CFP: Ubiquitous Cinema – Education, Mobility, and Storytelling in the Digital Age

img_4243Ubiquitous Cinema – Education, Mobility, and Storytelling in the Digital Age

 

Call for Papers

 

Beijing, Beijing Film Academy, April 27-29, 2017

 

Beijing Film Academy, China Film Education Research Centre, in cooperation with the Amsterdam Centre for Globalisation Studies (ACGS), University of Amsterdam

 

Convenors: Liu Jun, Jeroen de Kloet, Xu Hang, Rowan Parry

 

Keynote speakers:

 

Chris Berry (King’s College London, co-author of China on Screen: Cinema and Nation, editor of Chinese Films in Focus, and co-editor of Public Space, Media Space and Cultural Studies and Cultural Industries in Northeast Asia)

 

Yomi Braester (University of Washington, author of Painting the City Red: Chinese Cinema and the Urban Contract and Witness against History: Literature, Film and Public Discourse in Twentieth-Century China)

 

Song Hwee Lim (The Chinese University of Hong Kong, author of Tsai Ming-liang and a Cinema of Slowness and Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas)

 

Patricia Pisters (University of Amsterdam, author of The Neuro-Image: A Deleuzian Filmphilosophy of Digital Screen Culture and The Matrix of Visual Culture: Working with Deleuze in Film Theory)

 

 

Cameras and screens have become ubiquitous in everyday life. This provokes questions about the ways we produce, perceive, distribute, but also teach and study cinema today. For this conference, we aim to discuss three entangled phenomena to probe into the ubiquity of screen cultures in the digital age: education, mobility, and storytelling.

 

First, education. Phones are used to shoot anything from cat videos to entire feature films, which we share and watch on Vimeo or Tudou. Increasingly, documentaries and short movies are made by what used to be called “amateurs.” What role does formal film education have then, when shooting and editing have become seemingly easy? How to educate the young in a time in which the visual and the digital reign? What are the problematics, if not dangers, of becoming visible (cf. Rey Chow)?

 

Second, mobility. Digitization allows for almost immediate mobility of images, but in its slipstream are also technologies, money and ideas (cf. Appadurai). Where do we stand twenty years after the rise of transnational cinema studies? How do film festivals facilitate the global circulation of film? When all that seemed solid becomes unstable and is on the move, what happens not only to scholarship, but also to our lived experiences of cinema? And how does it provoke a desire to stay put and be slow?

 

Third, storytelling. How has increased mobility provoked cross-fertilization amongst forms, genres, national cinemas, and their storytelling conventions? How is the Internet used as a platform to experiment with form, content and technology to tell the stories of our digital age? How does the emergence of virtual and augmented realities affect the ways in which films are made and perceived? How do new visual regimes emerge and alter the language of cinema? What are the theoretical and political implications of these transformations, and do they provoke a redistribution of the sensible (cf. Rancière)? How is the movement-image, with its focus on plot, and the time-image, with its focus on point of view, supplemented by the neuro-image, in which we experience the mental landscapes of characters (cf. Deleuze and Pisters)?

 

This conference brings together scholars from various disciplines to reflect on these questions related to film education, mobility, and cinematic storytelling in the digital age. We invite both paper and panel submissions that engage with (one of) the themes of this conference through specific case studies.

 

Possible topics among the three leading themes include (but are not limited to):

 

Education

Children and cinema

The role of film schools and formal education

Changing curricula in times of globalisation

Teaching creativity

Digital tools and methods in film education

The role of the amateur filmmaker

 

Mobility

Cinema of stasis and slowness

Mobility in cinema: cars, planes, trains, subways

Globalisation and the moving image

Transnational film production

Mobile cinemas and pop-up screenings

Film festivals

 

Storytelling

Cross-fertilization and hybridity in storytelling modes

Technology and storytelling

Digitization and film aesthetics

Virtual and augmented realities and cinema

The rise of the neuro-image

Regimes or distributions of the visible

Changing modes of film reception

 

 

Please submit an abstract (200-300 words) and short bio (max. 100 words) by 1 December 2016 to Vincent So: v.h.so@uva.nl. For panels, please submit a general panel description of 200-300 words, four abstracts (200-300 words each) and biographies (max. 100 words each).

 

Language: English

 

Notice of acceptance will be given by 1 January 2017.

 

While there is no conference registration fee, neither transport nor accommodation can be covered by the organiser.

 

This conference is part of the project ChinaCreative, funded by a consolidator grant of the European Research Council (ERC-2013-CoG 616882-ChinaCreative).

 

Ubiquitous Cinema – Education, Mobility, and Storytelling in the Digital Age

无处不在的电影——数字时代的电影教育、流动性与故事讲述

 

Call for Papers

征文启事

 

Beijing, Beijing Film Academy, April 27-29, 2017

北京,北京电影学院,2017年4月27-29日

 

China Film Education Research Centre (CFER) ,Beijing Film Academy, in cooperation with the Amsterdam Centre for Globalisation Studies (ACGS), University of Amsterdam and Advanced Innovation Center  For Future Visual Entertainment, Beijing Film Academy.

主办单位:北京电影学院中国电影教育研究中心(CFER)

合作单位:阿姆斯特丹大学阿姆斯特丹全球化研究中心(ACGS)

北京电影学院未来影像高精尖创新中心(AICFVE)

 

Convenors: Liu Jun, Jeroen de Kloet, Xu Hang, Rowan Parry

会议召集人:刘军、Jeroen de Kloet(高伟云)、许航、Rowan Parry(白瑞文)

 

Keynote speakers:

主题发言人:

 

Chris Berry (King’s College London, co-author of China on Screen: Cinema and Nation, editor of Chinese Films in Focus, and co-editor of Public Space, Media Space and Cultural Studies and Cultural Industries in Northeast Asia)

Chris Berry,裴开瑞(伦敦国王学院教授,合著China on Screen: Cinema and Nation, 编辑Chinese Films in Focus;Public Space, Media Space and Cultural Studies and Cultural Industries in Northeast Asia)

 

Yomi Braester (University of Washington, author of Witness against History: Literature, Film and Public Discourse in Twentieth-Century China)

Yomi Braester,柏佑铭(华盛顿大学教授,著有Witness against History: Literature, Film and Public Discourse in Twentieth)

 

Song Hwee Lim (The Chinese University of Hong Kong, author of Tsai Ming-liang and a Cinema of Slowness and Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas)

Song Hwee Lim,林松辉(香港中文大学教授,著有Tsai Ming-liang and a Cinema of Slowness;Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas)

 

Patricia Pisters (University of Amsterdam, author of The Neuro-Image: A Deleuzian Filmphilosophy of Digital Screen Culture and The Matrix of Visual Culture: Working with Deleuze in Film Theory)

Patricia Pisters(阿姆斯特丹大学教授,著有The Neuro-Image: A Deleuzian Filmphilosophy of Digital Screen Culture;The Matrix of Visual Culture: Working with Deleuze in Film Theory)

 

Cameras and screens have become ubiquitous in everyday life. This provokes questions about the ways we produce, perceive, distribute, but also teach and study cinema today. For this conference, we aim to discuss three entangled phenomena to probe into the ubiquity of screen cultures in the digital age: education, mobility, and storytelling.

摄像机和屏幕在日常生活中无处不在。这引发了电影制作、理解、发行、教育、学习中的一系列新的问题。在本次会议中,我们将从其中三个现象入手,讨论数字时代与教育、流动性及故事讲述相关的无处不在的屏幕文化。

 

First, education. Phones are used to shoot anything from cat videos to entire feature films, which we share and watch on Vimeo or Tudou. Increasingly, documentaries and short movies are made by what used to be called “amateurs.” What role does formal film education have then, when shooting and editing have become seemingly easy? How to educate the young in a time in which the visual and the digital reign?

第一,教育问题。从拍摄猫咪的短视频到剧情片,现在我们在Vimeo和土豆等视频网站上分享用手机拍摄的一切东西。越来越多的纪录片和短片的制作者来自原来被我们称为“业余爱好者”的群体。在拍摄和剪辑变得相对容易的今天,电影教育正在扮演什么样的角色?在视觉和数字文化占支配地位的时代,如何教育青年人?

 

Second, mobility. Digitization allows for almost immediate mobility of images, but in its slipstream are also technologies, money and ideas (cf. Appadurai). Where do we stand twenty years after the rise of transnational cinema studies? How do film festivals facilitate the global circulation of film? When all that seemed solid becomes unstable and is on the move, what happens not only to scholarship, but also to our lived experiences of cinema? And how does it provoke a desire to stay put and be slow?

第二,流动性。数字化使图像几乎能即时流动起来,但其传播的实现依然还要依靠技术、资金和思想。(参见阿帕杜莱)在跨国电影研究兴起二十年后,我们的立足点在哪里?电影节如何促进电影的全球发行?当所有的一切都变得不稳定,并且在不断在变化时,学术研究以及我们对电影院的体验将会发生什么变化?它又是如何激起一种保持慢速度的愿望的?

 

Third, storytelling. How has increased mobility provoked cross-fertilization amongst forms, genres, national cinemas, and their storytelling conventions? How is the Internet used as a platform to experiment with form, content and technology to tell the stories of our digital age? How does the emergence of virtual and augmented realities affect the ways in which films are made and perceived? How do new visual regimes emerge and alter the language of cinema? What are the theoretical and political implications of these transformations, and do they provoke a redistribution of the sensible (cf. Rancière)? How is the movement-image, with its focus on plot, and the time-image, with its focus on point of view, supplemented by the neuro-image, in which we experience the mental landscapes of characters (cf. Deleuze and Pisters)?

第三,故事讲述。增强的流动性如何引起电影形式、类型、民族电影及其讲述方式的杂糅?在数字时代如何将互联网作为一个形式、内容和技术的平台来讲述故事?虚拟和增强现实的出现将怎样改变电影的制作和感知的方式?新的视觉制度是怎样出现并改变电影语言的?这些转变的理论和政治影响是什么?它们是否带来可感性的再分配?(参见朗西埃)我们怎样在神经影像的辅助下,通过关注情节的运动影像和关注观点的时间影像,来体验人物的心理景观?(参见德勒兹和匹斯特斯)

 

This conference brings together scholars from various disciplines to reflect on these questions related to film education, mobility, and cinematic storytelling in the digital age. We invite both paper and panel submissions that engage with (one of) the themes of this conference through specific case studies.

本次会议将聚集不同领域的专家学者讨论数字时代的电影教育、流动性与故事讲述相关问题。我们诚邀相关领域的专家学者提交与议题相关的会议论文与小组讨论选题。

 

Possible topics among the three leading themes include (but are not limited to):

会议议题将包括但不局限于以下三个方面:

 

 

Education(教育)

Children and cinema(儿童与电影)

The role of film schools and formal education(电影院校与专业教育的角色)

Changing curricula in times of globalisation (全球化时代的电影课程的改变)

Teaching creativity(教学创新)

Digital tools and methods in film education (电影教育中的数字工具与方法)

The role of the amateur filmmaker(业余电影创作者的角色)

 

Mobility(流动性)

Cinema of stasis and slowness (慢电影)

Mobility in cinema: cars, planes, trains, subways(电影中的流动性:汽车、飞机、火车、地铁)

Globalisation and the moving image(全球化与电影)

Transnational film production(跨国电影生产)

Mobile cinemas and pop-up screenings(移动影院与露天电影)

Film festivals(电影节)

 

Storytelling(故事讲述)

Cross-fertilization and hybridity in storytelling modes(故事讲述模式的交叉与杂糅)

Technology and storytelling(技术发展与故事讲述)

Digitization and film aesthetics(数字化与电影美学)

Virtual and augmented realities and cinema(虚拟现实、增强现实与电影)

The rise of the neuro-image(神经影像的兴起)

Regimes or distributions of the visible(可见性的体制或分配)

Changing modes of film reception(电影接受模式的改变)

 

 

Please submit an abstract (200-300 words) and short bio (max. 100 words) by 1 December 2016 to Vincent So: v.h.so@uva.nl. For panels, please submit a general panel description of 200-300 words, four abstracts (200-300 words each) and biographies (max. 100 words each).

 

请于2016年12月1日前提交会议论文摘要及作者简介。

提交形式:

1、以英文投稿。请提交200-300字论文摘要及100字以内作者简介(英文)至v.h.so@uva.nl;提交panel则请提交200-300字panel的简介及100字以内参与者简介(英文)。

2、以中文投稿。请提交200-300字论文摘要及100字以内作者简介(中文)至cfer@bfa.edu.cn;提交panel则请提交200-300字panel的简介及100字以内参与者简介(中文)。

 

 

 

Language: English\Chinese

语言:英文、中文

 

Notice of acceptance will be given by 1 January 2017.

论文经过评审后,将在2017年1月发放会议接收函。

 

 

While there is no conference registration fee, neither transport nor accommodation can be covered by the organiser.

本次会议不收会务费,与会代表的交通与住宿费敬请自理。

 

This conference is part of the project ChinaCreative, funded by a consolidator grant of the European Research Council (ERC-2013-CoG 616882-ChinaCreative).

本次会议为“创意中国项目”的组成部分之一,受到欧洲研究基金会的资助(编号:ERC-2013-CoG 616882-ChinaCreative)。