HoMER 2020 CfP – Maynooth University 25-27 May 2020

HoMER 2020 CfP, Dublin, 25–27 May 2020

Hosted by Maynooth University

CfP Integrating Traditions 

Deadline for proposals, 15 November 2019
Letters of acceptance/rejection, 8 January 2020

 

The HoMER Network invites submissions for 20-minute papers, as well as designated roundtables, panels, and workshops to be presented at the 2020 conference, which will take place at Maynooth University on 25-27 May 2020.

At HoMER 2019 in Nassau, the conference explored ways of developing a more theoretical and methodological grounding for New Cinema History research. Since emerging as a vibrant field of research in the early 2000s, New Cinema History has sought to distinguish itself from Film History by ‘shift[ing] its focus away from the content of films’, in order to examine cinema as a ‘site of social and cultural exchange’ (Maltby 2011: 3). However, in recent years there have been calls to reconsider the significance of the film itself within New Cinema History research. For the Homer 2020 conference INTEGRATING TRADITIONS, we would like to continue answering that call: as cinema historians, we have traditionally drawn on frameworks and methodologies found in fields such as Social Geography, Economics, and Psychology, but how do we integrate these approaches with those of Film History and Film Studies more broadly? Furthermore, in order to become ‘methodologically more mature’ as a discipline, we must also reflect on how we approach comparative research as an essential part of our studies (Biltereyst and Meers 2016: 25). Several empirical research projects have already used these methods within New Cinema History, comparing the cinema-going experience across cultural and geographical contexts; however, still lacking is the integration of productive methodologies from Film Studies.

The aim of HoMER 2020 is to investigate how the traditional approaches of Film Studies  – as well as those disciplines that have shaped NCH to date – can be productively integrated.

 

Possible topics and questions to explore might include (but are certainly not limited to):

 

  1. Film as text. What is the film’s appeal to audiences? When we investigate cinema’s popularity, how do we relate the film’s content to its performance at the box-office? The relationship between cinema memories, film text and social and geographical spaces.
  2. Genre and stardom and their relationship with programming and audiences. How can genre theory enhance our understanding of film reception and programming practices in specific cinemas?
  3. The changing role of gender, however defined, in distribution, exhibition and reception.
  4. Underexplored interdisciplinary possibilities or new historiographical paths. Are there potential connections with leisure or urban studies, for example? Can we use film as a source for investigating a historical period? Can we further engage approaches to the history of everyday life in our research?
  5. The novelty in New Cinema History. In what does its (continuing)  novelty Iie? What are its methodologies and conceptual frameworks?

 

Presentations are welcome to critically explore the conference theme of INTEGRATING TRADITIONS through the interdisciplinary lens of academic Film and Cinema Studies.

Since it was first established in 2004, the HoMER network has been instrumental in bringing together researchers working in the New Cinema History tradition and providing opportunities to share knowledge and exchange ideas. In keeping with this, the 2019 HoMER conference featured a series of discussion sessions on specific topics. In light of the positive feedback on these sessions, HoMER 2020 will also feature discussion sessions on each day of the conference. During these sessions, participants will be able to debate research questions and methodologies, with the aim of sharing practices of their research, as well as advancing and developing new ideas in NCH approaches. Last year the three themes were: The geography of cinema; Cinema memories and the archives; Defining contemporary cinema.

Suggestions for new themes to discuss in HoMER 2020 are welcome.

The format will follow the successful one used last year: presentations of key areas (10 min) to the HoMER participants, followed by small group discussion (1 hour) on the key areas, and a final plenary discussion (20 min). Possible key areas to explore might include (but are certainly not limited to): Cinema and Memory; the Economics and Business of Film; Programming and Film Popularity; Paratextual Analysis; the Digital Challenge; Distribution of Films; Impact of Research to Non-academic Audiences; Publishing New Cinema History Research: Traditional Approaches and the Alternatives.

Abstracts of 250 to 300 words, plus 3 or 4 bibliographic entries, and a 50-word academic biography can be submitted via the HoMER 2020 Abstract Submission Form: https://docs.google.com/forms/d/e/1FAIpQLScDmHvICIqmjlAB6gCoBfJ_yWJpgfOApAqFq-IW2RXUTAriKw/viewform?usp=sf_link

For any queries regarding submission, please contact conference co-ordinators, Clara Pafort-Overduin (c.pafort-overduin@uu.nl) and Daniela Treveri Gennari (dtreveri-gennari@brookes.ac.uk).

 

Programming Committee:

Clara Pafort Overduin

Daniela Treveri Gennari

Sarah Culhane

Denis Condon

Maya Nedyalkova

Åsa Jernudd

Karina Aveyard

Sam Manning

Kata Szita

Silvia Dibeltulo

Bahamas appeal

Hurricane Dorian has hit the northwestern Bahamas as a category 5 storm, specifically the Abacos Islands and Grand Bahamas, on Sunday 1 September, and moved slowly across the islands over the following days. It is reportedly the strongest storm worldwide this year and the strongest to have ever hit the Bahamas, with 185 mph winds. After our exceptional experience in the Bahamas earlier this summer, we thought you may want to show your support.

Here are some ways to donate and help people affected by the hurricane:

At the time of writing, the storm is only starting to move away from the area, so the extent of the damage and loss of life is only starting to emerge. Our thoughts are with the people of the Bahamas, and we will seek to communicate any requests from our colleagues there if other forms of support are wanted.

Anchoring New Cinema History

Upcoming HoMER Conference 26–28 June 2019

Hosted by The University of the Bahamas, Nassau

New Cinema History, as an approach focusing “on the circulation and consumption of film” and examining “cinema as a site of social and cultural exchange” (Richard Maltby, 2011) has turned out to be very productive. It brought together both young and veteran scholars who believed that it was more fruitful writing film history with an eye for the social, economic and geographical aspects of cinema cultures, than merely an art history of the moving image or a critical reading of films. At the last HoMER@NECS conference in Amsterdam, members of the panel ‘New Cinema History: What’s Next?’ called  for more theoretical and methodological grounding of our research. In the Homer 2019 conference Anchoring New Cinema History we would like to start answering that call.

The SPACES and PLACES Stream of the conference will aim to investigate the geography of cinema. The THEORIES AND METHODOLOGIES Stream will provide an opportunity to reflect on and discuss some key areas of research within the HoMER network, with the aim of suggesting new directions in the field and developing new theoretical and methodological approaches, or reintroducing and adapting existing approaches that proved to be useful.

The conference program will be published around the end of April 2019.

Support for young scholars

At the last HoMER General Meeting in Amsterdam we agreed that we would search for ways to support young colleagues or PhD students who wish to take part in the Homer conferences but have no financial support from their universities.  One of the solutions was the Gofundme website where one can set up a crowdfunding campaign which then could be endorsed by the Homer coordinators to the network. Two of our members actually set up a call at the website:

Eleonora Roaro:  https://www.gofundme.com/conference-in-nassau-the-bahamas

Sarah Kelley:  https://www.gofundme.com/presenting-at-homer-conference-2019-in-nassau

CfP HoMER Conference 2019 – Nassau: Anchoring Cinema History

HoMER 2019 CfP Conference 2019, Nassau, The Bahamas, 26–28 June 2019

Hosted by The University of the Bahamas

CfP – Anchoring New Cinema History

Deadline for proposals, 15 November 2018
Letters of acceptance/rejection, 1 December 2018

The HoMER Network invites submissions for general paper entries, as well as a designated roundtable, panels, and workshops to be presented at the 2019 conference, which will take place at The University of the Bahamas from 26-28 June 2019.

New Cinema History, as an approach focusing “on the circulation and consumption of film” and examining “cinema as a site of social and cultural exchange” (Richard Maltby, 2011) has turned out to be very productive. It brought together both young and veteran scholars who believed that it was more fruitful writing film history with an eye for the social, economic and geographical aspects of cinema cultures, than merely an art history of the moving image or a critical reading of films. At the last HoMER@NECS conference in Amsterdam, members of the panel ‘New Cinema History: What’s Next?’ called  for more theoretical and methodological grounding of our research. In the Homer 2019 conference Anchoring New Cinema History we would like to start answering that call. Presentations are welcome to critically explore the conference theme of Anchoring New Cinema History through the interdisciplinary lens of academic Film and Cinema Studies, Social Geography, Memory Studies and Economic History, etc.

Since its beginning the HoMER network has been instrumental in bringing together researchers working in the New Cinema History tradition, not just as a platform to present their work but also as place to meet colleagues to collaborate with. In the upcoming HoMER conference we propose to stress the network function of HoMER, both in welcoming young scholars as in creating interdisciplinary opportunities for collaborative work. The 2019 HoMER conference aims to exploit the established strong connections of people, and places the HoMER network can offer, in order to invite new and old members to engage in new collaborative research. This will be articulated in two main streams:

1. SPACES and PLACES – Connections and comparisons (either pre-constituted panels or individual papers)

The SPACES andPLACES Stream of the conference will aim to investigate the geography of cinema. This can be expressed both through the exploration of familiar and new spaces of cinemas, such as cinema theatres but also pop-up cinemas,  community cinemas, and virtual cinemas. It will also include both well researched geographical areas and new territories and locations, such as South and Central America, Africa, Central Asia and South-East Asia. These new uncharted territories will be of great value on their own to reconnoitre the position of different countries in relation to cinema practises. They will also provide connections and comparisons with existing body of work on Europe, America, Canada and Australia.

By looking at this extended geography of cinema, possible topics and questions to explore might include (but are certainly not limited to):

  1. Environment, space, and place

  2. Cinemas and urban transformations, transition and change

  3. Cinema practices, policies and external bodies (local authorities, communities, self regulating associations)

  4. Memories and topographical references

2. THEORIES AND METHODOLOGIES – (special discussion sessions and presentations)

The THEORIES AND METHODOLOGIES Stream of the HoMER conference will provide an opportunity to reflect on and discuss some key areas of research within the HoMER network, with the aim of suggesting new directions in the field and developing new theoretical and methodological approaches, or reintroducing and adapting existing approaches that proved to be useful. These key areas can be suggested by members when submitting a paper proposal (or just by emailing the HoMER Co-ordinators). A dedicated session of this stream will include:

Small group discussion (1 hour) on the key areas, followed by presentations (10 min) to the HoMER participants and a further discussion (20 min). Possible key areas to explore might include (but are certainly not limited to): Cinema and Memory; the Economics and business of film; Programming and film popularity; Paratextual analysis; the Digital challenge; Distribution and spreading of films; Impact of research to non-academic audiences.

Moreover, in a speed dating session, junior researchers will be given the opportunity to team up with experts to discuss their individual methodological and theoretical concerns. If you are interested in this (both juniors and experts), please email the Co-ordinators.

Submissions

Please send abstracts of 250 to 300 words, plus 3 or 4 bibliographic entries, and a 50-word academic biography to conference co-ordinators, Clara Pafort-Overduin (c.pafort-overduin@uu.nl) and Daniela Treveri Gennari (dtreveri-gennari@brookes.ac.uk).

Updated Information will be posted at: http://homernetwork.org/

Programming Committee:
  • Clara Pafort Overduin
  • Daniela Treveri Gennari
  • Monique Toppin
  • Jessica Leonora Whitehead
  • Mario Slugan
  • Talitha Ferraz
  • Maria Luna

HoMER at NECS 2018 + AGM

HoMER strand at NECS Conference: Media Tactics and Engagement, Amsterdam, 2018
Hosted by the University of Amsterdam and VU Amsterdam , 27-29 June 2018

Three days of presentations by authors of research on movie and other media distribution, from all eras and places. See the abstracts visualized with Prospect.

There is a Media in Transition pre-conference  organized by Utrecht University on 26 June. For more information and registration see: https://necs.org/conference/accompanying-events/pre-conference

HoMER Network AGM

The HoMER General Annual Meeting will take place during NECS conference in Amsterdam on Wednesday 27th from 16.15 until 18.00, at VU Main building, room 15A33.

Please see the agenda here.

Before the meeting, please see the minutes from the last meeting in Toronto, and the updated HoMER constitution.
If you cannot attend but wish to share any comments or suggestions please feel free to contact either Daniela or Clara, or comment on this page. The meeting will be streamed through our HoMER Network Facebook page.

 

Workshop: Curating and Sharing the Data of Media History (with Eric Hoyt)

The HoMER workshop is sponsored by DICIS and will be on Friday 29 June, 3.45PM-7.00PM

In the course of our research, members of HoMER have amassed collections (quite large, in some cases) of documents, images, publications, and other sources that chronicle the global histories of moviegoing. How can we use digital technology to leverage these sources—many of which never even become footnotes—so that they are meaningful, useful, and revealing to a wider community? And what are the considerations of law, ethics, labor, technical expertise, and historiography that we must attend to in the process? This workshop will take up these questions through a blend of presentations, discussions, and hands-on exercises. One common thread will be the multiple meanings of “curation”—ranging from the decisions of inclusion and exclusion, to the computational structuring of data, to the methods for contextualizing objects that users encounter online.

The workshop will be facilitated by Eric Hoyt, who is an associate professor of Communication Arts at the University of Wisconsin-Madison and the Director of the Media History Digital Library. Hoyt will discuss some of the forms of curation that he and his collaborators have employed in digitizing magazines for the Media History Digital Library and, most recently, in reuniting a paper and audio collection for the “Unlocking the Airwaves” digital humanities project. But the workshop’s focus will be on the interests, research, and questions of HoMER members. Please bring at least one primary source that you would be interested in somehow sharing or curating online.

Practicalities:

All HoMER workshops and panels will be in the main building of the VU. Click here for directions.

There will be a HoMER dinner on Thursday 28 June, at 7.00 PM in The Circl, Gustav Mahlerplein 1B, 1082 MK Amsterdam.( a 10-minute walk from the VU). If you have not signed up yet, please contact Daniela (dtreveri-gennari@brookes.ac.uk) or Clara (c.pafort-overduin@uu.nl).

HoMER@NECS 2018

This year’s HoMER gathering takes the form of a conference strand in NECS at Amsterdam. All HoMER panels will be held at Vrije Universiteit Amsterdam. If you are attending, please check the NECS website for transport and accommodation advice.

The preliminary programme for the conference can be found here. There will be fifteen HoMER panels and two workshops throughout the three days of the conference. The HoMER General Meeting will take place on Wednesday 27 June.

One of the highlights is the workshop on “Curating and Sharing the Data of Media History”, which will be run by Eric Hoyt (co-director of the Media History Digital Library) and is kindly funded by DICIS (Digital Cinema Studies). If you wish to take part in this workshop, please complete the form below.

We look forward to seeing you in Amsterdam.

Call for Papers: HoMER@NECS 2018

Media Tactics and Engagement

HoMER@NECS Conference 2018, Amsterdam, 27–29 June 2018
Hosted by VU and UvA, Amsterdam, The Netherlands.
Deadline for proposals: 31 January 2018
Following several joint conferences in Prague (2013), Milan (2014) and Potsdam (2016), HoMER (http://homernetwork.org) is teaming up with NECS (http://necs.org/) again to offer a strand of panels at the 2018 NECS conference in Amsterdam, The Netherlands. Similar to previous such events, this will include a pre-conference day with a HoMER workshop (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 NECS’ and HoMER’s main purposes is to facilitate connections between acclaimed and aspiring researchers and the multitude of academic disciplines they represent. This year’s Call for Papers focuses on Media Tactics and Engagements, which will explore the various − (un)intended and (non) subversive − ways in which media are currently developed, deployed and distorted in both former and present times. There are many ways to think about the notions of tactics and engagement. For example, we may think of tactics as the means to an overarching strategic end. Thus, the term can draw attention to larger trends within the film and media industry. Why and to what effect do media distributors like Netflix, retailers like Amazon and social media platforms like Facebook order original content? And how does that affect film production, distribution and consumption? Or how did film exhibitors in the post-war period organise themselves in cartel to respond to governmental film policies?
Thinking of the recent resistance to Netflix original films at the Cannes Film Festival, one may also ask how the film industry itself strategically responds to these kinds of developments. The cinematic text, for example, has seen continuous transformation through multiple digressions: nitrate short films, to 3D movies, roadshows, to DVD (extras), online publicity, and digital technologies generally have informed the status of film texts, their consumption and interactions with them. What further reflections around text, platform, user/audience engagement are necessitated in the context of these developments?

 

Possible topics could be:
  • Marketing strategies and tactics in film distribution and exhibition
  • Publicity material and paratextual material
  • Corporate identity of companies
  • Alternative circuits of film distribution and organizations that exhibit film
  • Tactics in engaging with audiences: international markets and US markets
  • Audience and institutional activism in relation to film exhibition
  • Memories of changing practices of cinema-going
  • The relationship between the industry and the reviewers
  • Education, engagement of younger generation
  • Past and contemporary distribution and content production models
Moreover, we launch a special call for papers on Latin American cinema cultures. Whereas traditionally Latin American film scholars have worked within a text oriented paradigm, recently there has been a series of projects and publications with a clear focus on audiences, exhibition and cinema-going, both in large film producing countries such as Brazil, Mexico and Argentina and in smaller cinema nations such as Colombia. We seek to bring together these studies to make a state-of-the-art of HoMER related research in Latin America.
We seek submissions of individual papers or pre-constituted panel (3 papers) proposals from existing HoMER members and anyone interested into historical and contemporary film exhibition, distribution and experience. Please submit abstracts of individual papers of no more than 300 words with a biographical note of no more than 100 words to both Clara (c.pafort-overduin@uu.nl) and Daniela (dtreveri-gennari@brookes.ac.uk). For panels, 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 28 February 2018. Please 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 fees by the 30th of April 2018.
Please do make sure you also check the NECS CfP, in case your proposal fits better their  call.
We look forward to all the proposals,
HoMER@NECS Team 2018: Clara Pafort-Overduin, Daniela Treveri Gennari, Philippe Meers, Talitha Ferraz, Asa Jernudd, John Sedgwick, Mario Slugan, Thunnis van Oort

 

Explore conference abstracts using Prospect

Prospect is a free, open-source data curation and visualization tool developed by the Digital Innovation Lab at the University of North Carolina. It is the follow-up to DH Press, which is used on this site for the Digital HoMER map.

Ahead of the Circuits of Cinema conference which starts this week, we have been experimenting with Prospect, so you can now browse the conference abstracts using a map, timeline, or list visualisation. Prospect has many more ways to slice the data but we would need more systematic tagging, so perhaps this may contribute to the discussion.

Open Prospect – Toronto here.