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HoMER 2020 CfP – Maynooth University 25-27 May 2020 – EXTENDED DEADLINE

HoMER 2020 CfP, Dublin, 25–27 May 2020

Hosted by Maynooth University

CfP Integrating Traditions 

Extended deadline for proposals, 29 November 2019

Letters of acceptance/rejection, 8 January 2020

 

Keynote Speakers:

Professor Shelley Stamp (Film + Digital Media, University of California, Santa Cruz)

Professor Joao Luiz Vieira (Cinema and Audiovisual Studies, Universidade Federal Fluminese, Niterói) 

 

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

We also invite submissions for poster proposals, particularly from postgrad students (at all levels) and postdoctoral researchers. Accepted posters will be on display for the duration of the conference. Poster proposals can be submitted via the HoMER 2020 Poster Proposal Form: https://docs.google.com/forms/d/e/1FAIpQLSdJMAH_oHY4hI1Tv1ImVu-Qmv4J–ZDWXb4u3XyBHKo3KMN8g/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). 

 

 

Postgraduate conference accommodation support:

To help support postgraduate students that would like to travel to Maynooth for HoMER 2020, we have provisionally reserved a small number of single college rooms on campus.These single rooms have shared bathroom facilities and will be available to book for approximately €28 per night. As there are a limited number of rooms available, we would appreciate if you could indicate whether you would be potentially interested in availing of this accommodation option during the conference. To request a college room, please contact Sarah Culhane (Sarah.Culhane@mu.ie) by Friday 6th December 2019. We realise that this deadline falls before the date for the issue of acceptance/rejection letters, but your advance expression of interest will help us to plan accordingly ahead of time. Thanks for your co-operation.      

 

Programming Committee:

Clara Pafort Overduin

Daniela Treveri Gennari

Sarah Culhane

Denis Condon

Maya Nedyalkova

Åsa Jernudd

Karina Aveyard

Sam Manning

Kata Szita

Silvia Dibeltulo

 

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.

 

Circuits of Cinema Preliminary Schedule

2017-CircuitsOfCinema-Logo-transparent.jpg

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: Mapping Movies “data-sharing” workshop

We are planning to host 115 presentations by 124 authors or co-authors of research on movie and other media distribution, from all eras and places.

DOWNLOAD the Preliminary Programme (5 Feb 2017)

Circuits of Cinema will be a forum for 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.

Panels are organized into three sub-themes:

  • A Panels | Chains of Command: Patterns behind Hollywood’s Standard Practices
  • B Panels | Transformative Distribution: Inter-Cultural, Diasporic and Transnational Circuits
  • C Panels | Distributing Alternatives: Circuits to the Social, Aesthetic and Economic Margins

ALSO:New Terrain Keynote Panels | Leading Research by Emerging & Senior Scholars   

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

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

(Supported by the Social Sciences and Humanities Research Council of Canada, Grant 435-2015-0917)

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!

Download Circuits of Cinema CFP

Circuits of Cinema banner

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!

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.