*CFP* CALL FOR ARTICLES, NEXT ISSUES, NEW CINEMAS: JOURNAL OF CONTEMPORARY FILM

New Cinemas is seeking scholars and practitioners working in the fields below to act as peer reviewers. A vital part of academic publishing, peer review enriches the discipline and improves the work of authors and reviewers alike. We encourage reviewers from diverse backgrounds and at different stages of their career to join the peer review pool. We are particularly interested in hearing from researchers in Asian cinemas, film theory and philosophy, and genres such as horror and sci-fi.

New Cinemas is a peer-reviewed journal aiming to provide a platform for the study of new forms of cinematic practice and fresh approaches to cinemas hitherto neglected in western scholarship. It particularly welcomes scholarship that does not take existing paradigms and theoretical conceptualisations as given; rather, it anticipates submissions that are refreshing in approach and exhibit a willingness to tackle cinematic practices that are still in the process of development into something new.

We particularly welcome submissions from those close to completing their Ph.D., Early Career Researchers and practitioners, especially from outside ‘Western’ spaces, as well as work on film beyond the text (such as festivals, technology and marketing). We also seek to publish research and cutting-edge thought in shorter formats than the traditional academic article.

*CFP* “MUTATING ECOLOGIES IN CONTEMPORARY ART: MACHINIC CAPITALISM, MOLECULARIZED SELVES & SUBSISTENTIAL TERRITORIES”, IV INTERNATIONAL SYMPOSIUM 2020

Mutating Ecologies in Contemporary Art: Machinic Capitalism, Molecularized Selves & Subsistential Territories 

28 de Abril de 2020

MACBA, Barcelona

According to psychotherapist, activist and philosopher Félix Guattari, the intensification of the dynamics of hierarchization, segregation, and exploitation that emerged with the advent of neoliberal capitalism converge with the development of a new type of fascism of planetary scale. Unlike earlier forms of authoritarian fascisms, this unprecedented biopolitical force operates within the interiority of subjects, and it aims at making sure that each individual assumes mechanisms of control, repression, and modelization of the dominant order (2009, 258). By way of a miniaturization of its logistics, machinic capitalism manages to seep into our psychic territories, intervening in the basic functioning of the perceptive, sensorial, affective, cognitive, linguistic behaviours (2009, 262). Deleuze and Guattari's procedural distinction between signifying and asignifying semiotics offer an accurate understanding of how this molecular colonization occur (1987, 9).

*CFP* "WOMEN AND SPACE IN CONTEMPORARY CINEMA", SPECIAL ISSUE ANIKI, THE PORTUGUESE JOURNAL OF THE MOVING IMAGE

The second half of the 20th century was characterized, in many countries, by the emergence of a new relationship between women and space. Easier access to the labour market, as well as to higher levels of education, were important victories for women, even if these were defined by obvious asymmetries in terms of class, race and location. Across the world, while fighting for fairer social, workplace and sexual rights, women not only abandoned, and occupied in new ways, the domestic space; they also began to inhabit, in a more affirmative manner, the public space, as well as that of the media.

It wasn’t long before such changes had an impact on film. It is not a coincidence that in many films of the 1960s and 1970s we see on screen women walking, working or fighting for their survival in the streets of different cities. Nature, often used as a metaphor for women, because attributed values traditionally associated with the feminine condition, such as purity, emotion and irrationality, also became a space for contestation. Women simultaneously came to occupy the spaces of representation and of production of film. In Brazil, in the 1970s, there was, for the first time in history, a growing number of women directors. Many of these have not only been able to direct more than one film since beginning their careers, but are also still active. In Portugal, three decades after Bárbara Virgínia, conventionally known as the country’s first woman filmmaker, active in the 1940s, women filmmakers finally re-emerged in the 1970s. The growing number of women that have been playing important roles in the most diverse areas of the cinematographic industry is not, of course, restricted to these two countries.

*CFP* "CINEMA AND MIGRATION", 20TH NEW DIRECTIONS IN TURKISH FILM STUDIES CONFERENCE

20th New Directions in Turkish Film Studies Conference: "Cinema and Migration"

May 9-11, 2019

Kadir Has University, Faculty of Communication

Istanbul, TURKEY

Migration is one of the most controversial and pressing issues of our times. Due to economic deprivation, violence, human rights violations, political uncertainty and environmental problems, being on the road to somewhere has become the new norm. Yet in most cases, it is a departure without a certain arrival. According to the figures of UNHCR, 68.5 million people across the world are forcibly displaced and Turkey ranks first among top refugee-hosting countries. Between 2011-2016, the number of migrants in Turkey has reached 3.5 million. In this landscape, the significant questions of integration and harmonization arise, as discussed in M. Murat Erdoğan’s (2015) work on Syrians in Turkey.