*CFP* "CINEMA AND ARCHITECTURE/URBANISM/MEMORY IN ROMANIA", SPECIAL ISSUE, EAST EUROPEAN FILM BULLETIN

Romanian cinema is at the forefront of addressing the challenges that the country faces today, often linking troublesome memories to urban spaces. Recent films such as Radu Jude’s I Do Not Care If We Go Down In History as Barbarians and Cristi Puiu’s Sieranevada address collective processes of remembering by linking them to physical places - public as well as private -, thereby exemplifying the way in which memory is dependent on and projected onto the locus of the city. Media artists, such as Mona Vatamanu and Florin Tudor, have also explored the topographies of memory. At the crossroads of the country’s past and future, architecture is a powerful force for cinematic storytelling, displaying a feeling of “restorative nostalgia” (Svetlana Boym) as well as a desire for change. 

As part of its Romanian focus 2021, the East European Film Bulletin is preparing a special issue on the topic of architecture and memory in Romanian cinema, television, video art and experimental film. We are looking for contributions that examine and analyse the diverse relationships between cinema, architecture and memory and their links with Romania’s complex memory, both remote and recent.

*CFP* "SOVIET UNDERGROUND AND PARALLEL CINEMA", SPECIAL ISSUE, EAST EUROPEAN FILM BULLETIN

In the early 1980s, two moments of underground film — the so-called Parallel Cinema — emerge in St. Petersburg (then Leningrad) and Moscow. For the first time radical young filmmakers, painters and artists produce amateur films, mainly in 16mm, outside of Goskino’s state monopoly. While the Moscow school’s approach to film is shaped by the influence of conceptualist art, the Leningrad school, associated with “Necrorealism,” explores an expressionist and absurd cinema, circling around death, decay and horror.

As part of its Russia focus 2020, the East European Film Bulletin is preparing a special issue on Soviet Parallel Cinema (parallelnoe kino), an experimental film movement in the Soviet Union in the 1980s. We are looking for contributions on underground films and video art by, among others, Igor and Gleb Aleinikov, Evgeny Iufit, Evgeny Kondratiev (Debil), Boris Yukhananov, Andrej Myortvy, Konstantin Mitenev, Igor Bezrukov, Alexander Doulerain, Vladimir Zakharov, Oleg Kotelnikov etc.

*CFP* "AEFIS-20: EXPERIMENTAL FILM, VIDEO ART, AND THE BORDERS OF CINEMA", A BRITISH SOCIETY OF AESTHETICS SYNERGY CONFERENCE

AEFIS-20: Experimental Film, Video Art, and the Borders of Cinema

A British Society of Aesthetics Synergy Conference

Queen Mary University of London

London, UK, November 5-6, 2020

This conference aims to highlight the contribution of experimental films and video art to contemporary culture. For this purpose, one should emphasize the way in which experimental films and works of video art differ from paradigmatic films, as well as the way in which experimental film and video art, as appreciative categories, differ from one another. The idea is to realize a synergy between, on the one hand, the research carried out in analytic aesthetics on notions such as appreciative category, art form, medium, and genre, and, on the other hand, the historical and stylistic research, as well as the artistic and critical practice, in the domains of experimental film and video art.

*CFP* "POP CINEMA", EDITED ANTHOLOGY

One of the most revolutionary and divisive art movements of the 20th century, Pop Art often found its thematic and stylistic sources in cinema. While it remains common to speak of Pop Art in relationship to film culture, there has been a significant lack of theorisation of films and filmmakers that were influenced by or employed the aesthetics and themes of Pop Art. Although there have been useful discussions in recent years of the place of Pop Art in the film criticism of curator and theorist Lawrence Alloway (Stanfield 2008), and curators William Kaizen (2011) and Ed Halter (2015) have separately attempted to define a corpus of Pop Films, there has been no thorough scholarly engagement with what this book terms ‘Pop Cinema’. This anthology will begin to remedy this omission by gathering a range of perspectives on artworks from the late 1950s to the present to probe the idea that a body of cinema and cinema-related practice exists that bears a direct relationship to Pop Art. We are concerned to bring the methodologies and critical positions of Art History and Film Studies together to bear on works of moving-image art—be they cinema or video—not to explore the ways in which they display works of Pop Art within their diegesis but to situate them as works of Pop Art in their own right.

*CFP* "VISUAL CULTURE IN ARGENTINA", MAYNOOTH UNIVERSITY ARTS AND HUMANITIES INSTITUTE SYMPOSIUM

Symposium on Visual Culture in Argentina,

23rd April 2019,

Maynooth University Arts and Humanities Institute, Ireland

Keynote Speakers:

Dr Jordana Blejmar, University of Liverpool, UK

Dr Tzvi Tal, Sapir College, Israel

Since the time of nation building Argentine art and visual culture has been inextricably linked to the social and political changes that took place in the country. Painting, sculpture, photography, posters, film, television, video art, digital art, graphic novels and architecture not only reveal the wounds and conflicts left by the past but they also shape the present of Argentina. This symposium aims at bringing together scholars from different areas to share their interest in and research on Argentine visual culture and art.