to authorship (eg Nora Ephron, Woody Allen, Richard Curtis)
-institutional/economic/production case studies (eg Working Title)
-impact of new media technologies on circulation and reception
(digital technologies, internet, cyberspace)
-audiences and fandom/fan cultures/subcultures
-promotion of Ochick-flicks and relationship with chick-lit

Proposals are required by January 2 2006, should be approximately 500
words and accompanied by a brief biog. Please submit to both
s.abbott@... and d.jermyn@...

Stacey Abbott and Deborah Jermyn are both Senior Lecturers in Film
and TV Studies at Roehampton University, UK. Abbott is the editor of
Reading
Angel: The TV Spin-Off with a Soul (IB Tauris, 2005) and the author
of Celluloid Vampires (forthcoming University of Texas Press, 2007).
Jermyn is the co-editor of Hollywood Transgressor: The Cinema of
Kathryn Bigelow
(Wallflower Press, 2003) and the author of Crime Watching:
Investigating Real Crime TV (forthcoming IB Tauris, 2006).

@ Call for reviewers: F I L M - P H I L O S O P H Y JORNAL
==========================================
prazo/plazo/deadline: 6 FEB 2006

////////////// F I L M - P H I L O S O P H Y
///////// International Salon-Journal
//////////////////// ISSN 1466-4615
//////// PO Box 26161, London SW8 4WD
///////////// http://www.film-philosophy.com

Over the course of 2005/2006 Film-Philosophy will be publishing a
number of issues containing extended review-articles on recent
publications in the following areas: Continental Film Philosophy;
Analytical Film Philosophy; Cultural and Popular Film Philosophy; and
Interpretation, Aesthetics, and World Cinema.

Thus Film-Philosophy seeks reviewers for the following books in these
areas -- PLEASE DO NOT REPLY TO THIS MESSAGE, but contact the
respective editor for each area.

==================================

Call for Review-Articles for Special Issues on

CONTINENTAL FILM PHILOSOPHY

Editors: Sarah Cooper (Kings College London), David Martin-Jones (St
Andrews University), Douglas Morrey (University of Warwick), and
Benjamin Noys (University College, Chichester)

If you would like to review one of these works then please respond as
soon as possible to Benjamin Noys <b.noys@...>
(mailto:b.noys@...). By all means indicate alternative book
choices in order of preference. Please include a brief statement of
interest and experience, as this will aid in the selection process.
And don't forget your prefered postal address. Deadline for Texts
(2-6,000 words): 6 February 2006 (or 3 months from receipt of book).

Chateau, _Cinema et philosophie_ (2003)
Constable, _Thinking in Images: Film Theory, Feminist Philosophy and
Marlene Dietrich_ (October 2005)
Doane, _The Emergence of Cinematic Time: Modernity, Contingency, the
Archive_ (2003)
Egoyan and Balfour, eds, _Subtitles: On the Foreignness of Film_ (2004)
Ehrat, _Cinema and Semiotic: Peirce and Film Aesthetics, Narration,
and Representation_ (2005)
Fuery, _Madness and Cinema: Psychoanalysis, Spectatorship and Culture_ (2003)
Godard, et al., _Cinema: The Archaeology of Film and the Memory of A
Century_ (2005)
Heme de Lacotte, _Deleuze: philosophie et cinema_ (2001)
Hockley, _Cinematic Projections: The Analytical Psychology of C. G.
Jung and Film Theory_ (2003)
Indick, _Movies and the Mind: Theories of the Great Psychoanalysts
Applied to Film_ (2004)
McCormick and Guenther-Pal, eds, _German Essays on Film_ (2004)
McGowan and Kunkle, eds, _Lacan and Contemporary Film_ (2004)
Marrati, _Gilles Deleuze: Cinema et Philosophie_ (2003)
Michaud, _Aby Warburg and the Image in Motion_ (2004)
Morin, _The Cinema, or the Imaginary Man_ (2005)
Mulvey, _Death 24 x a Second_ (November 2005)
Nancy, _The Ground of the Image_ (November 2005)
Perniola, _Art and Its Shadow_ (2000)
Pisters, _The Matrix of Visual Culture: Working with Deleuze in Film
Theory_ (2003)
Raessens, _Filosophie en film: Vivre la difference: Deleuze en de
cinematografische moderniteit_ [in Dutch] (2001)
Sabbadini, ed., _The Couch and the Silver Screen: Psychoanalytic
Reflections on European Cinema_ (2003)
Smith, ed., _Impossible Presence: Surface and Screen in the
Photogenic Era_ (2001)
Sobchack, _Carnal Thoughts: Embodiment and Moving Image Culture_ (2004)

==================================

Call for Review-Articles for Special Issues on

ANALYTICAL FILM PHILOSOPHY

Editors: Richard Stamp (Bath Spa University) and Damian Peter Sutton
(Glasgow School of Art)

If you would like to review one of these works then please respond as
soon as possible to Damian Peter Sutton <d.sutton@...>
(mailto:d.sutton@...). By all means indicate alternative book
choices in order of preference. A brief statement of interest and
experience will aid in the selection process. And don't forget your
prefered postal address. Deadline for Texts (2-6,000 words): 6
February 2006 (or 3 months from receipt of book).

Anderson and Anderson, eds, _Moving Image Theory: Ecological
Considerations_ (2004)
Brereton, _Hollywood Utopia: Ecology in Contemporary American Cinema_ (2005)
Carroll and Choi, eds, _The Philosophy of Film and Motion Pictures:
An Anthology_ (2005)
Cavell, _Cavell on Film_, edited by Rothman (2005)
_Film and Philosophy_, vol. 7, 2003 [General Interest Edition]
_Film and Philosophy_, vol. 8, 2004 [Ethical and Existential Themes in Cinema]
Goodenough and Read, eds, _Film as Philosophy: Essays on Cinema After
Wittgenstein and Cavell_ (September 2005)
Grodal, Larsen, and Laursen, eds, _Visual Authorship: Creativity and
Intentionality in Media_ (2004)
Laugier and Cerisuelo, eds, _Stanley Cavell: Cinema et philosophie_ (2001)
McGinn, _The Power of Movies: How Screen and Mind Interact_ (December 2005)
Singer, _Three Philosophical Filmmakers: Hitchcock, Welles, Renoir_ (2004)
Smith, _Film Structure and the Emotion System_ (2003)
Wartenberg and Curran, eds, _The Philosophy of Film: Introductory
Text and Readings_ (2005)

==================================

Call for Review-Articles for Special Issues on

CULTURAL AND POPULAR FILM PHILOSOPHY

Editors: Jon Baldwin (London Metropolitan University) and Catherine
Constable (Sheffield Hallam University)

If you would like to review one of these works then please respond as
soon as possible to Jon Baldwin <jonlgu@...>
(mailto:jonlgu@...). By all means indicate alternative book
choices in order of preference. A brief statement of interest and
experience will aid in the selection process. And don't forget your
prefered postal address. Deadline for Texts (2-6,000 words): 6
February 2006 (or 3 months from receipt of book).

Blessing and Tudico, _Movies and the Meaning of Life: Philosophers
Take on Hollywood_ (2005)
Conard, ed., _The Philosophy of Film Noir_ (2005)
Conard and Skoble, eds, _Woody Allen and Philosophy_ (2004)
Dimendberg, _Film Noir and the Spaces of Modernity_ (2004)
Gibson, ed., _More Dirty Looks: Gender, Pornography, and Power_ (2004)
Gilmore, _Doing Philosophy at the Movies_ (2005)
Gormley, _ The New Brutality Film: Race and Affect in Contemporary
American Cinema_ (2005)
Grau, ed., _Philosophers Explore The Matrix_ (2005)
Hills, _The Pleasures of Horror_ (2005)
Irwin, ed., _More Matrix and Philosophy_ (2005)
Kapell and Doty, eds, _Jacking into the Matrix Franchise: Cultural
Reception and Interpretation_ (2004)
King, ed., _The Spectacle of the Real: From Hollywood to Reality TV
and Beyond_ (2005)
Lawrence, _Like a Splinter in Your Mind: The Philosophy Behind the
Matrix Trilogy_ (2004)
Page, _Film and Philosophy: Images of Wisdom_ (2005)
Powell, _Deleuze and Horror Film_ (2005)
Rowlands, _The Philosopher at the End of the Universe: Philosophy
Explained Through Science Fiction Films_ (2004)
Schneider, ed., _Horror Film and Psychoanalysis_ (2004)
Schneider, _New Hollywood Violence_ (2005)
Schneider and Williams, eds, _Horror International_ (2005)

==================================

Call for Review-Articles for Special Issues on

INTERPRETATION, AESTHETICS, AND WORLD CINEMA

Editors: David Martin-Jones (St Andrews University), John Mullarkey
(University of Dundee), and David Sorfa (Liverpool John Moores
University)

If you would like to review one of these works then please respond as
soon as possible to David Sorfa <d.e.sorfa@...>
(mailto:d.e.sorfa@...). By all means indicate alternative
book choices in order of preference. A brief statement of interest
and experience will aid in the selection process. And don't forget
your prefered postal address. Deadline for Texts (2-6,000 words): 6
February 2006 (or 3 months from receipt of book).

Anderson, _Edward Yang_ (2005)
Andrew, _10_ (2005)
Beugnet, _Claire Denis_ (2004)
Bird, _Andrei Rublev_ (2004)
Blakesley, ed., _The Terministic Screen: Rhetorical Perspectives on
Film_ (2003)
Bordwell, _Figures Traced in Light: On Cinematic Staging_ (2005)
Bordwell, _Storytelling on the Screen: Three Dimensions of Film
Narrative_ (2004)
Brunette, _Wong Kar-Wai_ (2005)
Child, _This Is Called Moving: A Critical Poetics of Film_ (2005)
Chion, _The Thin Red Line_ (2004)
Cook, _Screening the Past: Memory and Nostalgia in Cinema_ (2005)
Downing, _Patrice Leconte_ (2004)
Edwards, _A Companion to Luis Bunuel_ (2005)
Elena, _The Cinema of Abbas Kiarostami_ (2005)
Foster, _Identity and Memory: The Films of Chantal Akerman_ (2003)
Furby and Randell, eds, _Screen Methods: Comparative Readings in Film
Studies_ (2005)
Gibbs and Pye, eds, _Style and Meaning: Studies in the Detailed
Analysis of Film_ (2005)
Kickasola, _The Films of Krzysztof Kieslowski: The Liminal Image_ (2004)
Lynch, _Lynch on Lynch_ (2005)
Mellen, _In the Realm of the Senses_ (2004)
Morrey, _Jean-Luc Godard_ (2005)
O'Pray, _Film, Form and Phantasy: Adrian Stokes and Film Aesthetics_ (2004)
Rosenbaum, _Essential Cinema: On the Necessity of Film Canons_ (2004)
Rosenbaum and Martin, eds, _Movie Mutations: The Changing Face of
World Cinephilia_ (2003)
Sundholm, ed., _Gunvor Nelson and the Avant-garde_ (2003)
Tarr, _Reframing Difference: Beur and Banlieue Filmmaking in France_ (2005)
Teo, _Wong Kar-Wai: Auteur of Time_ (2005)
Temple, Williams, and Witt, _For Ever Godard_ (2004)
Yeh and Davis, _Taiwan Film Directors_ (2005)

==================================

PLEASE DO NOT REPLY TO THIS MESSAGE, but contact the respective
editor for each area.

Please read our Guide for Authors at:
http://www.film-philosophy.com/journal/guideforauthors

To join the salon, and receive the journal articles as they are
published, go to
http://www.jiscmail.ac.uk/lists/film-philosophy.html
click on 'Join or leave the list (or change settings)', and follow
the instructions.


@ INTERACTIVE CITY CALL FOR PROPOSALS. ISEA2006 SYMPOSIUM
==========================================
prazo/plazo/deadline: 9 DEZ 2005

http://www.urban-atmospheres.net/ISEA2006/

Proposals Due: 9 December 2005
Final Decisions: 10 February 2006

"Never confuse the map with the
Territory" Empire of the Sun, J.G. Ballard

The city has always been a site of transformation: of lives, of
populations, even of civilizations. With the
rise of the mega city, however; with the advent of 24/7 rush hours;
with the inexorable conversion of public space into commercial space;
with the rise of surveillance; with the computer-assisted precision
of redlining; with the viral advance of the xenophobic, the
contemporary city is weighted down. We dream of something more. Not
something planned and canned,
like another confectionary spectacle. Something that can respond to
our dreams. Something that will transform with us, not just perform
change on us, like an
operation.

The Interactive City seeks urban-scale projects for which the city is
not merely a palimpsest of our desires but an active participant in
their formation. From dynamic architectural skins to composite sky
portraits to walking in someone else's shoes to geocaches of urban
lore to hybrid games with a global audience, projects for the
Interactive City should transform the "new" technologies of mobile
and pervasive computing, ubiquitous networks, and locative media into
experiences that matter.

The Interactive City is one of four major themes to be featured at
ISEA2006 Symposium + ZeroOne San Jose Festival. Interactive City
proposals should embrace aspects of the city of San Jos specifically
and/or the surrounding metropolitan San Francisco Bay Area. Please
visit the Interactive City web page for a list of early round
accepted projects and a partial list of urban
sub-themes.

http://www.urban-atmospheres.net/ISEA2006/

Let us experience
your vision of the Interactive City!

Eric Paulos
Interactive City,
Chair
ISEA2006

ISEA2006 Calls for
Participation
http://isea2006.sjsu.edu./calls.html

ISEA2006 Mailing
List
http://cadre.sjsu.edu/mailman/listinfo/isea2006


@ RESIDENCY: 12TH INTERNATIONAL STUDIO PROGRAM "STAGNANT WATERS OR
THE SUBVERSION OF STANDSTILL." (WEIMAR, GERMANY)
==========================================
prazo/plazo/deadline: 30 NOV 2005

The ACC Galerie Weimar and the City of Weimar are inviting artists to
apply for the 12th International Studio Program "Stagnant Waters or
the Subversion of Standstill." Three artists will be selected to live
and work in Weimar for four months, starting in February, June, and
October, 2006.

The participants of the 2005 program "The Culture of Fear" are Mandy
Gehrt from Germany, Kyoko Ebata from Japan and Oscar Tuazon from the
US, the participants of the 2004 program "Irony Is Dead. Long Live
Irony!" were
Kristina Leko from Croatia, Tea Makipaa from Finland and Martin
Sastre from Uruguay.

Please note that the completed applications must be received by
November 30th, 2005.

Please don't hesitate to contact us if you have any questions:
studioprogram@...

(more information about the program under
http://www.acc-weimar.de/studio/index.html).


@ CALL FOR PAPERS~ WATCHING TEEN TV: TEXT AND CULTURE
==========================================
prazo/plazo/deadline: 1 NOV 2005

Editors: Sharon Marie Ross and Louisa Stein

/Watching Teen TV/ explores the phenomenon of "teen TV" in the United
States, examining the meanings and manifestations of this category
from a variety of perspectives (academic, cultural and social,
industrial, and historical). What is "Teen TV" and how has it
contributed to understandings of being a teen in the United States?

"Teen TV" is an intriguing concept to explore today, particularly
given the sustained and apparently always growing importance of the
teen market to advertisers relying on television to reach that
market. The questions that arise when considering Teen TV are many,
yet few books have examined this aspect of television in the U.S.
from a comprehensive perspective. Further, programs aimed at teens
and/or featuring teen characters exist in a rapidly changing cultural
and industrial environment. Today, entire networks are a part of this
picture, as well as forms of media that extend beyond television
proper (the Internet, cell phones, movies, music, magazines.);
"classic" shows featuring visions of teenagers from the past are part
of current teen lexicon-and current teen characters resonate with
viewers in their thirties and forties.

These are but a few of the themes and topics Watching Teen TV seeks
to examine. In this anthology, the editors welcome a range of
articles that pose as many questions as they seek to answer, with the
hopes of beginning a rich discussion about Teen TV-whatever that
might be.

We invite contributions that authors think would fit into the scope
of this book. We propose the following three sections (with suggested
themes and topics) as a means of helping prospective contributors as
they develop abstracts, but we encourage authors to submit abstracts
that they feel fit the purpose of the anthology overall:

SECTION 1: CONTEXTS~ Industry, Production, Society/Culture, History

* construction of/conception of teen TV audience
* variations in address: multigenerational market, family market,
specific teen market, specific adult market, "adult" content
directed at teen market
* teen audience in relation to children's audience/children's TV
* pre-teen audience, tweens
* network identity investment in teen audience--WB, UPN, Nick, The N
* connections between the dynamics of teen TV and other media (e.g.,
Harry Potter phenomenon, video games, teen web culture, etc.)
* relationship between Teen TV and teen film re: production,
content, reception, history
* teen TV changing in shifting multimedia context (cable, cell
phones, Internet, DVD, etc)
* Teen TV and music culture-MTV, TRL, also featured music in
programs like /Buffy/, /The OC/, /Smallville/, etc.
* crossover trends (film with TV, magazines featuring TV stars,
singers on TV.)
* changes in advertising--integrated advertising vs. commercial
spots, commercial discourse among fans
* redefinition of "quality" teen TV; relationship between Teen TV,
"Cult" TV, and "Quality" TV
* teens and cultural production, girl culture and cultural production
* girl culture/boy culture as market
* U.S. shows marketed globally, non-U.S. shows marketed in the States
* marketing to teen audience through new media technologies

SECTION 2: RECEPTION & FANDOM

* teen TV audience activism/campaigns, attempted communication with
networks
* producers interacting with fans, addressing fans in text and metatext
* fan communities
* fan art, fiction, reviews and analyses
* queer reading and slash
* fan political readings and political critiques
* reception of U.S. teen TV abroad
* reception of non-U.S. programming in the States
* Teen TV fan communities within context of broader online fandom
communities
* star reception, star followings
* fan use of new media technologies and interface

SECTION THREE: FORMAL ANALYSES~ Representation, Ideology, Narrative
Structure, Genre

* seriality versus episodic teen TV
* genre combination and revision in teen TV, incorporation of
disparate genres (such as fantasy, noir, etc.)
* specific genres such as animation and reality
* formal play and innovation in programs (such as /Twin Peaks/ and
/Veronica Mars/)
* representation of teens in "quality" cable programming (such as
/The Sopranos/, /Queer as Folk/, /Six Feet Under/)
* representations of gender, sexuality, race, class,
* representations of politics (e.g., /The Daily Show, Live 8/)
* representations of friendship and other social bondings
(parents/missing parents, siblings, peers, mentors)
* representations of institutions (such as family, church and
religion, work, school, sports, youth subcultures)
* representations of developmental "issues" (such as adolescence and
teen bodies, adolescence as wider cultural theme, sexuality, sex,
education, femininity, feminism, masculinity, queerness)
* representations of culture proper (youth popular culture-music,
TV, film; mass culture, technology and the Internet)

Please send a 350-400 word abstract with an abbreviated CV to:

Sharon Ross sross@...
AND
Louisa Stein les229@...

by November 1^st , 2005. We plan on responding to all proposals by
mid-December and asking for drafts of a 20-25 page article (including
endnotes) by April 1^st , 2006. Please feel free to contact either
Sharon or Louisa by email if you have any questions.


@THE JOURNAL OF E-MEDIA STUDIES ACCEPTING SUBMISSIONS FOR PUBLICATION.
==========================================
prazo/plazo/deadline: 15 NOV 2005

The deadline for our inaugural issue is November 15, 2005. Special
topic sections of the journal, to include more than one related
essay, may be proposed. We intend our inaugural issue to premiere in
Spring, 2006.

We are committed to the rapid turnaround of subsequent journal
submissions in as practical a means as possible.

Manuscripts can be e-mailed to the editors at e-Media@...,
or a CD/DVD version may be mailed to:

Journal of e-Media Studies
Dept. of Film and Television Studies
6194 Wilson Hall
Dartmouth College
Hanover, NH 03755
USA

JOE-MS is a blind peer-reviewed, on-line journal dedicated to the
scholarly study of the history and theory of electronic media,
especially Television and New Media. It is an inter-disciplinary
journal, and we welcome submissions across the fields and
methodologies that study media and media history.

Our goal is to promote the academic study of electronic media,
especially in light of the rise of digital media and the changes in
formal and expressive capacities resulting from new configurations of
electronic media forms. We solicit the best new scholarly work on
current and historical e-media issues and topics, including work on
inter-medial relations to traditionally non-electronic media (such as
cinema, theater, and print media).

We welcome essays in traditional textual formats. We strongly
encourage submissions that utilize and develop the features that an
on-line journal can afford, in order to realize new analytical and
pedagogical practices and strategies.

Please see our website [http://journals.dartmouth.edu/joems/] for
more details about our Submissions Guidelines, list of Editorial
Board members, and Mission Statement.


@ CALL FOR PAPERS: PORNOGRAPHY. THE VELVET LIGHT TRAP. A CRITICAL
JOURNAL OF FILM AND TELEVISION STUDIES
==========================================
prazo/plazo/deadline: 15 JAN 2006

Pornography has always been a ubiquitous, yet peripheral, part of the
motion picture industry. Various events throughout the latter half of
the 20th century have given pornographic films a more visible
presence in the public sphere. But as pornography becomes
increasingly widespread and accessible, media scholars have largely
resisted it as an object of inquiry. Despite annual revenues
currently surpassing those of Hollywood and much of the sports
industry, pornography still remains "obscene" in the sense that film
theorist Linda Williams recently used the term -- "off-stage" or "out
of public view." Over the last fifteen years, scholars have inched
pornography closer and closer to center stage. Issue #59 of The
Velvet Light Trap will continue in that tradition. The editors seek
essays that build on the momentum of recent scholarly work and
address pornography in its varied forms.


Possible topics for this issue include but are not limited to:
* Connotations of the words "pornography" or "porn"
* Genres
* Sexually Explicit Art Cinema -- (e.g. Patrice Chereau, Catherine
Breillat, Andrew Repasky McElhinney, Baise-Moi, Porn Theatre)
* Pornography from non-Western countries
* Teaching pornography
* Amateur pornography
* Production companies
* The avant-garde as pornography / pornography as avant-garde
* Questions of "the real" and evidence
* Feminist interventions
* Porn stars as celebrities / celebrities as porn stars
* Documentaries about pornography - (e.g. Shooting Porn, Sex: The
Annabel Chong Story, Inside Deep Throat, Porn Star: The Legend of Ron
Jeremy, Kamikaze Hearts, Wadd: The Life and Times of John C. Holmes)
* Films about pornography - (e.g. The Fluffer, Demonlover,
Orgazmo, Wonderland, Boogie Nights, 8MM, Inserts)
* Softcore vs. hardcore
* Changing definitions of pornography
* Exhibition/distribution
* Delivery systems
* Queering pornography
* Internet pornography
* Canon formation
* Narrative strategies
* Technology
* Theories of the visible and audible
* Intersections with race and class
* Censorship
* Rating systems
* Porn Auteurs
* Porn Classics
* Careers in pornography

To be considered for publication, papers should be between 4,500 and
7,500 words, double-spaced, in MLA style, with the author's name and
contact information included only on the cover page. Queries
regarding potential submissions also are welcome. Authors are
responsible for acquiring related visual images and the associated
copyrights. For more information or to submit a query, please
contact Leslie Delassus (lesliedelassus@...). All
submissions are due January 15, 2006.

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, David
William Foster, Sean Griffin, Bambi Haggins, Heather Hendershot,
Charlie Keil, Michele Malach, Dan Marcus, Nina Martin, Tara
McPherson, Walter Metz, Jason Mittell, James Morrison, Steve Neale,
Karla Oeler, Lisa Parks, and Malcolm Turvey.

Please address submissions to:
The Velvet Light Trap
c/o The Department of Radio-Television-Film
University of Texas at Austin
CMA 6.118, Mail Code A0800
Austin, TX 78712


@ TOUR TO MEXICO : CHIAPAS-ANNIVERSARY OF NAFTA AND THE ZAPATISTA UPRISING
==========================================
prazo/plazo/deadline: N/C

December 26, 2005 - January 03, 2006

The attention of the world was focused on Chiapas when in January
1994, the day that NAFTA went into effect, an uprising led by
indigenous Mexicans brought notice to their precarious living
conditions. Join us as we celebrate the twelfth anniversary of NAFTA
and the Zapatista uprising and learn about what has motivated the
popular movements in Mexico. Examine the recent history of the
Chiapas region and hear about challenges facing the struggle for
indigenous autonomy. Learn about the direct effects of globalization
in the context of NAFTA and the on-going efforts for economic justice
and democracy. Dialogue with indigenous peasants who have been
working for the right to own the land upon which they live and work,
and govern their communities according to indigenous traditions and
customs. We will visit with diverse organizations and their
representatives in the area: from religious and community leaders, to
non-government civic organizations and women's cooperatives, all
working for peace and stability in the region. Our delegation will be
based in the colonial town of San Cristobal de Las Casas and will
travel to surrounding communities to speak with indigenous and
campesino organizational leaders, activists, educators, students, and
artisans. Take advantage of this opportunity to meet people involved
in grassroots movements and exchange ideas with them while learning
more about the unique history and culture of Chiapas.

Program Highlights:
-Celebrate the twelfth anniversary of the Zapatista uprising.
-Learn about the impact of NAFTA and neoliberal policies in the
indigenous communities.
-Visit and stay in local communities to learn about indigenous
culture and autonomous indigenous governing systems.
-Hear about the most recent political developments, ethnic relations
and social changes from grassroots perspectives.
-Travel to a highland community to meet and talk with members of a
successful women's cooperative.
-Learn about indigenous organizations specialized in biodiversity and
medicinal value of local plant life.
-Participate in a discussion with indigenous representatives to
discuss land issues, their struggles, and their culture.
-Hear from community and religious leaders who will discuss their
visions for peace, stability and justice.

How to Register:
Our tours fill up quickly! To reserve a spot send your application
and a non-refundable $200 deposit. The final payment is due one month
before departure. Payments by Mastercard or Visa are welcome.
This trip will be as diverse as possible in terms of race, age and
life experiences. We strongly urge people of color to apply. In some
cases, a limited number of partial scholarships are available for
low-income applicants.

Make your reservation online now! Visit:
http://www.globalexchange.org/tours/711.html
Contact Cristina (cristina@...) with any questions
about this trip, or call toll-free 1-800-497-1994 ext. 221.

@ INSCRICOES PARA O PROGRAMA ANUAL DE EXPOSICOES 2006. CENTRO
CULTURAL SAO PAULO
==========================================
prazo/plazo/deadline: 11 NOV 2005

A Divisao de Artes Plasticas do Centro Cultural Sao Paulo recebe, ate
11 de novembro, inscricoes para o Programa de Exposicoes 2006,
tradicional projeto da instituicao que tem por objetivo proporcionar
a jovens artistas a visibilidade de seus trabalhos ao grande publico.
Os artistas interessados deverao inscrever-se mediante o envio de
portafolios e preenchimento da ficha de inscricao, disponivel no
Centro Cultural Sao
Paulo ou no site www.centrocultural.sp.gov.br

Os portafolios deverao conter documentacao fotografica (suporte em
papel) em cores de no minimo cinco trabalhos recentes, devidamente
identificadas com nome do artista, data, titulo, dimensoes da obra e
demais dados que se julguem necessarios, alem de documentacao sobre a
obra do artista, como catalogos, textos ou impressos em geral, nao
sendo este item condicao obrigatoria para o artista inscrever-se no
programa de exposicoes, e Curriculum Vitae (restrito a identificacao,
formacao artistica e atividades culturais), com endereco, telefone e
e-mail para contato. Os
portafolios nao deverao exceder o formato A3 (30cmx42cm) e nao serao
aceitas obras para efeito de inscricao. O material especificado deve
ser
enderecado a:
> Divisao de Artes Plasticas
> Centro Cultural Sao Paulo
> Programa Anual de Exposicoes 2006
> Rua Vergueiro, 1000
> CEP 01504-000 Sao Paulo SP
>
Os portafolios poderao ser enviados pelo correio, com ficha de
inscricao preenchida, com data de postagem ate 11 de novembro de
2005, ou entregues pessoalmente a Divisao de Artes Plasticas do CCSP,
de segunda a sexta-feira, das 14h as 17h, a Rua Vergueiro, 1000 -
Paraiso - Sao Paulo.

Informacoes gerais sobre o programa de exposicoes poderao ser obtidas pelo
telefone 3277-3611-ramal 257 e 256, ou no site
www.centrocultural.sp.gov.br

Os trabalhos serao examinados e selecionados por comissao composta
por tres profissionais convidados da area de artes visuais e pela
Diretoria da Divisao de Artes Plasticas e os resultados serao
divulgados no site do Centro Cultural Sao Paulo e no Diario Oficial
da Cidade de Sao Paulo, a partir de 9 de janeiro de 2006.

O edital completo nos termos da lei, esta publicado no Diario Oficial
e disponivel no site www.centrocultural.sp.gov.br.


@ CALL FOR PAPERS: EPHEMERAL CINEMA, INVISIBLE MEDIA: SOUND AND IMAGE
AT THE EDGE OF AWARENESS. SPECTATOR, VOLUME 26, NO. 2 (SPRING 2006)
==========================================
prazo/plazo/deadline: 1 DEZ 2005

This issue of Spectator will explore media that hover at the
intersection of the fleeting and the disposable. We are soliciting
articles, essays, interviews, ethnographies (textual and visual), and
short reviews that examine from historical, political, economic, and
cultural perspectives trash and exploitation cinema, youth and
minority media production, art film and video, ultra low budget
production, ambient media and other production forms that are for the
most part ignored or excluded from the ecology of mainstream and
academic media discourse. In short, this issue will focus on media
that are either rendered invisible by virtue of their difference from
Hollywood movies and network-cable television or are momentarily seen
by viewers and then for the most part forgotten.

Furthermore many of these discarded cultural forms have been recently
"discovered" or rediscovered by scholars and critics and are now
moving toward institutional consecration. How these media respond to
this increasing legitimization and the implication this has for
dominant media forms is also open for examination.

Of course, there is a considerable amount of writing over the past
two hundred years that has celebrated the discarded and the degraded
as a shadow to that which is considered ennobled or transcendent. It
has been pointed out by commentators, Foucault and Derrida most
famously, that this shadow is intrinsically linked to the success of
that which dominates. This discourse of shadow and light - at issue a
politics of absence and presence - will serve as a point of departure
from which to acknowledge and analyze media that are either ignored
for reasons of aesthetic elitism and "good taste" or for reasons of
invisibility due to ubiquity. In addition, many of these shadow media
forms have constituent groups - fans, bank managers, teenagers - that
consume and produce them and these specific cultural groupings may be
explored as well.

Manuscripts submitted for consideration should look toward
understanding why some media forms strike the eye and why some merely
glance aside.

Deadline for Submission: December 1, 2005

Spectator is a biannual publication of the Division of Critical
Studies at the School of Cinema-Television, University of Southern
California. Manuscripts that address the above topic are now invited
for submission:

Topics may include, but are not limited to, any of the following:

Histories of the Ephemeral and the Invisible
Ethnographies of the Ephemeral and the Invisible
Cultures of Trash, Camp, Cult, and Exploitation
Auteurs of the Ephemeral (Derek Jarman, Andy Warhol, Doris Wishman
and many others)
Trash Genres
Snapshots and Memory
Home Movies & Baby Pictures
Comic Books and Strips (Smiling Jack, Brenda Starr, Blackhawk, Sugar
and Spice, etc.)
Public Screens: Bank Machines, Sports Bars, Information Kiosks
Ambient Sound and Image
Recycled Media
Indigenous Media
Community and Public Access Television
Movies by Kids, Tots, and Teens
Napkin Doodles
Lost Websites, Movies, and TV
Misremembered Media
Scratched 78rpm Records
Answering Machine Messages

Manuscripts to be considered for publication should be sent to:
Dan Leopard, Editor
Spectator
1222 Hi Point Street
Los Angeles, CA 90035-2612
Attn: Spectator Submission
leopard@...

One hard copy manuscript should be submitted as well as a copy on
disk. Submissions can also be e-mailed directly. Manuscripts should
include the title of the contribution and the name of the author (or
authors), as well as the postal address, e-mail 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 in length. Submissions should also
include an abstract and a brief biographic description of the author.
Rejected manuscripts will not be returned.

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

Reviews are welcome and may vary in length from 300 to 1,000 words.
For book reviews, please include the full title of the book, retail
price, and ISBN at the beginning of the review. For media reviews,
please include full title, creative credits, and release date at the
beginning of the review.

Electronic Submissions and Formatting. Authors should send copies of
their work via e-mail as electronic attachments. Please keep backup
files of all materials. Files should be in Microsoft Word formatted
for PC or Mac depending on the author's preference. 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
Dan Leopard

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
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.

@ CALL FOR PAPERS: WAR AND SOCIETY. ENTERTEXT (UK)
==========================================
prazo/plazo/deadline: 1 FEB 2006

Submissions for this edition are invited by 1 February 2006. The
theme, War and Society, can be interpreted broadly or narrowly, and
submissions are welcome in a variety of formats, including:

* scholarly articles (normally up to 8,000 words)
* short 'notes and comments' pieces
* commentaries on documents
* creative submissions of any kind suitable for electronic
publication, including artwork, photography, poetry, short stories,
drama scripts, etc.

Multi-media submissions are especially welcome, including still and
moving images and sound-clips.

Some possible topics are:

* war and social change
* war and gender
* war and children
* war and human rights
* war and elections
* war as an instrument of politics
* war and religion
* war in popular culture
* teaching war in the classroom
* culture and military strategy

Submissions can be political, historical or cultural, or may use a
combination of disciplinary perspectives.

Details of Entertext, submission guidelines etc can be seen at
http://people.brunel.ac.uk/~acsrrrm/entertext/home.htm

All submissions can be sent to the Editors at entertext@....

Please direct queries to Dr. Martin Folly (martin.folly@...)

@ ESTANCIAS PARA ARTISTAS EN EL DE ATELIERS (AMSTERDAM)
==========================================
prazo/plazo/deadline: 31 DEZ 2005

Convocante: De Ateliers. Solicitud: Stadhouderskade, 86, 1073 AT
Amsterdam. The Netherlands. Plazo: 31/12/05. Dotacion: asignacion sin
especificar; alojamiento. Dirigidas a: jovenes artistas que esten al
inicio de su carrera profesional y quieran realizar estancias en el
De Ateliers, instituto independiente para artistas, para conseguir
desarrollo y motivacion bajo la supervision de profesionales.

Encontrareis informacion mas detallada consultando nuestra base base
de datos a texto completo.

fonte: www.estudiasotrabajas.com.

@The War Body on Screen

Call for Papers
Closing Date: Monday January 9th 2006

This proposal, for an edited collection of Onew essays on the war
body on screen, emerges from
what the editors see as a new (post 9/11) concern for bringing into
view the troubling image of
the ruined body, or the body that is absent from vision (as in dead
and gone, or captive and
hidden). The corporeal figure of the suicide bomber, the hostage, the
soldier, the terrorist, and the
innocent victim, appear as cultural and ideological vehicles of
meaning for the way one is meant to
understand conflict, war and terror in the modern age.

In fiction and factual formats, and across a range of diverse, formal
and informal media sites,
conflict and warfare is played out in and through the body that has
been, or very soon will be,
marked by violence. This war body leaks, weeps, defecates, bleeds
(sometimes copiously), and
unravels. Or, alternatively, this body (that is often visualised both
before and after the harm of
war) is hard-bodied, virtual, hi-tech, robotic, resistant to damage,
and capable of great damage.
Power saturated binaries exist between the legitimate and legitimated
bodies of war and bodies
that Ounfairly bring destruction.

The representation of the war body on screen is encountered in
realist and actuality genres, in the
new Odomestic sites of amateur filmmaking, in the virtual worlds of
the Internet and game
playing, and in the fantasy genres of horror and science fiction,
where the image of the monstrous
Other, and the super-iconic cyborg, has been increasingly fused with
the wasted or hyper-
masculine body of the soldier, in settings where fictional/fantasy
war is actually conjured up
through the visual databanks of actual wars, and vice versa.

The editors, then, take the war body to be any body that is caught up
in the symbolic signification
of terror and ruination. This could include the ruined body of the
soldier, terrorist, suicide
bomber, or hostage; the (absent) body of the Oreturning corpse; the
cyborg body of the modern
soldier; the Ohorror war body; the captive body; the innocent body;
the body of the child; and the
body of the journalist.

The collection extends work done in single case studies such as
Historian Joanna Bourke s work
on the male body of the First World War (Dismembering the male) and
is designed to move beyond
her work on the psychology of war and the damaged body. Thus the
collection is encouraging a
multi-discipline approach.

The editors welcome proposals that take the war body as their primary
site of investigation and
analysis. Proposals can take a text based approach, and/or one that
explores the war body in
terms of the contemporary geo-political landscape. Analysis of the
impact of new media and
information technologies on the construction and transmission of war
bodies, are also highly
encouraged.

Proposals, of approximately 500 words can be sent electronically to:

Karen Randell Sean Redmond
Principal Lecturer in Film, Senior Lecturer in Film,
Southampton Solent University, Victoria University,
East Park Terrace, Wellington,
Southampton New Zealand

karen.randell@... sean.redmond@...


Closing Date: Monday January 9th 2006

@ Convocatoria: "Presencia espanola en Clermont-Ferrand '06" .
Seleccion de cortometrajes ESPANOLES para las proyecciones
profesionales en el 21 Mercado Internacional del Cortometraje
==========================================
prazo/plazo/deadline: 18 NOV 2005

Por quinto ano consecutivo, la "Presencia espanola en
Clermont-Ferrand" organizado por el Ministerio de Cultura (ICAA),
ICEX (Instituto Espanol de Comercio Exterior), EGEDA (Entidad de
Gestion de Derechos de los Productores Audiovisuales) y FAPAE
(Federacion de Asociaciones de Productores Audiovisuales Espanoles),
con la colaboracion del Gobierno Vasco, el Consorcio Audiovisual de
Galicia, la Consejeria de Cultura de la Junta de Andalucia y
EXTENDA, Catalan Films & TV,
la Consejeria de Cultura y Deportes de la Comunidad de Madrid, la
Consejeria de Cultura de la Junta de Extremadura y la Consejeria de
Cultura de la Junta de Comunidades de Castilla-La Mancha, quieren
facilitar la asistencia y participacion de las producciones espanolas
en su proxima edicion, que se celebrara del 27 de enero al 4 de
febrero de 2006 en la localidad francesa de Clermont-Ferrand.

Volveremos a contar en el mercado con un completo stand profesional,
equipado para reuniones y visionado para uso de todos los productores
y directores espanoles asistentes, tambien programaremos proyecciones
especiales en el mercado profesional para los compradores y
distribuidores internacionales presentes, y celebraremos la
solicitada "Fiesta espanola".

Las proyecciones del mercado profesional denominadas "Spain I, II y
III", se realizaran el miercoles, 1 el jueves, 2 y el viernes, 3 de
febrero de 2006, a las 11:00 horas, en la sala Georges Conchon.

Desde Trafico de Ideas, coordinadora de la "Presencia espanola en
Clermont-Ferrand '06", asesoraremos a todos aquellos interesados en
participar y asistir al mercado internacional del cortometraje,
coordinaremos los viajes en coche compartido desde diferentes puntos
de la peninsula y los alojamientos economicos en casas particulares
francesas.

Los requisitos para participar en la seleccion de cortometrajes son:

I) Ano de produccion (registro): a partir de enero de 2005

II) Copia en 35mm. o Betacam SP subtitulada al ingles

III) Sin limite de duracion y genero

IV) Compromiso adquirido del productor, director, distribuidor o
representante autorizado de la pelicula de asistir, en caso de ser
seleccionado, al mercado profesional y a la proyeccion asumiendo los
gastos de transporte, alojamiento y comidas

V) Cumplimentar en su totalidad los datos de este formulario y
enviarlo, antes del viernes, 18 de noviembre de 2005, con:

- Cuatro copias del cortometraje en DVD
- dos fotogramas en papel fotografico o disco (tiff o jpeg)
- breve sinopsis en espanol e ingles

Todos los envios han de remitirse a la siguiente direccion de correo:

C T E (Centro de Transporte y Embalaje)
Almacen de Trafico de Ideas
c/ Modesto Lafuente, 58
28003 Madrid
Telefono: 91 533 70 57 (atendera Javier)
Horario: lunes a viernes, de 10 a 14 y de 16:30 a 19:30 h.
sabados: de 11 a 14 h.


El fallo del jurado, compuesto por profesionales del sector
audiovisual con demostrado criterio y experiencia en el mundo del
cortometraje, se hara publico el jueves, 22 de diciembre de 2005.

Para cualquier consulta o ampliacion de esta informacion podeis
contactar con nosotros a traves del correo electronico
traficodeideas@...
y en los telefonos 91 535 81 65 / 66 (atendera Amaranta Serrano).

@ BECAS KARRVAZ EN RESIDENCIA 2005-2006 (ESPANA)
==========================================
prazo/plazo/deadline: 31 DEZ 2005

Requisitos: Dirigido a todos artistas y creativos profesionales o
aficionados, estudiantes de arte, escritores, poetas, periodistas,
guionistas de cine y TV y todo aquel que quiera trabajar y convivir
con artistas o disfrutar de su propia soledad en un entorno natural
de incomparable belleza, cualquiera que sea su edad, nacionalidad y
residencia, quienes no tengan conocimientos suficientes para trabajar
con soltura con las maquinas y herramientas de los talleres, deberan
realizar un cursillo previo en el propio Centro.

Dotacion: 3000 euros.

No Becas: 100

Fecha cierre: 31/12/2005

Duracion: Entre 7 y 90 dias fechas a elegir durante un ano natural
desde la fecha de concesion. Para extranjeros, especialmente de otros
continentes se puede ampliar hasta 6 meses.

Informacion: Documentacion: Declaracion de Artista, Curriculum y 5
fotografias de obra reciente o una direccion web donde se puedan ver.
Cumplimentar la solicitud oficial y enviar a la direccion:
fundacion@....
http://www.karrvaz.com/
http://www.institutoruraldearte.tk

Observaciones: El Instituto Rural de Arte Hoz del Jucar, tiene como
objetivo la realizacion de la persona a traves del arte, en el Centro
trabajan y conviven artistas y creativos de todo el mundo en un
ambiente de colaboracion y mutuo respeto.
Pretende que artistas y creativos de todo el mundo trabajen, convivan
e intercambien experiencias en un enclave natural de incomparable
belleza, lo cual estimula los sentidos y desarrolla la vision
espacial. Trabajar lejos de su entorno habitual, sin la presion
laboral y familiar de la vida cotidiana, en un ambiente tranquilo y
relajado, favorece la fluidez de ideas y contribuye a desarrollar la
capacidad artistica y creativa innata de los artistas.


Correo Electronico: becas@...
fundacion@...

@ CFP: TWO SPECIAL ISSUES OF FILM CRITICISM
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prazo/plazo/deadline:
Complex Narratives--due January 15, 2006
Digital Special Effects--due April 1, 2006

Complex Narratives
Papers are invited for a special issue of Film Criticism devoted to
recent complex narratives. Since Pulp Fiction, numerous films have
employed complicated story/plot structures to various ends.
Manuscripts should focus on either analysis of individual examples or
the phenomenon as a whole. All published essays will, however, do
more than describe complex narratives. They will also explain causes
for this trend and/or contribute to existing critical approaches for
analyzing these narratives. All critical methods are encouraged.
Queries should be directed to the guest editor, Janet Staiger:
jstaiger <uts.cc.utexas.edu>.
Deadline for submission: January 15, 2006
Manuscripts should be in MLA format, 15-20 pages in length
Please send one copy and disc (Word format is preferred) to:
Janet Staiger
Department of Radio-Television-Film (CMA 6.128)
University of Texas at Austin
One University Station A0800
Austin, TX 78712

Digital Special Effects
Film Criticism seeks essays for a special issue on contemporary
cinema and digital special effects. We are particularly interested in
work that moves beyond the spectacle vs. narrative debate to consider
how digital special effects have impacted film aesthetics (color,
style, etc.), genre, narrative, film bodies, setting and mise en
scene, animation, and motion. Essays do not necessarily have to focus
on technical aspects of the production of digital special effects. A
broad range of critical approaches is welcome. Send queries to guest
editor Kristen Whissel <kwhissel@...>.
Deadline for submission: April 1, 2006
Manuscripts should be MLA format and approximately 20 pages in length.
Please send one copy and disc (Word format or pdf file) to:
Kristen Whissel
Film Studies Program
7408 Dwinelle Hall #2670
University of California
Berkeley, CA 94720-2670

Founded in 1976, Film Criticism recently completed its twenty-eighth
year of continuous publication, making it the third oldest academic
film journal in the country. FC has published the work of such
international scholars as Dudley Andrew, David Bordwell, David Cook,
Robin Wood, Janet Staiger, Ann Kaplan, Andrew Horton, Wheeler Winston
Dixon, Marcia Landy, and Peter Lehman. Equally important, we continue
to present the very best writing from a new generation of film
historians, theorists, and critics representing many different
disciplines, cultures, and critical perspectives. "The critical
analysis found in the essay-length articles is of a particularly high
quality... Researchers will profit from the excellent book review
section " (Katz's Magazines for Libraries). In addition, Film
Criticism regularly publishes single-theme issues, extensive
interviews, and festival reports. The journal is peer-reviewed.


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