P R O @ R T E C L I P S
Boletim Eletronico do Projeto ProArte Brasil
Ano 9 N. 91+92 12/2005
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
PARTE 4: OPORTUNIDADES
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
@ ARTISTAS QUE TRABALHAM COM VIDEO (E NAO CINEASTAS E DIRETORES DE
CURTA-METRAGENS);
==========================================
prazo/plazo/deadline: ABR 2006

Estou interessado em trabalhos conceituais, nao-narrativos,
pastiches, criticas de midia de massa, performance, colagens,
experimentos digitais, TV alternativa etc

Antes de enviar os trabalhos, o ideal seria que os interessados
entrem em contato por email
para uma breve troca de ideias.

Antonio Pasolini: apasolini@...

limite: abril 2006

@ LATIN SCREENS 2006 (COLOMBIA)
==========================================
prazo/plazo/deadline: N/C

Esta reunion anual de la industria cinematografica se celebrara entre
el 20 y el 22 de febrero en el Centro de Convenciones de Cartagena,
en el marco de Andina Link 2006. El evento, que incluye conferencias
sobre los parametros tecnicos internacionales para competir en
mercados mundiales, busca comercializar y promocionar las
producciones y servicios cinematograficos de Colombia.
<http://www.andinalink.com/es/exhibit/2006/screen>

@ CONVOCATORIA SEMILLEROS DE TALENTOS - CL NICA DE PRODUCCI N. XXI
Festival Internacional de Cine de Mar del Plata
==========================================
prazo/plazo/deadline: 10 FEV 2006

Estan abiertas las inscripciones para participar en la seleccion de
proyectos para Semillero de Talentos - Clinica de Produccion del XXI
Festival Internacional de Cine de Mar del Plata, que se realizara
entre el 9 y el 19 de marzo de 2006. La convocatoria esta dirigida a
productores que tengan un proyecto para un largometraje o telefilm
(ficcion o documental) y que deseen hacer parte de una capacitacion
durante el Festival con especialistas de prestigio internacional. Se
pueden presentar trabajos hasta el 10 de febrero del 2006.
(54 11) 4383-5115 int. 128
programa.pais@...


@CALL FOR CONTRIBUTIONS, INTERVENTIONS AND COLLABORATION: Hacklab:
Technology, Creativity, Social Organisation
==========================================
prazo/plazo/deadline: N/C

Hacklab: Technology, Creativity, Social Organisation A weekend
gathering forcollaborative and creative reflection February 3/4/5 a "
2006 Institute forAdvanced Studies Lancaster University, North West
England.
http://lists.aktivix.org/mailman/listinfo/knowledgelab
http://knowledgelab.pbwiki.com
(knowledgelab.org.uk coming soon)
(see also http://www.hacklab.org.uk)


We imagine talks and discussions about things like:

*technology and social organisation, such as novel a omanagementa u
andorganisation within free software projects or hacklabs, as well as
DIY media

*freedom of information & communication and related social,
political, or cultural movements

*digital divides and tribal connections

* nanotechnology and genetic modification: resistance and/ordemocratisation?

* sustainable/renewable/alternative (hippie) technologies

* anarchism, cryptography, privacy and identity in cyberspace

*free hardware?

*the EU Software Patent Directive (swpat.ffii.org) as enclosure

*feminism and information technology

*primitivism (as a technology?)

*organic composition in music and elsewhere?

*psychedelic technologies

Additionally, we hope to create spaces for hands-on workshops, get in
touchif you have skills to
share:

*how to use Free Software for everyday purposes, like emailing
(Thunderbird,Evolution), web surfing (Firefox), text
writing(OpenOffice.org) and photo manipulations (GIMP) etc.

*installation of GNU/Linux operating systems

*using the command line interface: the basics

*learning (to write) code: from sys-admin scripts to wherever your
skillsmay take you

*system security, privacy, encryption, set up a "SAFE" computer
networkat home or at work

*women demystifying the box: understanding components to repair
hardware andinstall software

*recycle computers: provide access to the public and for
artisticinstallations, such as VJ-ing

*any other hacks


Participation is limited to a hundred people.
A LIMITED AMOUNT OF TRAVEL GRANTS AND FREE ACCOMODATION IS AVAILABLE. SEND
SUGGESTIONS FOR WORKSHOPS, PRESENTATIONS, AND PAPERS (MAX. 1 PAGE) TO:
n.moeller at lancaster . ac . uk

Costs, incl. (predominantly organic and vegan by 'the fat olive')
Fridaydinner, Saturday lunch and dinner:
Volunteers/unpaid/unwaged: FreeUnfunded students: DonationFunded
students, Lancaster academics: #20 (additional donation
welcome!)Representatives of "smaller" NGOs: #35 (negotiable)
Representatives of
"bigger" NGOs: #65Academics: #65

http://knowledgelab.pbwiki.com/FrontPage - currently migrating to
www.knowledgelab.org.uk via http://knowledgelab.iskra.net/wiki/Main_Page

chat: irc.indymedia.org #research - quick link:
http://chat.indymedia.org/?chans=research

--------------------------------------------------------
Some people are rumoured to be working on multimedia installations:
music,video and other altered states of mind. Live improvised piano
and moreSaturday night: make it the Institute of Advanced Creativity
and
Improvisation :)

There is also a session being planned about how academic research
projectscan learn from grassroots movements' and other cyberspace
groups' use of ICT
for collaborative projects (and knowledge creation) with the view to
form acollective to provide such services for academic research
projects, -likeaktivix/sindominio/autistici/mutualaid/riseup
community servers do for cultural, social and political projects.
The"profits" that could maybe be accumulated from "research
contracts" would gointo a fund to have more knowledge lab events. A
kind of self-sustainable
think tank, a parasite/pirate/autonomous university?


@CALL FOR PAPERS: OPEN SESSION "CULTURAL STUDIES AND THE RESEARCH OF
DIGITAL GAMES" AT: CROSSROADS CONFERENCE AT ISTANBUL BILGI UNIVERSITY
(TURKEY)
==========================================
prazo/plazo/deadline: 18 JAN 2006

http://www.crossroads2006.org 20-23 July 2006

The investigation of computer games still is a field seldomly
consideredin academic research. In contrast to this, a large public
interest inthe possible "effects" of computer and video games exists,
which seemsunderstandable since this "leisure time activity" plays an
increasinglycentral role in the life of many young people and adults.
Thus gameresearch has to examine potentials of meaning, patterns of
interactionand readings contained in the representations of the game
and theirinfluence on the player's "lifeworld". The actual forms of
appropriationof this "new" medium vary widely e.g. different forms of
identityconstruction and community building, therefore the following
sessionsearch for papers that address a wide range of topics and focus
especially on the relationship between Cultural Studies and gameresearch.

To submit a paper to this session, please send an abstract of
maximum150 words to the Session Organizer Markus Wiemker
(markus@...).
The deadline for the submission of papers is January 18, 2006.

Best wishes, Markus Wiemker
---
Markus Wiemker
Lecturer for New Media
University of Applied Sciences
Media Management, St. Polten, Austria
Heinrich-Schneidmadl-Str. 15
lbwiemker@...
Tel.: +43 2742 313 228 416
Fax: +43 2742 313 228 409
www.fh-stpoelten.ac.at
markus@...
www.wiemker.org

@ CONVOCATORIA TALLER PROA CINE. PARA DESARROLLO DE PRIMERAS
PEL CULAS. FUNDACI N PROA CON EL APOYO DE LA FUNDACI N TYPA Y EL
BAFICI (ARGENTINA)
==========================================
prazo/plazo/deadline: 23 JAN 2006

Realizacion: Fundacion Proa
Con el apoyo de la Fundacion TyPA y el BAFICI


FUNDACION PROA INVITA A PRESENTAR PROYECTOS PARA LA PRIMER EDICION
DEL TALLER PROA CINE PARA DESARROLLO DE PRIMERAS PELICULAS

Jurado: Juan Antin - Alan Pauls - Lita Stantic
Deadline: 23 de enero de 2006

El Taller Proa Cine, de cuatro meses de duracion, tiene como objetivo
trabajar en el proceso de preparacion de primeros largametrajes,
mediante un taller intensivo focalizado en el guion y la puesta en
escena.

Los proyectos pueden ser documental, ficcion, animacion y seran
desarrollados desde su fase embrionaria, a partir de un riguroso
asesoramiento, buscando disenar, desarrollar y perfeccionar todas sus
facetas hasta obtener un guion de calidad susceptible de convertirse
en pelicula.

Se seleccionaran 7 postulantes (5 argentinos y 2 extranjeros).

Cada becario recibira un estipendio total de $ 4.000 a lo largo de
los cuatro meses de duracion del Taller.

REQUISITOS

Los candidatos que deseen postularse deben presentar un dossier por
triplicado con el siguiente material:

- Caratula: Taller Fundacion Proa para Desarrollo de Primeras
Peliculas, el titulo del proyecto y los datos personales del
postulante (nombre, apellido, numero de documento, direccion,
telefono, e-mail)
- Sinopsis (maximo 2 paginas)
- Tratamiento (8-10 paginas)
- Carta de intencion, o justificacion conceptual del realizador sobre
su proyecto
- Curriculm Vitae del postulante
- Presupuesto estimado del proyecto
- Cualquier otro elemento considerado necesario para la comprension
del proyecto.
- En caso de contar con trabajos previos realizados, es optativo incluirlos.
- Copia de los documentos en version electronica grabados en CD
- Las Condiciones de Becas y Subsidios firmadas. Las mismas se
encuentran en <http://www.proa.org>

Recepcion de proyectos desde el lunes 28 de Noviembre hasta el lunes
23 de Enero de 2006 inclusive. Solo los dias lunes de 14 a 18 hs.
(Noviembre: 28 | Diciembre: 5-12-19-26 | Enero: 2-9-16-23) en la
Fundacion Proa: Av. Pedro de Mendoza 1929 (C1169AAD) Buenos Aires,
Argentina. Telefono (54 11) 4303 0909

Informacion general / Bases y condiciones: <http://www.proa.org>
Consultas: tallercine@...


@ CONVOCATORIA 2006: 2o EDICI N EN BUENOS AIRES DELSEMINARIO-TALLER
PARA PRODUCTORES (Y GUIONISTAS)< PRODUIRE AU SUD / BUENOS AIRES LAB>
==========================================
prazo/plazo/deadline: 26 JAN 2006

8o Buenos Aires Festival Internacional de Cine Independiente,
Produire au Sud - Festival des 3 Continents (Nantes),Embajada de
Francia en Argentina, Delegacion Regional de Cooperacion francesa
para el Cono Sur, Fundacion TyPA y Alianza Francesa de Buenos Aires


En el marco del Buenos Aires Lab (BAL), del 8o Buenos Aires Festival
Internacional de Cine Independiente, se organizara la segunda edicion
del seminario para productores con un proyecto en desarrollo
Produire au Sud (Producir en el Sur) que tendra lugar del 12 al 16
de abril de 2006.


Del mismo modo que la edicion francesa, este seminario tiene por
objetivo acercarle a los jovenes productores del Cono Sur un modo de
empleo de las co-producciones y co-financiaciones existentes con
Europa como asimismo favorecer encuentros entre los productores
seleccionados y productores europeos.


Produire au Sud/ BAL propone, como la primera edicion del 2004, un
panorama de las herramientas de co-produccion, en los aspectos
juridicos y reglamentarios (derecho de autor, contratos y mandatos,
aspectos que conciernen al audiovisual en las negociaciones
multilaterales mundiales, sistemas de proteccion de las
cinematografias nacionales), tecnicos (rodaje y post-produccion,
nuevas tecnologias) y comerciales (exportacion, distribucion,
mercados, festivales).


Durante la edicion 2006 se agregaran consultorias de guion y de
produccion para los proyectos seleccionados.


A modo de inscripcion, como primera etapa, los candidatos deberan
enviar por mail a cinemateca@...
con copia a produireausud@... y bal@... e
inscribiendo en Asunto del mismo Inscripcion - Produire au Sud /
BAL 06 , la siguiente informacion:



- nombre y apellido del candidato (el Productor),

- nombre y coordenadas de la empresa productora del proyecto
(direccion, telefono y mail),

- nombre del Realizador y del Guionista (en caso de ser
personas distintas),

- titulo del Proyecto.



El dossier completo, en cuatro ejemplares, podra ser presentado hasta
el 26 de enero de 2006 inclusive en:

Embajada de Francia en Argentina - Cinemateca Regional
Basavilbaso 1253
CP 1006 Buenos Aires
Tel: (5411) 45 15 28 00
cinemateca@...


@ 6o MUESTRA "DOCUMENTALES Y FOTOGRAF AS DE AMERICA LATINA"
==========================================
prazo/plazo/deadline: 31 JAN 2006


Bases de la Convocatoria para Documentales

1. La Muestra "Documentales y Fotografias de America Latina" no es
competitiva, por lo tanto no se otorga ningun tipo premio.

2. Pueden participar todos los realizadores residentes en America
Latina o aquellos cuyo trabajo verse sobre algun aspecto de America
Latina.

3. Del material recibido, de ser necesario, se realizara una
seleccion, para que la Muestra sea lo mas representativa y tenga una
excelencia de calidad audiovisual.
Dicha tarea esta a cargo del correspondiente Comite de Seleccion.

4. Los documentales seleccionados para la 6o Muestra, podran ser
exhibidos dentro del marco de la misma, incluida su Itinerancia y
Muestras Especiales organizadas por la Asociacion ProDocumentales
Cine y TV, siempre con fines culturales.

5. Cualquier persona o Institucion interesada en adquirir copia de
alguno de los documentales, sera puesta en contacto directo con los
realizadores, quedando la Asociacion ProDocumetales Cine y TV y las
Instituciones participantes, al margen de cualquier transaccion
comercial.

6. Todas las copias de los documentales presentadas a la Muestra,
sean o no seleccionados, pasaran a formar parte de la Mediateca de la
Asociacion ProDocumetales Cine y TV, y no seran devueltos bajos
ningun concepto.

7. Fecha limite de presentacion hasta el 31 de enero 2006.

8. Al presentar sus trabajos, los realizadores aceptan todas las
condiciones de estas Bases.

Se remitira a los realizadores, cuyos trabajos sean seleccionados, el
material editado para la Muestra y una certificacion de su
correspondiente participacion.

Agustin Furnari Alonso de Armino
Director de la Muestra

Fichas de Inscripcion en: www.prodocumentales.org

REQUISITOS INDISPENSABLES PARA LA PRESENTACI N DE DOCUMENTALES:
Dada la masiva participacion alcanzada en las Muestra anteriores,
aconsejamos a los interesados cumplir estrictamente todas las
indicaciones establecidas en los requisitos.

Ante cualquier duda, comunicarse con la Direccion de la Muestra lo
antes posible.

S Se admitiran Documentales Sin limite de duracion, teniendo especial
interes para esta Muestra, los trabajos de una duracion menor a 45
minutos.
S Ano de produccion: 2004 - 2006.
S Si el documental no estuviera hablado en castellano, debera estar
subtitulado en castellano (ambas copias). De todos modos se
recomienda en todos los casos, enviar copia subtitulada al
castellano, para facilitar la exhibicion para publico no oyente, y
para evitar problemas de incomprension por diccion.
S Asi mismo se recomienda enviar, si se cuenta con ella, una copia en
MiniDV o DVD subtitulada al ingles, frances y/o portugues, con vistas
a la Itinerancia por diferentes paises, como las presentaciones en
Sedes del Instituto Cervantes.

ENVIAR POR CORREO ELECTR NICO:
S Ficha de Inscripcion COMPLETA en soporte informatico (desde la web
o por correo electronico) en CASTELLANO.
S Una (1) fotografia del documental (en formato JPEG de 720x576
pixeles, por correo electronico como documento adjunto), para su
publicacion en el Catalogo.
S Una (1) fotografia del realizador o del grupo (en formato JPEG de
720x576 pixeles, por correo electronico como documento adjunto), para
su publicacion en el Catalogo.
S EN TODOS LOS CASOS: Transcripcion en castellano de los dialogos,
textos y titulos de credito, por correo electronico como documento
adjunto (en Word bajo entorno Windows para PC).
ENVIAR POR CORREO POSTAL O MENSAJERIA
S Una (1) copia impresa de la Ficha de Inscripcion completa.
S Una (1) copia en VHS (PAL o NTSC) para el Comite de Seleccion.
S Una (1) copia en formato MiniDV Pal (excepto para largometrajes,
que se admitiran en Betacam SP PAL), o DVD sin zona PAL, con sonido
estereo 16 bits.
S Puede enviarse un (1) cartel publicitario del documental.
ENVIAR TODO EL MATERIAL SOLICITADO, DE UNA SOLA VEZ, de lo contrario
el documental no pasara al Comite de Seleccion.

Confirmar Siempre fecha y medio de envio del material a nuestro
correo electronico: documentales@...

Los trabajos deben ser enviados como: "MATERIAL SIN VALOR COMERCIAL"
DIRIGIR LOS ENV OS:
POR CORREO POSTAL A:
Asociacion ProDocumentales Cine y TV
Apdo. de Correos 551 - 02080 Albacete Espana

POR SERVICIOS DE MENSAJER A A:
Asociacion ProDocumentales Cine y TV
Avda. San Marcos, 9A - 02140 El Salobral - Albacete - Espana

Recepcion de Documentales
hasta el 31 de enero de 2006


@ CONVOCATORIA Cinefondation. FESTIVAL DE CANNES
==========================================
prazo/plazo/deadline: 18 FEV 2006


A Cinefondation apresenta anualmente por ocasiao do Festival de
Cannes, que acontecera de 17 a 28 de maio de 2006, uma selecao de uns
vinte filmes (ficcao e animacao) provenientes de escolas de cinema.
Este ano foram 18 os titulos escolhidos provenientes da Coreia do
Sul, Israel, Dinamarca, Franca, Polonia, Republica Tcheca, Reino
Unido, EUA , Argentina, Colombia, Cuba,
Mexico e Brasil.

A data limite para inscricao e remessa de filmes para a proxima
selecao e dia 18 de fevereiro de 2006

Interessados podem se inscrever diretamente via internet:
www.festival-cannes.fr

Informacoes complementares:
Georges Goldenstern
Diretor da Cinefondation:
Telefone:(33.1)53.59.61.21/ Fax(33.1)53.59.61.24
e-mail:cinefondation@...

REGULAMENTO:

*Artigo 1
A Cinefondation, selecao oficial do Festival de Cannes, tem por
finalidade apresentar e valorizar filmes quer de ficcao,quer de
animacao de escola de cinema. Filmes cujas qualidades artisticas
revelam um talento de cineasta que merecem ser encorajadas.

*Artigo 2
Salvo derogacao, os filmes para serem selecionados devem responder
aos seguintes criterios:
-terem sido realizados nos 18 meses precedentes ao festival;
-nao terem sido apresentados nos principais festivais internacionais;
-nao ultrapassarem 60 minutos;
ATENCAO: documentarios nao sao aceitos.

*Artigo 3
Para inscrever-se e preciso preencher o formulario disponivel no site
na internet. O DVD (de preferencia) ou o VHS do filme deve estar
acompanhado de uma copia do borderau de inscricao no qual figura a
referencia do postulante (codigo de barra), que deve chegar na sede
da Cinefondation antes de 18 de fevereiro de 2006.

*Artigo 4
Os laureados pela Cinefondation serao escolhidos por um juri
internacional integrado por um presidente e pelo menos quatro
personalidades.
O juri se manifesta mediante voto secreto. As decisoes serao tomadas
por maioria absoluta dos votantes em dois turnos de votacao e por
maioria relativa nos turnos seguintes.
A premiacao so comporta um laureado ex aequo. Salvo derogacao, tal
disposicao nao se aplica ao primeiro colocado.

*Artigo 5
O juri indica 03 laureados. O primeiro recebe um premio de 15 000
euros, o segundo 11.250 euros e o terceiro 7.500 euros. O primeiro
colocado tem o compromisso por parte da Cinefondation que apresentara
seu primeiro longa no ambito do Festival de Cannes.
Os primeiros longas dos tres ganhadores trarao no credito a mencao
que foram realizados com o apoio da Cinefondation do Festival de
Cannes.

*Artigo 6
O Festival de Cannes se encarrega de legendar os filmes selecionados
junto a um laboratorio credenciado.
O Festival de Cannes se encarrega do transporte e seguro das copias
dos filmes selecionados, tanto na ida quanto na volta.
O Festival de Cannes se encarrega da guarda e do seguro das copias
dos filmes no ambito do Palais des festivals em Cannes.

*Artigo 7
A copia do filme selecionado deve chegar a sede da Cinefondation no mais
tardar dia 15 de abril de 2006.
Caso a data nao seja respeitada, a Cinefondation se reserva o direito
de nao programar o filme.

*Artigo 8
O presidente da Cinefondation tem o poder de resolver todos os casos
nao previstos neste regulamento.
Sua decisao elimina todo litigio ou contestacao referente ao presente
regulamento.

*Artigo 9
A participacao ao festival implica adesao ao presente regulamento.

CINEFONDATION
Diretor: Georges Goldenstern
Administracao dos filmes:Clarisse Robillard
Festival de Cannes
3,rue Amelie - 75007 Paris
www.festival-cannes.org
cinefondation@...

Enviada por: "Marcio Guimaraes" <marcio@...>


@ PROGRAMA PAIS: COMIENZA LA B SQUEDA DE NUEVOS TALENTOS. FESTIVAL
INTERNACIONAL DE CINE DE MAR DEL PLATA
==========================================
prazo/plazo/deadline: 10 FEV 2006


El Festival Internacional de Cine de Mar del Plata, con el firme
proposito de apoyar a los nuevos y jovenes talentos y profundizar los
vinculos con la gente de cine de todo el pais, imagina, disena e
implementa acciones coordinadas y proyectadas con una vision a largo
plazo, que constituyen el Programa Pais.


En el marco de este Programa, coordinado por Nora Araujo, se realiza
esta convocatoria nacional dirigida a realizadores audiovisuales
(editores, productores, directores, y guionistas) que presenten un
proyecto en curso en el cual puedan mostrar sus potencialidades
creativas.

El Festival entiende que este tipo de espacios se vienen
consolidando en todo el mundo como una alternativa para promover el
trabajo de jovenes artistas. En ese marco y considerando la excelente
recepcion y evaluacion que tuvo la experiencia de la ultima edicion,
se reeditara y ampliara el proyecto de cara al proximo Festival.


En la edicion anterior del Festival se realizaron tres clinicas
especificas: Clinica de Guion a cargo de Enrique Cortes, Clinica de
Estructura y Edicion a cargo de Jorge Preloran junto a Fermin Rivera
y Clinica de Produccion, a cargo de Nicolas Batlle y Hugo Castro Fau,
productores nacionales de gran prestigio. A estas tres Clinicas este
ano se suma una estadia de Direccion.


En esta nueva edicion del Festival Internacional de Cine de Mar del
Plata, una vez mas, se profundizara el desarrollo y perfeccionamiento
de las obras de alrededor de 50 artistas que comienzan a destacarse
en el campo cinematografico, los cuales seran previamente
seleccionados por un grupo de profesionales y expertos.



De esta manera se consolida el camino para que los jovenes talentos
concreten y muestren sus realizaciones tanto al publico como a
prestigiosos cineastas, productores y programadores nacionales e
internacionales que nos visitan cada ano en la ciudad de Mar del
Plata.

Las bases de esta convocatoria se encuentran disponibles en el sitio
web del Festival <http://www.mardelplatafilmfest.com/>

. El cierre de recepcion de materiales es el 10 de febrero de 2006.

Contacto: programa.pais@... Renata Stella 011
4383-5115 int. 128

<http://www.mardelplatafilmfest.com/>


@ 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


@ 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.

@ 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.

@Call for Papers: The War Body on Screen
==========================================
prazo/plazo/deadline: 9 JAN 2006


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

@ 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
==========================================
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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