October 18th 2017
10:00 - 14:00
Universidad Carlos III de Madrid
Facultad de Humanidades, Comunicación y Documentación
PhD Program in Media Research (Universidad Carlos III de Madrid).
PhD Program in Communication (Universitat Jaume I de Castellón).
Organizing Committee: Academic Committee from the PhD Program in Media Research, Sagrario Beceiro, Santiago Lomas Martínez y Rubén Romero Santos.
ORGANIZED WITHIN THE CONTEXT OF:
INTERNATIONAL SEMINAR - Global Emergency of Commercial Television and Public Service Challenges in Europe (October 17-18, 2017)
Spanish Government Funded Research Project "Cinema & television in Spain 1986-1995: modernity and the emergence of global culture" (CSO2016-78354-P). Ministry of Economy and Competitiveness.
INTERNATIONAL CONFERENCE - Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinema (October 18-20, 2017)
Spanish Government Funded Research Project "Transnational relations in Spanish-American digital cinema: the cases of Spain, Mexico and Argentina" (CSO2014-52750-P). Ministry of Economy and Competitiveness.
Department of Journalism and Audiovisual Communication (Universidad Carlos III de Madrid/ UC3M).
Tecmerin (UC3M Research Group).
Call for proposals
Proposals are welcomed from PhD students of Communication to participate in this PhD Workshop. This one-day PhD Workshop is organized within the context of the International Seminar Global Emergency of Commercial Television and Public Service Challenges in Europe and the International Conference Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinema.
Professor Philippe Meers
Philippe Meers is full professor of Film and Media Studies at the University of Antwerp. He is chair of the Visual and Digital Cultures Research Center (ViDi), and chair of the Center for Mexican Studies at the University of Antwerp. He published about cinema culture in The Journal of Popular Film and Television, Screen and in Hollywood Abroad (BFI, 2004); The Contemporary Hollywood Reader (Routledge, 2009). He edited, with Richard Maltby y Daniel Biltereyst, Explorations in New Cinema History. Approaches and Case Studies (Wiley-Blackwell, 2011), and Audiences, Cinema and Modernity: New Perspectives on European Cinema History (Routledge, 2012). He was founding chair of the Film Studies section of the European Communication Research and Education Association (ECREA), founding member of the European Network for Cinema and Media Studies (NECS), and of the Network on History of Movie-going, Exhibition, and Reception (HoMER). Outside academia, he is a member of the board of directors of the cultural (audiovisual) organisations Vlaamse Dienst voor Film cultuur VDFC, Aifoon, C.H.I.P.S., Laika and Fonds Raoul Servais.
Professor Meers’ workshop will be held in Spanish and English, as requested by students.
Professor Zrinjka Peruško
Zrinjka PeruSko is full professor of media sociology and mass communication at the Faculty of Political Science, University of Zagreb, and Founder Chair of its Centre for Media and Communication Research. Also, she is Director of the Media and Politics Stream in the Doctoral Program in Political Science at the University of Zagreb, and Founder Co-director of the international post-graduate course "Comparative Media Systems" at the Inter University Centre Dubrovnik. In addition to five authored/ edited books, and book chapters published internationally, her work appears in International Journal of Communication, Central European Journal of Communication, Medialni studia (Media studies), View - Journal of European Television, History & Culture, East European Politics and Societies, Medijska istraživanja (Media research), among others. Professor Peruško is presently serving as Chair of the ECREA Central and East-European (CEE) Network. She is also a Member of the Committee for the Steve Chaffee Career Achievement Award (2016, 2017) of the International Communication Association (ICA).
Professor Peruško’s workshop will be held in English.
Focus and themes
PhD workshop is aimed at researchers who work on topics related to themes analyzed both in the Seminar and in the Congress, which are discussed below.
International Seminar - Global Emergency of Commercial Television and Public Service Challenges in Europe
During the last two decades of the last century, private and commercial television were deployed and developed in many European countries. Although there had been pioneering experiences almost since World War II, it is then when the development of new technologies and the extension of a post-industrial consumer society popularize the phenomenon.
New actors will modify the production systems, but also the forms of consumption and the relationship of the viewers with the audiovisual texts. Also, if transnational globalization is one of the defining processes of the period, the presence of international operators will force the redefinition of theoretical frameworks for television, which will no longer be considered an essentially national phenomenon. Therefore, the media landscape will be ruled by national legislation and, in addition, by a supranational jurisprudence from the European Economic Community. The best example of the new situation will be Television without Frontiers Directive passed in 1989.
The new situation will ask for a reflection and redefinition of both the concept of public service and the raison d'être and obligations of public television, often in direct conflict with its new competitors. New issues will arise, such as profitability, audience, or quality content.
International Seminar "Global Emergency of Commercial Television and Public Service Challenges in Europe" follows the lines stated in the research project "Cinema and television in Spain 1986-1995: modernity and emergence of global culture". In doing so, it proposes to study and reflect on how the implementation of private television in different countries has occurred and how it has conditioned the current television.
Further information: tecmerin.es/seminariotvglobal
Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinemas
Over the past twenty years, digital technology has become the standard in the film production, circulation, and consumption processes. Within this context, Hispanic cinemas have undergone deep changes, both within the countries with an established cinematic tradition, as well as in those that, due to several reasons, had not developed a robust cinematography throughout the 20th century. The analogue paradigm became deeply contested and a new digital framework, which was widely discussed by institutions, film critics, and academics, emerged. This moment coincides with the widespread generalization of national and transnational neoliberal policies that, far from backing diversity, have increased the gap between those “connected” and those “disconnected” (to draw upon Néstor García Canclini’s term); a gap also experienced by those that, even if connected, still occupy subaltern positions.
The speeding of these processes has resulted in an increase of mobility, at work both in the geographical displacement of film professionals and in the emergence of new narratives models that deal with questions of belonging and uprooting, springing precisely from these experiences of displacement. The cinemas of the Global South, and, most specifically, Hispanic cinemas, have actively taken part in these processes, ultimately playing a relevant role in terms of narrative and aesthetic models, and the production, circulation and consumption of film.
Following the main research axes of the R+D project “Transnational relations in Hispanic digital cinemas: the axes of Spain, Mexico, and Argentina” (CSO2014-52750- P), the International Conference Digital Imaginaries of the South: Stories of Belonging and Uprooting in Hispanic Cinemas welcomes proposals across the following lines of inquiry: representation of migrations, displacements, exile, and diaspora; reconfiguration of the regional, national, and transnational Hispanic interactions within the new century; Public discourses and film policies within the region; Hybridization and identity in the narratives on colonization, decolonization, and revolutionary processes; Activism and digital praxis; Film cultures and cinephilia: festivals, publications, and digital platforms; Historiographic, theoretical, and methodological problems of so-called Hispanic, Iberian, and Latin American cinemas americanos.
For further information: www.uc3m.es/atcinema
Proposals are welcomed from PhD students of Communication. Submissions should provide a title and an abstract of 800-1000 words including a theoretical framework and an outline of the planned methodology. Applications must be sent before the 30th of September in a PDF or DOC format to email@example.com.
Selection will be based on proximity with the main themes of the Seminar or the Congress. The notification of the acceptance will be sent by the 3rd of October, 2017.
Each workshop teacher will work and comment a maximum of four proposals during the morning of the 18th of October (from 10 AM to 2 PM). Each participant will present her/his proposal in 15-20 minutes, in Spanish or English for Professor Meers and only English for Professor Perusko.
Further information: firstname.lastname@example.org