CFP: Three-Day International Conference on “Whither Integrative Humanities? Paths And Challenges” -August 28 - 30, 2024. The English and Foreign Languages University, Hyderabad,

Concept Note

Post-Technological Rationalist thought on natural and social phenomenon is marked by two major emphases: a. The move away from discipline-specific knowledge-systems, towards the construction of a transdisciplinary knowledge base/knowledge regime (Sverker Sorlin 2018), through the configuration of a knowledge-infrastructure to regulate the flow of ideas across established, as well as new/emergent knowledge-sites, and b. The recognition of the slippages across the traditional impact/value binary, with impact increasingly being seen as the first step in the direction of value creation. The emergent knowledge ecosystem suggests the tasks cut out for humanities, factoring in the seamless connection across natural, cultural, and technological phenomena that marks the planetary-scale crises confronting humanity. Offering a socially usable critique of established processes of knowledge production and building cultural structures of preparedness for the unforeseen (Helge Jordheim and Tore Rem 2014) are these crucial tasks. The ‘crisis’ in humanities can now be seen as the proactive response to these crucial, challenging tasks, justly viewed as opportunities. The favorable climate for inter and cross- disciplinary approaches in traditional humanities, and the emergence of bio-, techno-, medical-, geo-, digital-, public- humanities, lend credence to this belief.

The Three-day International Conference on Whither Integrative Humanities? Paths and Challenges offers a forum for scholars interested in understanding and disseminating the new role that humanities has come to assume, by deliberating on ways in which humanities can contribute to the socio-economic, cultural, and environmental challenges facing the world today.

Themes and Sub-Themes (List is not Exhaustive)

Post-Truth and Post-human Knowledge

• The Adventures of Philosophy in the Post-Truth Era

• Rethinking Critical Posthumanities

• Moves beyond Anthropocentrism

• New Academic Posthumanities

Situating the Posthuman Subject

• Apprehending Human and Non-Human Rationality

• Dealing with a Nonconscious Future: Agendas and Strategies

• Reclaiming Agency: Putative Action-Plans for the Cyborg Self

Public Humanities

• Humanities of the Street: Challenges and Responses

• Public Creation and the Discipline: Dealing with Ephemerality and Fluidity

• Knowledge Cocreation Ecosystem: Power, Trust and other Issues

• Citizen Humanities: Emerging Participatory Modes in Natural and Cultural Heritage

Varieties of New Materialism

• Revisiting Ethico-Onto-Epistemology

• Chronicling Acts of Diffractive Reading

• Agential Realism: Re-Configuration and Impact Evaluation

• The Academic Fortunes of New Materialist Vitalism

• Negative New Materialism: A Negative Moment or Constructive Aspect?

• Performative New Materialism: Critical Assessments

Innovative Medicine on the Moral/Ethical Plane

• The Research-Practice Continuum: Ethical Conundrums

• Assisted Reproductive Techniques: Unanswered Ethical Dilemmas

• Neuroethics: Plotting the Field

Technology, Embodiment and Gender

• Ubiquitous Technologies, Embodied Cognition and Interaction

• Technology and Embodiment in Learning Spaces

• Technology and Gender Equality in the Global South

Globalization of the Body

• The Unstable “We”: Vaccine Nationalism and Viral Sovereignty

• Re-configuring the Biomedical Technoscape

• Engaging with Ontological Wholeness and other Myths

• The Political-Economy of the Body: Globalization and Precarity

• Troublesome Discursive Formations: Eugenic Utopias

Alternative Schemes of Thought, Knowledge, and Self-Representation

• Comparative Relativisms: Way out of the Maze or Mission Impossible?

• Critical Constructivism: The Return of the Prodigal `Essence`?

• Epistemological Anarchism: Method’s Radical Other or its Uncanny Double?

• Forms of Self-Representation: Diachronic/Narrative or Episodic/Non-Narrative?

New Perspectives on the Anthropocene

• Deep Ecology: Tracing the Metabolic Connections with other Disciplines

• Varieties of Eco-Feminism: Sustainable Theory?

• Disenchantment and New Animism: Progressive or Atavistic?

• Social Ecology and Bioregionalism: Theorizing Eco-Justice

Understanding the Technological Sublime

• Artificial General Intelligence and the Technological Sublime

• Biotechnological Sublime: Views from the Intersection of Nature, Technology, Art

• Environment Narratives and/on Next Nature

Visuali0ty1and Image Studies

• Images, Circulation and Practices

• Visuality and the New Media

• Everyday Imaging, and Critical Thinking

Minority Discourses: New Approaches

• NewFrontiers in Dalit Literary Studies

• Film Studies

• Graphic Narratives: The Politics of Reception

• Globalization and Diaspora Literary Studies

• Alternative Literature Studies

Literatures of the Global South

• South Asian Literature

• Indian Art and Aesthetics

• Postcolonial Diaspora Art

• Refugee Literature

• Literature and Migration

• Identity: Representation, Culture and Politics

Indigenous Knowledge Systems and Narrative Traditions

• Theorising Orality

• The Ritual Revisited

• Issues in Performance Ethnography

• Performance and Public Spaces

• Folkloristics and Modern Narratives

• Retelling Myths: Critique, Ideology, Aesthetics

• Mythicizing Worldviews

Gender and Sexuality Studies

• Disciplinarity and Gender Studies

• Feminist Praxis

• Women’s Studies

• Masculinity Studies

• Queer Studies

• Gender Responsive Pedagogy: Issues in

• Ideology and Methodology

Original, Unpublished papers on the above themes are invited from members of university and college faculty and other institutions, independent researchers, research scholars registered with universities and research institutions.

Send your abstract, in about 250 words, with a title, your name, institutional affiliation, email Id and mobile number.

Email your abstract to: ihceflu2024@gmail.com

● Last date of Submission of Abstracts: July 5, 2024

● Communication regarding Acceptance of Abstracts: July 15, 2024

● Registration: July 30, 2024

● Submission of Full Papers: August 10, 2024

Send your abstract, in about 250 words, with a title, your name, institutional affiliation, email Id and mobile number.

Email your abstract to: ihceflu2024@gmail.com

Call For Videos: 4th Annual Smartphone Short Film Competition-Talking Films Online (TFO)

**𝐖𝐡𝐨 𝐰𝐞 𝐚𝐫𝐞**:

Talking Films Online (TFO), a forum for discussing cinema since 2020.

**𝐖𝐡𝐚𝐭 𝐰𝐞 𝐝𝐨**:

Attempt to bridge the gap between those who make films and those who study them

**𝐇𝐨𝐰**:

Bring on the same platform teachers, students, researchers, reviewers, critics, cinephiles, etc. on the one hand and producers, directors, actors, cinematographers, screenplay writers, subtitlers, etc. on the other.

** 𝐖𝐡𝐚𝐭 𝐲𝐨𝐮𝐧𝐠 𝐚𝐬𝐩𝐢𝐫𝐢𝐧𝐠 𝐟𝐢𝐥𝐦𝐦𝐚𝐤𝐞𝐫𝐬 𝐰𝐡𝐨 𝐞𝐧𝐭𝐞𝐫 𝐭𝐡𝐞 𝐜𝐨𝐦𝐩𝐞𝐭𝐢𝐭𝐢𝐨𝐧 𝐜𝐚𝐧 𝐥𝐨𝐨𝐤 𝐟𝐨𝐫𝐰𝐚𝐫𝐝 𝐭𝐨, 𝐛𝐞𝐬𝐢𝐝𝐞𝐬 𝐭𝐡𝐞 𝐩𝐫𝐢𝐳𝐞𝐬**:

Their films will be viewed and feedback offered by experts on cinema from all over the world, as well as by those currently in the business of cinema.

**𝐇𝐨𝐰 𝐭𝐡𝐞 𝐰𝐢𝐧𝐧𝐞𝐫𝐬 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐜𝐡𝐨𝐬𝐞𝐧**:

By an independent Jury consisting of top filmmakers and film critics

𝑺𝒕𝒖𝒅𝒆𝒏𝒕𝒔, 𝒔𝒆𝒏𝒅 𝒊𝒏 𝒚𝒐𝒖𝒓 𝒇𝒊𝒍𝒎𝒔 𝒇𝒐𝒓 𝒕𝒉𝒆 𝒄𝒐𝒎𝒑𝒆𝒕𝒊𝒕𝒊𝒐𝒏, 𝒂𝒏𝒅 𝒕𝒆𝒂𝒄𝒉𝒆𝒓𝒔 𝒂𝒏𝒅 𝒑𝒂𝒓𝒆𝒏𝒕𝒔, 𝒅𝒐 𝒆𝒏𝒄𝒐𝒖𝒓𝒂𝒈𝒆 𝒚𝒐𝒖𝒓 𝒔𝒕𝒖𝒅𝒆𝒏𝒕𝒔 𝒂𝒏𝒅 𝒄𝒉𝒊𝒍𝒅𝒓𝒆𝒏 𝒕𝒐 𝒔𝒆𝒏𝒅 𝒕𝒉𝒆𝒊𝒓 𝒆𝒏𝒕𝒓𝒊𝒆𝒔 𝒕𝒐 𝒖𝒔!

Call for papers: Disability in World Cinema: Translating Subjectivity (NOV-2024)

This panel aims to address the question of the representation of disability in world cinema (fiction and documentary), while moving away from a purely historical approach that would primarily focus on the evolution of representation of disability to consider how Disability Studies have enabled us to reconsider the cinematic representations of disability. This panel hinges on the assumption that Disability Studies have given rise to a series of critical and theoretical tools, as well as to a renewed perception of disability that no longer sees it as a hindrance, but rather as a driving force for creation.

One of the objectives of this panel will thus be to observe how a certain number of artists working today are seizing on the question of disability to provide subjective and non-hegemonic representations that are often overlooked in more mainstream productions. Our approach for this panel is rooted in what constitutes the heart of Disability Studies, namely the possibility that the latter have offered to bring forth new modes of representation that value the lived experience of disabled people.

We welcome presentations that choose to explore the ways in which the theoretical tools developed by Disability Studies have fostered the creative process of artists who no longer perceive disability as the sole defining feature of an individual, but instead seek to translate the subjectivity of the disabled person through the affective power of the audiovisual medium. We are particularly interested in presentations that focus on works whose primary goal is to avoid the essentialization of disability.

Possible topics include, but are not limited to:

-The possibilities offered by the audiovisual medium to convey a more subjective and affective representation of disability (i.e. haptic images);

-How these modes of representation have redefined spectatorship and the way we approach images;

-How disabled artists are using the audiovisual medium to translate their own experience of disability.

Submission Deadline : April 30-2024

For More details: Visit https://www.pamla.org/

roc104@usask.ca

Call for Chapters – Cultural Depictions of the Stepmother: Literature, Stage, and Screen

This call is for abstracts for a scholarly, international edited collection entitled, Cultural Depictions of the Stepmother: Literature, Stage, and Screen. Currently I am seeking a number of academics and professionals in the field who might like to send me an abstract for consideration for inclusion in the book.

The aim of this scholarly edited collection is to reveal how, in any society, the personal expectations and actual experiences of the stepmother may differ from the societal and cultural expectations and realities of the role. The further aim is to show how the stepmother is perceived in the popular views of a particular society, as demonstrated in the literature, stage, screen, and pop culture narratives, of that society.

To whatever degree, every culture in the world is different to all others. Yet, in any culture, religious and cultural beliefs are inseparable, intrinsic one to the other, and are important to the traditions, customs, practices and laws of any particular culture or society. One figure that remains consistent in almost every culture, and that attracts the attention, is the stepmother. Regardless of whether a culture is mainly monogamous or polygamous, the stepmother is one of the female figures that are central to the family, the community and hence the society and the culture. Various sources define the stepmother as: a woman who is married to one’s father after the divorce or separation of one’s parents or the death of one’s natural mother; a non-biological female parent who is married to a child’s biological male parent. An added complexity exists: statistics indicate that globally, there has been an increase of children born outside of marriage and who are raised by their cohabiting or non-cohabiting parents. Thus, a stepmother can be a woman who either marries or is the female partner of a man who has biological children resulting from a former marriage, or a previous union with some other woman. A woman may also become a stepmother by default as in the case of, say, raising the children of a deceased (or otherwise absent) relative, or an orphan or an abandoned child as if her own offspring. Thus, given that cultural and religious, and social traditions, and laws vary widely across the globe, a woman may become the stepmother either by fact or by custom, or by religious or civil law, or by de facto relationship, or by guardianship. In most though not necessarily all cultures, and according to the religious and cultural beliefs and laws of a culture, as well as the civil laws of that country, a man who has been but is no longer married may remarry; and in some other cultures also, a man who is currently married may marry or take a second wife who may be expected to act as stepmother to his biological children by another previous marriage or union that has ended, or by agreement between the child’s/children’s biological parents.

It is generally understood that whether she is welcomed by her new family or not, a man’s first wife or female partner brings with her some baggage into the life of the man she either weds or cohabits or has a relationship with, and hence into the family into which she marries or enters in some way. Perhaps this may be more so in the case of the stepmother—a second (or further) wife or female partner of a man who already has a biological child/or children from a former relationship. Sometimes, too, a woman who becomes a stepmother will bring her own biological offspring into the union. It is well documented that parenting can be a difficult task at times. For a stepmother, the challenges, problems, and the difficulties in raising some other woman’s biological children may differ to those experienced by the biological mother. Questions arise: within any culture, what are the implications for a woman who weds or become the female partner of a widower or a divorced or separated man who is actively involved with, or is responsible for, his biological child/children from a previous union? Likewise, what are the implications for a stepmother in a) a polygamous arrangement, and b) for a stepmother in a monogamous relationship?

Some suggestions for potential contributors to consider, and that could be addressed, may include but not limited to, are:

What are the cultural and social duties and expectations of the stepmother; and what are her personal realities and expectations, as depicted in the popular culture of a particular culture/society? Is it possible to detect differences or sameness between the fictionalized portrayals and the realities and social dictates of that culture?

How do class, ethnicity, culture, race, gender, and possibly history, shape depictions of the stepmother, as indicated in the popular screen, stage, and literary productions of any one particular culture?

What is the range of ways in which the stepmother is represented in the popular/social culture of the various societies?

Are there any powerful cultural or socially historical antecedents for the representations of the stepmother in popular/social culture, as screen, stage, and literary productions?

What are the creators’ and/or the producers’ intentions behind their portrayals of the stepmother; what are their messages for their audiences?

How would we establish the underlying cultural, historical, or production motivations for particular depictions of the stepmother? How often, if at all, are these representations told from the point-of-view of the stepmother herself? Alternatively, how often, if at all, are these representations told from the point-of-view of the stepchild/stepchildren, or the husband or partner of that woman herself?

Is there a difference between the ways in which the stepmother is depicted in film for small and large screen, and between those mediums to the depictions in drama, and to literature? Or in these depictions, is there a reasonably broad consensus between these genres?

This collection of scholarly essays will make an intervention in the field: it will be the first of its kind to make a comprehensive study of what being a stepmother means to and for the woman, to the family, the community, the culture, and the society to which she belongs. This to investigate whether or not there are characteristic features of the stepmother between cultures that may have either some similarity, or that are totally dissimilar; explore the popular beliefs and popular culture in relation to stepmother-hood in any one or more society/ies; document and record how various eastern and western societies perceive and represent the socially and culturally important figure of the stepmother in screen, stage, and literary works, including folk tales and pop culture narratives; indicate if there is agreement or difference between the various cultures on how the figure of the stepmother is depicted in popular culture to the viewing/reading audiences; establish a new and dynamic area of theoretical research crossing family studies, women’s studies, cultural studies, social history, gender studies, social studies, and the humanities in general; point the way to possible future cross-disciplinary work through examining various peoples and societies by way of cultural depictions of the stepmother; and permit scholarly consideration of the extent to which the creators and producers of narratives about the stepmother place this figure on the perimeter of society or at its center.

Submission instructions:

At this initial stage, in lieu of “chapters,” this proposed work, Cultural Depictions of the Stepmother, calls for extended abstracts for consideration for inclusion in the book.

The extended abstracts must be more than 1,500 words and less than 2,000 words. Full-length chapters of not less than, say, 7,000 words, and no more than 8,500 words each (including notes but excluding references lists, title of work, and key words), will be solicited from these abstracts.

Please keep in mind that your essay-chapter will be written from your extended abstract. Your abstract will carry the same title as your essay-chapter

To be considered, an abstract must be written in English, and submitted as a Word document.

When writing your abstract use Times New Roman point 12, and 1.15 spacing.

At the beginning of your extended abstract, immediately after the title of your work and your name, add 5 to 8 keywords that best relate to your work.

Use the Chicago Manual of Style 16th Edition.

Since this work is intended for Lexington Books, USA, please use American (US) spelling not English (UK) spelling, and not Australian English spelling.

Use the Merriam-Webster’s Collegiate Dictionary.

For this project it is most important to use an impersonal academic voice when writing your abstract, and possibly your chapter later. That is, do not use the teacherly voice (“as we will see…”; “here we see…”; “as it will become clear”; …); and do not use 1st person or the personal voice (I; We will find; We find; You; Us; …).

Use endnotes not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible.

Do cite all your work in your extended abstract as you would in a full chapter: a) In the body of the abstract, add parenthetical in-text citations (family name of author and year, and page number/s) (e.g. Smith 2019, 230); b) And fully reference all in-text citations in detail and in alphabetical order, in the References list at the end of your abstract.

Please send your completed abstract as a Word document attached to an email, by the date given in this call for papers.

To this same email please also attach, as separate Word documents, the following:

Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone numbers, your home address, and your email contact details.

A short bio of no more than 250 words.

Your C.V., including a full list of your publications and giving the publishing details and dates, and including those in press.

Deadline for abstract submissions: April 30, 2024

Editor: Dr Jo Parnell, PhD| Researcher, and Honorary Lecturer, School of Humanities and Social Science, College of Human and Social Futures, University of Newcastle, Australia.

Papers should be forwarded to:

Jo.Parnell@newcastle.edu.au or annette.parnell@newcastle.edu.au or joandbobparnell@bigpond.com

Call For Research Articles on Film Studies in Southeast Asia, China, East Asia, and India's Northeast-Rising Asia Journal

 Rising Asia Journal invites Research Articles on Film Studies in the geographical areas of Southeast Asia, East Asia (Japan, China, the Koreas, and Taiwan), and India's North-East Region, on all aspects of these Asian societies. Authors may use any thematic or theoretical discourse such as gender, race, colonialism and post-colonialism, and others.

Articles should be between 5,000 to 10,000 words in length, with footnotes, and Works Cited.

Authors are urged to visit the journal's website at www.rajraf.org to read the submission guidelines. 

Articles should be original, and should offer a new and innovative perspective.

Please send your articles to our Editorial Board Member Professor Tuan Hoang at tuan.hoang@pepperdine.edu as well as to our Editor-in-Chief Dr. Harish C. Mehta at hmehta76@yahoo.caRising Asia Journal invites Research Articles on Film Studies in the geographical areas of Southeast Asia, East Asia (Japan, China, the Koreas, and Taiwan), and India's North-East Region, on all aspects of these Asian societies. Authors may use any thematic or theoretical discourse such as gender, race, colonialism and post-colonialism, and others.

Articles should be between 5,000 to 10,000 words in length, with footnotes, and Works Cited.

Authors are urged to visit the journal's website at www.rajraf.org to read the submission guidelines. 

Articles should be original, and should offer a new and innovative perspective.

Deadline for submissions:  June 1, 2024

full name / name of organization:  Rising Asia Journal

contact email:  tuan.hoang@pepperdine.edu

Please send your articles to our Editorial Board Member Professor Tuan Hoang at tuan.hoang@pepperdine.edu as well as to our Editor-in-Chief Dr. Harish C. Mehta at hmehta76@yahoo.ca

Seeking Chapter Submissions: Going to the Movies with CS Lewis-#Cambridge Scholars Publishing

 Going to the Movies with C.S. Lewis, Call for Chapters

An edited collection tentatively titled “Going to the Movies with C.S. Lewis” is seeking chapter submissions. The book is expected to be published through Cambridge Scholars Publishing.  

Having been born many years after C.S. Lewis died I of course never had the opportunity to watch a movie with the man. However, over the years I feel, as many others probably feel as well, like Lewis accompanies me as I watch movies, read books, attend church services, and make other daily pursuits. Lewis’ works shape my thinking on many theological, educational, and cultural matters like few other authors’ works do.

This book is an attempt to take some of those insights from C.S. Lewis and apply them to film studies. It will explore the thought and theology of C.S. Lewis by connecting his work with film theory, specific films, and adaptations of his work. In many ways it is a book meant to explore how Lewis’ thought can help us view films.

The following categories are meant to act as general guidance for sections of the book:

1. Exploring Film Theory with C.S. Lewis
2. Exploring Individual Films with C.S. Lewis
3. Analyzing Lewis’ Life through Films of About Lewis
4. Analyzing Lewis’ Fiction through Adaptations of his works

Some chapter ideas that would fit into the above categories include, but are not limited to:

1. The Four Loves on film
2. Lewis’ approach to literature as a guide to approaching film
3. “On the Reading of Old Books” and On the Watching of Old Movies
4. Lewis’ idea of fantasy in relation to particular films
5. Ideas in his essays or books that relate to film studies, film theory, or individual films
6. The many different Narnia adaptations (comparisons between the versions or examinations of particular films as adaptations of the original stories)
7. Lewis’ thoughts on Christmas and Christmas movies (what would Lewis think of Hallmark Christmas movies?)
8. Lewis portrayed on film – how does this change the way he is viewed?

Again, these are only suggestions. Anything connecting Lewis’ thought with the cinema will be considered.  

Submission Procedure

Please submit a chapter proposal by March 31, 2024 which includes the following: title, abstract, and a short biography of the author(s). Proposals should be a maximum of 500 words written in English, using Microsoft Word format, Times New Roman, 12 pt. font. Please send the Word document as an attachment to the book editor (Bryan Mead, bmead@etbu.edu). Authors of accepted proposals will be notified and sent specific submission guidelines. Chapter contributions should be at least 4,000 words and will follow Chicago style (footnotes and bibliography). Submissions are welcome from early career researchers and established scholars.

If your proposal is accepted, chapter submissions will be due by September 15, 2024. Proposal acceptance does not guarantee chapter’s inclusion in the book.

Editor Information: Bryan Mead, Ph.D, is Assistant Professor of English at East Texas Baptist University where he teaches film studies, literature, and composition. He is the author of Writing in Film Studies, From Professional Practice to Practical Pedagogy (Cambridge Scholars Publishing, 2024). Bryan has also published many essays in journals such as Journal of Religion & Film, Journal of European Popular Culture, Americana: The Journal of American Popular Culture, Intégrité: A Faith and Learning Journal, and Film & History. His essays have also appeared in edited volumes such as J.R.R. Tolkien and the Arts: A Theology of Subcreation (Square Halo Press, 2021), Representations of Sports Coaches in Film: Looking to Win (Routledge, 2017), and The Arts of Memory and the Poetics of Remembering (Cambridge Scholars Publishing, 2016).

CFP: Intersecting Ecologies: Navigating Crises, Traumas, and Movements in Asian Comparative Literature and Film _ October 10- 12, 2024,

CFP: Intersecting Ecologies: Navigating Crises, Traumas, and Movements in Asian Comparative Literature and Film

Rocky Mountain Modern Language Association 77th Annual Convention

Conference Date: October 10-12, 2024

Location: Las Vegas, Nevada

The “Intersecting Ecologies and Narratives: Navigating Crises, Traumas, and Movements in Asian Comparative Literature and Film” panel welcomes scholars to an interdisciplinary exploration at the intersection of ecological themes, migration and refugee experiences, medical humanities, and the post-COVID era within the context of Asian literature and film.

Our panel aims to engage in comparative analyses across various regions and genres within Asian literature and film, focusing on their navigation of crises and traumas, particularly those related to ecological themes. We invite contributions that dissect not only ecological crises and traumas from diverse perspectives but also complex relationships between humans and nature, cultural identities and environmental narratives, ecofeminism, and ecology's implications in the age of globalization.

We seek to foster a dialogue that connects Asian comparative literature and film with the broader fields of environmental humanities, migration and refugee studies, medical humanities, and reflections on the post-COVID world. We encourage submissions that explore the intersections of ecological crises with human health, displacement, environmental activism, and migration narratives, offering new insights into the challenges and opportunities these intersections present.

Highlighted topics for exploration include but are not limited to:

• Reflections on nature and the human condition within Asian literary traditions.
• Analyses of nature, technology, and modernity, and their implications for health and displacement in Asian contexts.
• Intersections between environmental and medical humanities focus on Asian narratives that address the health implications of degradation.
• Explorations of gender and nature within the framework of feminist ecologies in Asian contexts.
• Investigations into the portrayal of animals and anthropomorphism in Asian literature and cinema.
• Cross-cultural and interregional narratives of ecology, crisis, and movement, including Forrester (forest-based) fiction that envision alternative ecological futures.
• Discussions on the dynamics between ecology, globalization, and their impacts on health, migration, and the environment in Asian comparative literature and film.
• Insights into the post-COVID landscape through world literature and cinema, with a lens on ecological activism.

Contact Information

Submissions should consist of a 250-word abstract and a brief biography (2-3 sentences), formatted as a DOC document, to be sent to Yueming Li at yul282@ucsd.edu by March 15, 2024. The convention’s presentations will be conducted in English.

Contact Email: yul282@ucsd.edu

CFP: Tales of #Resistance and #Resilience: #Cinemascapes from #Contemporary #India-#Symbiosis Institute of #Media and #Communication

 Cinema in contemporary India has been evolving in multifarious ways, technological innovations and the multiplicity of digital platforms significantly altering the experience of film production and reception. Apart from the mainstream Hindi cinema that enjoyed a national viewership till recent times, regional films have also emerged as popular forms of entertainment across the nation. Popular Indian cinema is being redefined and in this new environment, regional content is appreciated, new genres are welcomed, and a new viewing experience is well appreciated. Film production methods have also changed radically, with independent films gaining in popularity especially among the urban audience. In this new world of film production and reception, tales of resistance and resilience are also acknowledged and appreciated. Films like Jai Bhim (2021) directed by T J Gnanavel, or Sardar Uddham (2021) directed by Shoojit Sircar speak the voice of resistance to power in different ways. Similar films in various Indian languages, produced from across the country have been appreciated and evaluated critically for its content and form. Apart from the production of new content, there have been scholars and critics re-evaluating older tales of resistance, using the lens provided by new epistemological practices.

Culture of resistance has resulted in social changes over time and films have been part of this culture. Films of resistance have been hailed as alternate voices using innovative techniques and devices to articulate dissent. Filmmakers who challenge hegemonic structures have found creative ways to address social issues and these films have not always been part of the mainstream industry.  This work will look at films that have managed to negotiate with social inequalities and systemic violence, analyse and evaluate them from multiple perspectives – production, consumption as well as critical discourse analysis based on the content and semiotics of the filmic texts. Moreover, there has been re-readings and re-defining of older films in contemporary times, where the parameters have evolved from the socio-cultural shifts shaping the discursive patterns in the nation. This proposed work will study two categories of films that fall under the category of tales that narrate the stories of resistance and resilience. One section of the text will work on films produced and released since the new millennium, in any of the Indian languages. Since the work studies cinemascapes, the various dimensions of film industry will be critically evaluated, to comprehend the methods used to capture the stories of resistance. The second category will seek to re-visit older films that can be categorised as tales of resistance or dissent.

We hope to bring a balanced yet nuanced approach to the whole work, with some of the chapters reading into the visual texts while others look at the production and reception of filmic texts. The style and format for this edited text will be Chicago style citation and formatting.

21%

Film Studies: An Introduction (Four Colour Edition)

₹1,395.00

29%

TEACH YOURSELF FILM STUDIES: AN INTRODUCTION

₹899.00

5%

Beginning Film Studies: Sixth Edition

₹1,436.00

20%

FILM STUDIES Calicut University 6th Semester B.A

₹160.00

1%

Film Studies(2)- CC3 and CC4

₹375.00

23%

A Beginner,s Companion to FILM STUDIES

₹800.00

21%

Film Studies: An Introduction

₹1,395.00

FILM STUDIES : THE BASICS, 3RD EDITION

22%

De-Westernizing Film Studies

₹3,693.00

13%

Somerset Maugham and the Cinema (Wisconsin Film Studies)

₹10,467.00

Possible titles and chapters

• Analysis {discourse, content, semiotics} of resistance and resilience cinema of the new millennium
• Re-reading the older films of resistance and resilience: comprehending discourses around them
• Resistance and resilience cinema as the harbinger of socio-cultural shifts in the nation
• Discourses on production and reception of the cinema of resistance and resilience
• The narrative of the culture of resistance as created by these filmmakers: old v/s new
• Audience reception studies: mixed-methods approach to interpret audiences of the new millennium

Deadline for submissions:  March 30, 2024

contact email:  resistancecfp@gmail.com

Full name / name of organization: 

Symbiosis Institute of Media and Communication

Resistance and resilience cinema’s addition to the corpora of culture studies and film studies

CFP: Virtual International Interdisciplinary Conference on "MEMORY, FORGETTING AND CREATING" 18-19 January 2024

 

ABOUT CONFERENCE: 

In our increasingly fast-paced societies, where information is abundant and its reception is superficial, human memory appears to be an endangered phenomenon. This is why we would like to take a closer look at the complex processes of memory. These include forgetting, neglecting, negation, and detachment, along with creating, recollecting, remembering, regaining memories, and reconstructing one’s relationship with the past. We are deeply interested in examples and consequences of altered memories: invention, fabrication, deception, indoctrination or propaganda. We invite reflection on mutual relations between memory and imagination, fantasising and manipulating, forgetting and creating.

We would like all these problems to be contextualised as broadly as possible, with reference to historical, social, religious, cultural, psychological, artistic and other factors. Different forms of presentations are encouraged, including case studies, theoretical investigations, problem-oriented arguments, and comparative analyses.

The conference is intended as an interdisciplinary event. Hence, we invite researchers representing various academic disciplines: anthropology, history, sociology, philosophy, psychology, psychoanalysis, neurophysiology, literary studies, theatre studies, film studies, memory studies, consciousness studies, dream studies, gender studies, postcolonial studies, animal studies, medical sciences, psychiatry, social policy, cognitive sciences and others.

We will be happy to hear from both experienced scholars and young academics at the start of their careers, as well as doctoral and graduate students. We also invite all persons interested in participating in the conference as listeners, without giving a presentation. We hope that due to its interdisciplinary nature, the conference will bring many interesting observations on and discussions about the role of memory in the past and in the present-day world.

​

Our repertoire of suggested topics includes but is not restricted to:

1. Lost Memory:

- forgotten history

- forgotten nations

- forgotten heroes

- forgotten legacy

- forgotten times

- forgotten revolutions

- forgotten identity

- forgotten authors

- forgotten texts

- forgotten languages

2. Memory Loss:

- amnesia

- Alzheimer’s disease

- dementia

- sclerosis

- selective memory

- repression

- psychopathology of everyday life

3. Stolen Memory:

- denationalisation

- eradication

- expulsion

- disinheritance

- exclusion

- manipulation

- propaganda

- indoctrination

- Holocaust (and other genocide) denial

-“historical politics”

-“cultural revolution”

4. Abandoned Memory:

- non-action

- negligence

- indifference

- insouciance

- decline of attachment

- emotional atrophy

- disownment

- betrayal

5. Memory as a Trap:

- the terror of memory

- trauma

- post-memory

- memory and mourning

- nostalgia

- fixation

- the return of the repressed

- “primal scenes”

- compulsions

- stereotypes

6. Memory Regained:

- recollection

- anamnesis

- insight

- epiphany

- “time regained”

7. Dubious Memory:

- déjà vu

- confabulation

- fabrication

- rumour

- apocryph

- parallel histories

8. Memory and Imagination:

- facts and phantasms

- political phantasms

- historiography and fantasizing

- the realness of memories

- national mythologies

- reconstructions and narrations

- memory and representation

- memory and fiction

- non-fiction

- autobiography

- para-documentary film

- imagination in mnemonics

- collective memory and collective imagination

9. Memory and Art:

- literature, art, film, theatre as memory “media”

- socially engaged art: artists in defense of memory

- Joseph Conrad and Heart of Darkness

- Marcel Proust and In Search of Lost Time

- Thomas Mann and The Magic Mountain

- Gabriel Garcia Marquez and One Hundred Years of Solitude

- Tadeusz Kantor and the “cliches of memory”

10. Memory and Science

- mirror Neurons

- diseases and syndromes of memory

- “creating memory” in the lab

- memory of matter (inorganic memory)

- memory processing in technology

​

Please submit abstracts (no longer than 300 words) of your proposed 20-minute presentations, together with a short biographical note, by 31 December 2023 to: conferencememory@gmail.com  or by REGISTRATION FORM

Notification of acceptance will be sent by 3 January 2024.

The conference language is English.

Note:

As our online conference will be international, we will consider the different time zones of our Participants.

The conference will be held virtually via Zoom. Different forms of presentations (also posters) are available

REGISTRATION :

In order to participate in the conference (as a speaker or an audience member) you need to pay a REGISTRATION FEE via bank transfer or PayPal:

PRESENTERS: EUR 35 or USD 40 or GBP 35 or PLN 120 - by 11 January 2024

AUDIENCE MEMBERS: EUR 25 or USD 30 or GBP 25 or PLN 70 - by 17 January 2024

NOTE: We offer a discount for our returning Participants.

THE FEE COVERS:

- LIVE access via individual link to all conference sessions (without installing any additional applications)

- the conference programme in PDF

- certificate of attendance  for Presenters and Audience Members (sent by email or/and by post)

- online community gathering

- easy access on any device (phone, tablet and computer) with the possibility to join or leave the conference at any time

Banking details:

Beneficiary name: InMind Support Beneficiary Address: Jelitkowski Dwor 4

Beneficiary Bank name: SANTANDER   

The SANTANDER Swift code is:  WBKPPLPP

Beneficiary Bank account numbers (IBAN):

Payment in PLN:           

95 1090 2590 0000 0001 4259 8763   

Payment in EUR:           

PL58 1090 2590 0000 0001 4259 8847     

Payment in USD: via PayPal - please ask for a special link     

In the description field, please quote your first and last name and a note " memory conference".

All banking charges are to be covered by the Sender.                                                                                                                                                                                                                                                                                                                                            

NOTE: PAYPAL PAYMENTS (USD, GBP or EUR) ARE ALSO ACCEPTED (on request) - Please ask for a  link.

 

CANCELLATION FEES:

3 months before the conference and more - 50%

from 3 months to 1 month - 75%             

1 month before the conference and less - 100%                 

 

Our email: conferencememory@gmail.com

Scientific Committee:
Professor Wojciech Owczarski – University of Gdańsk, Poland
Professor Polina Golovátina-Mora – NTNU, Norwegian University of Science and Technology