CFP: Circuits of Cinema

We are pleased to publish the Call for Papers for the next HoMER event, hosted by the Circuits of Cinema Project at Ryerson University. Please share widely!

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Circuits of Cinema:

Histories of Movie and Media Distribution

A HoMER Network Conference

Hosted by the Circuits of Cinema Project

Ryerson University, Toronto, Canada

22 to 24 June 2017 (Thursday to Saturday)

Pre-Conference 21 June 2017: all-day Mapping Movies “data hack”

 

Deadline to submit 250-300 word abstracts, by email to psmoore@ryerson.ca

Wednesday, 30 November 2016.

As a field of study, histories of movie exhibition and reception have robustly focused on the audience. Movie theatres have been privileged as the setting for cinema’s subjective and collective experience. Scholars have analyzed cinemas’ regulation, heritage, and nostalgia as local institutions. At the same time, the diversity of audiences and venues has become as important as the mainstream. Further, digital projection and preservation have prompted intermedial archaeologies of the boundaries between movies and other media.

Underlying all these cinematic experiences and spaces is film distribution, which can be broadly defined as the circulation of materials and practices across political, economic and cultural territories.

Circuits of Cinema seeks presentations of historicized or comparative research on movie distribution and media infrastructures of cultural exchange. Presenters should foreground the mechanics and conditions that allow cinema to happen, and should scrutinize the planning and negotiations too often hidden in back offices and filing cabinets. Presenters at Circuits of Cinema will collectively provide a spectrum of critical analysis on aspects of media distribution ranging from classical Hollywood’s global circulation, to histories of local and regional film circuits, to conditions in today’s networked media spaces.

Circuits of Cinema aims to be inclusive of a diversity of perspectives. Especially welcome are studies from the social and geopolitical periphery; studies of the gendered, racialized, and discriminatory results of distribution practices; and, studies from new scholars and doctoral students.

Presentation topics include, but are not limited to, the following themes and topics:

Mapping Territories of Movie and Media Exhibition

  • Booking and Zoning: Hollywood’s Standard Exhibition Contract
  • Diasporic cinemas & international import/export patterns
  • Alternative, Underground, Art film, and Non-theatrical Markets & Circuits

The material conditions of mediated cultural and social exchange

  • Theatrical Suppliers, Servicing & the Labour of Sales People
  • Itinerant Exhibitors’ Circuits and Exchange Territories
  • Read it! Hear it! Own It! Intermedial Distribution movie-radio-tv-novel-toys-etc.

The circulation of movie and media experience

  • Coming Soon! Advertising, Advance Publicity and Delayed Gratification
  • Now Playing Everywhere! Wide Release & Blockbuster Marketing
  • Held Over! Roadshow and Showcase Releasing

 

Deadline is Wednesday, 30 November 2016, to submit presentation proposals.

Send abstracts of 250 to 300 words, plus 3 or 4 bibliographic entries, and a 50-word academic biography to conference host, Paul S. Moore, psmoore@ryerson.ca

Updated Information will be posted at www.psmoore.ca/circuits-of-cinema

 

Members of the Circuits of Cinema Project:

Paul S. Moore, Ryerson University; Sébastien Caquard, Concordia University;

Deb Verhoeven, Deakin University; Kathryn Fuller-Seeley, University of Texas-Austin;

Jeffrey Klenotic, University of New Hampshire

 

Confirmed speakers include:

Judith Thissen, Utrecht University; Richard Maltby, Flinders University

Eric Hoyt, University of Wisconsin-Madison; Gregory Waller, Indiana University

New coordinators

Dear colleagues and friends,

As announced at the HoMER General Meeting in Potsdam, July 2016, Lies Van de Vijver and myself (Maria Velez-Serna) are passing on the baton as coordinators of the HoMER Network. It has been a real privilege and pleasure to work with this extraordinary community, and we thank you all for the opportunity and for your support.

We are also very pleased to welcome two new coordinators, as elected by the membership:

Dr. Clara Pafort-Overduin (Utrecht), a HoMER founding member with extensive scholarship on film exhibition and distribution in the Netherlands: http://www.uu.nl/staff/CPafortOverduin/0

Dr. Daniela Treveri Gennari (Oxford Brookes), a leading researcher on historical cinema audiences and part of the DICIS (Digital Cinema Studies) project:  http://arts.brookes.ac.uk/staff/danielatreverigennari.html

Over to Clara and Daniela – with much gratitude and best wishes!

HoMER @ NECS 2016 ::: Programme

The full programme for this year’s conference of the European Network for Cinema and Media Studies is now available, including thirteen HoMER panels. Please visit the conference homepage for further information about the event, pre-conferences, location, and so on.

The HoMER strand within the conference was selected and programmed by our own committee and advisory panel, but it is fully integrated into NECS (as has been in previous years), and open to everyone. The abstracts for all HoMER papers can be seen here: HoMER@NECS 2016 – Abstracts

While we won’t have a HoMER pre-conference, there are three HoMER-specific events:

  • Sightseeing boat trip (Wednesday 27th July, 1pm)
  • HoMER General meeting (Thursday 28th July, 6pm)
  • ‘Connecting the dots’ workshop by Jeff Klenotic (Saturday 30th July, 11am)

HoMER colleagues will also be interested to hear that Prof Deb Verhoeven is one of the conference’s keynote speakers.

With all this activity, we are confident that this year’s HoMER meeting will be engaging, productive, and fun. See you in Potsdam!

Call for Papers: Connectivity in the History of Moviegoing, Exhibition and Reception

HoMER@NECS Conference 2016, Potsdam, Germany, 26–30 July 2016

Hosted by ZeM – Brandenburgisches Zentrum für Medienwissenschaften (Brandenburg Center for Media Studies), Potsdam, Germany

Deadline for proposals: 31 January 2016

Following two consecutive joint conferences in Prague (2013) and Milan (2014), HoMER is teaming up with NECS again to offer a strand of panels at the 2016 NECS conference in Potsdam, Germany. Similar to previous such events this will include a pre-conference day with HoMER keynote speakers and workshops (details tbc). NECS (Network for European Cinema Studies) is a dynamic forum supporting researchers working on film and media theory, practice and history. Bringing together cinema historians from all over the world, HoMER (History of Movie-Going, Exhibition and Reception) is an international network interested in understanding the phenomena of cinema and cinema-going from a multidisciplinary perspective. One of HoMER’s main purposes is to facilitate connections between acclaimed and aspiring researchers and the multitude of academic disciplines they represent.

After last year’s conference in Glasgow mapped out the territory for cinema historians by asking ‘What is Cinema History?’ this year’s Call for Papers focuses on connectivity. Cinema as a social and cultural institution has enabled connectivity between people, social groups, industries, media, etc. in many different ways in the past and we welcome papers and panels that accentuate this aspect of cinema history. We seek submissions of individual papers or pre-constituted panel proposals from existing HoMER members and anyone interested in collaborative and comparative research into historical and contemporary film exhibition, distribution and experience.

Possible topics for paper proposals are:

  • Comparative perspectives: connecting national, regional and local research and databases on exhibition and cinema-going
  • Theoretical perspectives: film exhibition, cinema-going and film experience in relation to theories of actor-networks, imperialism, post-colonialism, diaspora, cinema and modernity, etc.
  • Contrasting perspectives: tensions between commercial and ideological film exhibition, urban and rural cinemas, film distribution and exhibition in provinces and regions, the global nature of the film industry and the local experience of cinema-going, etc.
  • Institutional perspectives: geographical location and programming trends, the “top down” forces of industry, commerce and ideology vs. “bottom up” forces of experience, the practices of distribution networks, cinema chains and film exhibition circuits, etc.
  • Social and spatial perspectives: comparative audience experiences in urban and rural contexts, contesting concepts of public and private space in media experience, cinema’s metropolitan modernity vs. cinema’s ability to connect communities in less urbanized and rural areas
  • Diachronic perspectives: the rise of cinemas in rural and urban environments, the boom of cinema-going, the decay and subsequent closure of provincial and neighbourhood cinemas, the rise of multiplexes, etc.

Please submit abstracts for individual papers of no more than 300 words with a biographical note of no more than 100 words to coord@homernetwork.org before 31 January 2016. For pre-constituted panels and workshops, please send abstracts together with a 200-word note on the title and topic of the panel or workshop.

You will be notified of the acceptance or decline of your proposal by the beginning of April 2016. Pease note, if you are accepted and would like to register for the conference, you will be asked to become a member of NECS and pay the membership fee of 30 Euro by the end of April 2016.

HoMER@NECS Coordinating Team 2016: Julia Bohlmann, Annemone Ligensa, Lies Van de Vijver, Maria Velez-Serna – with the kind support of the HoMER conference committee.

Scholarships at Brandenburg Center for Media Studies

(Posted on behalf of Dr. Annemone Ligensa)

The Brandenburg Center for Media Studies (Brandenburgisches Zentrum für Medienwissenschaften, ZeM), in Potsdam, Germany, is inviting submissions for three doctoral scholarships and one post-doctoral scholarship, beginning October 1, 2015.  The proposed projects must be clearly related to one or more of the following research fields: a) media aesthetics and artistic practice; b) media history and cultural memory; c) digitality and materiality of media; d) media narration and media use.

The deadline for applications is August 24, 2015.

Click here for full text and application details.

Further information: www.zem-brandenburg.de or

http://www.filmuniversitaet.de/de/forschung/institute-kooperationen/zem.html

‘What is Cinema History?’ Programme and Welcome

The HoMER Network and the Early Cinema in Scotland project are proud to present ‘What is Cinema History?’, an international conference taking place in Glasgow, 22-24 June 2015.

The full programme is now available here.

For the convenience of delegates, the map below indicates the conference venues and some nearby amenities. We hope your travel plans go smoothly and look forward to seeing you in Glasgow.

‘What is Cinema History’ Draft programme available

The Early Cinema in Scotland research project and the HoMER Network conference committee are pleased to present the draft programme for the forthcoming conference, ‘What is Cinema History?’, June 22-24, 2015.

Download PDF:

What is Cinema History Programme Draft

Registration for the conference is open until 15 May.

Online registration form

Further details about social events, workshops, and organisational discussions will be posted soon.

Call for Papers: What is Cinema History?

CFP: WHAT IS CINEMA HISTORY?

A HoMER Network conference

presented by the Early Cinema in Scotland research project

call for papers

 

University of Glasgow

22-24 June, 2015

 

Over the last three decades, our understanding of cinema as a historical phenomenon has been subject to a series of ‘turns’ – empirical, spatial, and computational, to name a few. This conference, organised by the Early Cinema in Scotland research project in collaboration with the HoMER Network (History of Moviegoing, Exhibition and Reception), will investigate the shifting positions and imperatives of cinema history and its relationships with other approaches and disciplines. As cinema itself unravels or merges into a diversity of media forms and reception contexts, the centrifugal impulse of cinema history is amplified by scholarly engagement with new technologies. At this pivotal point, we need to understand the contradictory legacies and perspectives of film studies, film history, media archaeology, cultural studies, and other cognate fields, transcending the discourse of ‘newness’ that has underpinned the development of these methods. Thirty years after Film History: Theory and Practice (Allen and Gomery, 1985), what is new in the theory and practice of film and cinema history? To that end, this conference welcomes papers on the rhetoric and methods of cinema history from all periods, as well as empirical research projects that engage with these questions through case studies or comparative analysis.

 

Some of the topics proposed for consideration include:

  • The place of cinema history in relation to other disciplines and research fields, such as geography or social history;
  • Teaching cinema history and understanding its specialist skill-set;
  • Archives, sources, and the consequences of digitisation for different types of cinematic heritage;
  • Historical geographies of cinema and the use of digital mapping as analytical tool;
  • Non-metropolitan and non-theatrical exhibition studies as a historiographical challenge;
  • The rhetoric of ‘newness’ and revisionist historiography;
  • Text, ‘distant reading’, and the digital humanities;
  • Data sharing, comparative approaches, and micro-history.

 

Confirmed keynotes:

  • Richard Maltby
  • Haidee Wasson
  • John Caughie
  • Judith Thissen

 

Research on the history of exhibition, distribution and reception emphasises cinema’s imbrication in the fabric of social experience, championing relational and contextual approaches. Since 2004 the HoMER Network (homernetwork.org) has functioned as an international forum for researchers working in these areas, supporting a series of conferences, events, and publications. Participation in the 2015 event is not restricted to previous HoMER participants.

 

The conference will be preceded by a workshop on Historical Network Analysis, organised by the DICIS (Digital Cinema Studies) Network, and the second day will also feature a reflexive round-table on the past and prospects for cinema history. There will also be a HoMER general meeting during the conference, to decide on future structures and goals for the Network. This meeting is open to all conference participants interested in the future of HoMER. The Early Cinema in Scotland project will fund ten student/unwaged bursaries to cover registration costs.

 

Submissions are invited for individual papers and pre-constituted panels or workshops. For papers, please submit an abstract of no more than 500 words and a short biographical note to both Maria Velez-Serna (maria.velez-serna@glasgow.ac.uk) and Lies Van de Vijver (Liesbeth.VandeVijver@UGent.be) before

9 January 2015. For panels, please send the abstracts together with a 200-word note on the title and topic of the panel or workshop.

 

You will be notified of the acceptance or decline of your proposal by 5 March 2015.

2015 HoMER Conference CFP Glasgow (PDF)

New HOMER Website

Welcome to the new online home of the HoMER Network.

Please bear with us as we migrate the old HOMER website to the new DHPress.org platform.

What is HoMER?

HoMER stands for History of Moviegoing, Exhibition and Reception. It is an international network of researchers interested in understanding the complex phenomena of cinema-going, exhibition, and reception, from a multidisciplinary perspective. HoMER has organized panels, conferences and workshops since 2004.

What is Digital HoMER?

This website uses the DH Press platform developed at the University of North Carolina, in order to provide a directory to HoMER-related projects around the world. It attempts to map and categorize these projects to foster a collaborative outlook and awareness of relevant work, with particular attention to projects that incorporate digital methods or elements.

What projects are represented?

The list and map are constantly growing, but they are fed by direct submissions which are then approved and formatted by an editor.

How do I get involved?

If your project seems to fit the HoMER remit, please go to the online form. Your submission will be sent to one of the website editors, who will format it and georeference it before it is included on the map. At the moment this is still a manual process, so it can take a couple of days.

At the last HoMER meeting in Milan, it was also decided to try to compile a directory of existing datasets available for comparative research. If you want to contribute details of your datasets, please use this form.

Announcements for forthcoming events and calls for papers will be posted under Meetings.