A conference hosted by Linnaeus University Centre for Intermedial and Multimodal Studies, in association with SERCIA - Société d'Études et de Recherches sur le Cinéma Anglophone.
As early as 1911, Ricciotto Canudo coined the term "Seventh Art," bringing aesthetic considerations to bear into the realm of entertainment. Walter Benjamin, on the other hand, rejected cinema for being a mass medium devoid of artistic aura, which, according to him, was forever lost in the process of mechanical reproduction (1936). No matter how one looks at cinema, its appreciation or criticism is entirely dependent upon its physical and technical nature as a medium, especially since its technical properties and consumption platform(s) affect the form and content of specific products (i.e. films). Since cinema/film is a medium that evolves in time and is anchored in space during the viewing process, it has always, from its inception, shared properties with other media. Some films or television series are self-reflexive and use these confluences as a discursive trait where the linkages may become the subject and/or a shared method.
"Intermediality" is the word that defines these junctures and the research field within which these confluences take place. Such a relationship may occur on a one-on-one basis, in which a media form or a media product is transposed to another media form or product, or it can occur in a more multimedial basis, in which a complex transposition involving several media takes place at once. The result is something which is different from the original and yet possesses some of the same properties. It can either be a transformation in the characteristics of the medium being transposed, i.e. an adaptation, or a different representation of the media in other media, i.e. ekphrasis. The advent of new media opened another field of inquiry within intermediality, namely digital cinema and its properties. Advocates pro and against the emerging computational technologies helped shed some light on matters of relative chronology and hybridity/media fusion in a more diversified environment. Both positions differ only in focus and degree, since cinema, from a technical perspective, has undeniably changed. The concept of "post-cinema" addresses the new technological forms and sites of consumption, which, in turn, results in new ways of film viewing, more or less immersive; as well as in new types of products, more or less fragmented and pushed towards the museum.
The present Film and Television conference, calls for rationale and analysis that bears on cinema/television as technical media and its characteristics. Proponents are invited to establish connections with other media, within English-speaking countries. Both theoretical and practical analysis of film and other media are accepted. Possible topics include but are not limited to the following:
- Definition of media, intermediality, intramediality.
- Mediation, remediation, transmediation processes.
- Narrative adaptation, cinematic ekphrasis.
- Media characteristics and/or essence.
- Pure and impure media/cinema.
- Cinema as a limited or superior medium.
- "Old", new, and residual media.
- Digital cinema.
- Hybridity and media borders.
- New perspectives on the history/archaeology of cinema and other media.
- The aesthetics of cinema and other media technologies.
- Cinema/television and art forms: new artistic languages.
- Cinema/television and society: social uses of media.
- Cinema/television and ideology: the politics of media.
- Cinema/television as communication.
- Immersive qualities and spectatorial adhesion.
- The invisible and the virtual.
- Different products, different spectators.
François Jost, Professeur Emeritus, Sorbonne Nouvelle – Paris III, France.
François Jost has a PhD, in narratology, an MA in Philosophy and Aesthetics, and BA's both in Philosophy and Modern Literature. He is the author or co-author of more than twenty books, translated into several languages. For example: L'oeil-caméra: Entre film et roman (1987), Un monde à notre image: Enonciation, cinéma, télévision (1992), Le temps d'un regard: Du spectateur aux images (1998), Récit cinématographique (2003), Années 70 - La télévision en jeu (2005), Penser la création audiovisuelle: Cinéma, télévision, multimédia (2009), Lire, voir, entendre: La réception des objets médiatiques (2015), Pour une éthique des médias (2016), La méchanceté en actes à l'ère numérique (2018, forthcoming). He specializes in television studies and is the director of the Journal Télévision, as well as the director of the research centre CEISME, at the Sorbonne, dedicated to the study of images and sounds in media. He has lectured, as an invited guest, in some of the most prestigious film schools and universities in the world (12 in total). He maintains a regular presence in the French and international written press, radio and television
Lúcia Nagib, University of Reading, Department of Film, Theatre & Television, UK.
Lúcia Nagib is Professor of Film in the Department of Film, Theatre & Television. She is the Principal Investigator on the AHRC-FAPESP funded IntermIdia Project ('Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method'). She is the author of the books World Cinema and the Ethics of Realism (Continuum, 2011), Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris, 2007), Nascido das cinzas: autor e sujeito nos filmes de Oshima (Edusp, 1995), Em torno da nouvelle vague japonesa (Unicamp, 1993) and Werner Herzog: o cinema como realidade (Estação Liberdade, 1991). She is the editor of the books Impure Cinema: Intermedial and Intercultural Approaches to Film (with Anne Jerslev, I.B. Tauris, 2014), Theorizing World Cinema (with Chris Perriam and Rajinder Dudrah, I.B. Tauris, 2011), Realism and the Audiovisual Media (with Cecília Mello, Palgrave, 2009), The New Brazilian Cinema (I.B. Tauris, 2003), Mestre Mizoguchi (Navegar, 1990) and Ozu (Marco Zero, 1990)
Miriam De Rosa, Coventry University, School of Media and Performing Arts, UK.
Miriam De Rosa is a senior lecturer in Media & Communication at the University of Coventry, School of Media and Performing Arts. She has a PhD. in Communication Culture, and an MA in Theory and Technologies of Media Communication. She specializes in Post-cinema and New Media. She is the author of Cinema e postmedia. I territori del filmico nel contemporâneo, and co-author of Cinema & Cie International Film Studies Journal No. 26/27 Spring / Fall 2016: Post-What? Post-When?: Thinking Moving Images Beyond the Post-medium/Post-cinema Condition (with Vincenz Hediger, 2017) and the editor of Shifting Layers: New Perspectives in Media Archaeology Across Digital Media and Audiovisual Arts (2017).
The language of the conference is English and the examples or study cases should be on Anglo-Saxon cinema. Individual presentations should be set at 20 minutes. Please send your proposal containing an abstract (500 words max.), 5 key-words, and a short bio (120 max.) until 15th February 2018 to the two following email addresses: email@example.com and firstname.lastname@example.org Notification of acceptance will be sent until 25th March 2018.
Upon acceptance, speakers will be required to become SERCIA members for 2018. Please, visit the website http://sercia.net/index.php/how-to-join-sercia/17-how-to-join-sercia for further instructions on this.
E-mail: email@example.com (or firstname.lastname@example.org)
- Eva Larsson, e-mail: email@example.com
The conference organizing committee:
- Dagmar Brunow
- Lars Elleström
- Anna Gutowska
- Signe Jensen
- Liviu Lutas (co-leader of the project)
- Nafiseh Mousavi
- Anna Sofia Rossholm
- Niklas Salmose
- Letícia Vitral
- Jean-François Baillon - Professor at the Department of Anglophone Worlds of the University of Bordeaux-Montaigne 3, France, and President of SERCIA.
- Dagmar Brunow - Senior Lecturer of film studies at the Department of Film and Literature, Linnaeus University, Sweden.
- Fátima Chinita - Associate Professor at Lisbon Polytechnic Institute, Theatre and Film School, in Portugal.
- Annelie Ekelin - Senior lecturer at the Department of Media and Journalism, Linnaeus University, where she also was the head of the department from 2013 to 2015.
- Lars Elleström - Professor of Comparative Literature at the Department of Film and Literature, Linnaeus University, Sweden, and director of the Linnaeus University Centre for Intermedial and Multimodal Studies (IMS).
- Anna Gutowska - Lecturer at the Department of Modern Languages, University of Kielce, Poland.
- Liviu Lutas - Associate Professor in French Literature at the Department of Languages, Linnaeus University, Sweden.
- David Roche - Professor of Film Studies at the Université Toulouse Jean Jaurès, France, and vice-president of SERCIA.
- Anna-Sofia Rossholm - Senior lecturer at the Department of Film and Literature, Linnaeus University, Sweden.
- Niklas Salmose - Senior lecturer and deputy head of department at the Department of Languages, Linnaeus University, Sweden.
- Acland, Charles R. (ed.). Residual Media : Residual Technologies and Culture. Minneapolis : University of Minnesota Press, 2007.
- Bellour, Raymond. La querelle des dispositifs. Cinéma – Installations, Expositions. Paris: POL, 2012.
- Brefer, Hans and Klaus Peter Busse (eds). Intermedia: Enacting the Liminal. Dortmund: Books on Demand, 2005.
- Denson, Shane and Julia Leyda (eds.). Post-Cinema: Theorizing 21st Century Film. Falmer: REFRAME Books, 2016.
- De Rosa, Miriam and Vinzenz Hediger. Cinéma & Cie. International Film Studies Journal, Vol. 26/27, No. 16 (2017).
- Elleström, Lars. Media Transformation: The Transfer of Media Characteristics among Media. New York: Palgrave Macmillan, 2014.
- Gaudreault, André and Philippe Marion. The End of Cinema? A Medium in Crisis in the Digital Age. New York: Columbia University Press, 2015.
- Herzogenrath, Bernd (ed.). Travels in Intermedia[lity]: Reblurring the Boundaries. Hanover, New Hampshire: Dartmouh College Press, 2012.
- Hutcheon, Linda. A Theory of Adaptation. New York and London: Routledge, 2006.
- Jenkins, Henry. Convergence Culture: Where Old and New Collide. New York and London: New York University Press, 2006.
- Jost, François. Pour une éthique des médias: Les images sont aussi des actes. Nouvelles Éditions de l'Aube, 2016.
- Mannoni, Laurent. The Great Art of Light and Shadow: Archeology of the Cinema. Translated by Richard Crangle. Exeter: University of Exeter Press, 2000.
- Nagib, Lúcia and Anne Jerslev (eds). Impure Cinema: Intermedial and Intercultural
- Approaches to Film. London and New York: I.I. Tauris, 2014.
- Natale, Simone. "There are no Old Media," Journal of Communication (2016). doi:10.1111/jcom.12235
- Oddley, Alison and Christine White. Modes of Spectating. Bristol, UK; Chicago, USA: Intellect, 2009.
- Packer, Randall and Ken Jordan, eds. From Wagner to Virtual Reality. New York: W.W. Norton and Company, 2001.
- Pethő, Ágnes. Cinema and Intermediality: The Passion for the In-Between. Newcastle upon Tyne: Cambridge Scholars Publishing, 2011.
- Sager Eidt, Laura M. Writing and Filming the Painting: Ekphrasis in Literature and Film. Amsterdam and New York: Rodopi, 2008.
- Schröter, Jens. "The Politics of Intermediality", Film and Media Studies", nº 2 (2010), pp. 107-124.
- Uroskie, Andrew V. Between the Black Box and the White Cube: Expanded Cinema and Postwar Art. Chicago: University of Chicago Press, 2014.
Payment and registration
The standard conference fee, payable until 30th May 2018, is:
- 65 € for lecturers, researchers, independent scholars, and post-doctoral fellows.
- 35 € for PhD. candidates and MA students.
A late conference fee will be charged after this date, and until the 1st September 2018. Payments during the conference may be accepted upon special request.
- 90 € for lecturers, researchers, independent scholars, and post-doctoral fellows.
- 60 € or PhD. candidates and MA students.
The SERCIA annual fee is not included in this price. It is, however, a requirement for speakers at this conference, as well as to take part in any ensuing publications thereof.The annual fee for Sercia membership is 30 euros for professors, and 15 euros for retired colleagues, PhD candidates, students and independent scholars.
We kindly ask that the participants in the conference may pay both fees together.
Attendants who have already paid the 2018 membership fee to Sercia can pay the conference fee only. If in doubt please contact the Sercia Assistant Treasurer (firstname.lastname@example.org)
For members of the European Union, payment should be made by bank transfer to the following IBAN: FR76 1010 7001 7000 4200 2757 570, name: SERCIA, address: 14 rue de la Jonquiere, 75017, Paris
For non-EU members, payment can be made via Paypal to email@example.com
Once the payment has been made, please send a confirmation email to firstname.lastname@example.org, including the SERCIA registration form with your name and email address. The form can be found here: SERCIA Website - Join SERCIA
To be added at a later date.
To be added at a later date.
To be posted shortly.
Accommodations and travelling
We have pre-booked rooms at the hotels listed below. Please, call or email the hotel directly and mention the booking code "SC 2018" when you book to get our special price. Note: The pre-booked rooms can not be booked on-line on the hotels website.
Elite Park Hotel
(single room from 6/9: 1092 SEK 7/9 from 968 SEK)
Västra Esplanaden 10-14
SE-351 06 VÄXJÖ
You can book this hotel via email email@example.com
or telephone +46/470 – 70 22 00.
Elite Stadshotellet Växjö
(single room from 996 SEK/night)
Kungsgatan 6, Box 198
SE-352 33 VÄXJÖ
You can book this hotel via email firstname.lastname@example.org
or telephone +46/470 – 134 00
Quality Hotel Royal Corner
(single room from 1008 SEK/night)
SE-352 32 VÄXJÖ
You can book this hotel via email email@example.com
or telephone +46/470 – 70 10 00
(single room from 755 SEK/night)
Norra Esplanaden 21 A
SE-352 31, VÄXJÖ
You can book this hotel via email firstname.lastname@example.org
or telephone +46/470 – 70 22 00
(single room from 675 SEK/night)
SE-352 33, VÄXJÖ
You can book this hotel via email email@example.com
or telephone +46/470 – 77 67 00
If you want to share a room some of the hotels above offer rooms for double occupancy at the same or a slightly higher price.
Are you looking for more affordable accommodations we suggest that you visit one of the following websites:
telephone: +46/70-676 65 06
Website: www.mysebo.nu (currently only in Swedish)
Telephone: +46/470-225 80
Växjö – Centrum
Travelling to Växjö
It is now possible to reach Växjö by direct flight from Amsterdam (Shiphol, AMS). You can search for flight connections on KLM.com and for more information visit smalandairport.se. Take Buss #4 from the airport to Växjö city, travel time around 25 min or a Taxi, travel time around 15 min.
Another way to reach Växjö is to fly to Copenhagen airport (Kastrup, CPH), and then continue by train from the airport to Växjö. Travel time Copenhagen Airport to Växjö, around 2,5 hours.
On trains and train tickets at Copenhagen Airport (Kastrup):
After passing through the bsggsge claim and custums you find yourself at a small side of the long SAS check in hall. The escallators down to the platform of the trains to Sweden are at the opposite end on both sides of the hall. The DSB-counter that sells train tickets is on the right side between the escallators to the train platforms.
1. You can buy tickets using a vending machine in the baggage claim area (credit card only), inside the airport, or after leaving the airport using a vending machine (credit card) or at the ticket office (cash or credit card). Tickets are sold close to the escalators that leads down to the train platforms. When you have a ticket, follow directions "To Malmø" to reach the correct platform. Make sure to buy the train ticket before boarding the train, as ticket are not sold on board the trains.
2. There are two train companies, SJ and Öresundstågen. Their tickets cannot be interchanged. Make sure you purchase the right ticket. Öresundståg goes directly from Copenhagen Airport – to Växjö without a change of trains. SJ (X2000/snabb) fast trains commute directly between Kastrup airport and Alvesta, a suburb village of Växjö roughly every second hour and leave from Malmö every hour (inforcing changing trains in Malmö). A local train will take you to Växjö. Öresundståg tickets are valid on any Öresundståg departure within a certain timeframe, whereas SJ tickets are valid for a specific SJ departure only.
3. The SJ vending machines sell both companies' tickets, whereas the Öresundstågen vending machines only sell tickets for Öresundstågen.
If your flight takes you to Stockholm, there are two airports, Arlanda (ARN) and Bromma (BMA). You can take a direct flight from Bromma (BMA) to Växjö (VXO) with BRA airlines. There are airport busses from Arlanda to Bromma, travel time is approximately 45 min.
If you choose to travel by train from Aranda airport to Växjö you can find train schedule and purchase your train ticket on sj.se. Travel time Arlanda to Växjö, around 4 hours.
To the university campus in Växjö
Bus to campus:The best way to reach campus is to take the bus no. 3 direction "Universitetet". Our recommendation is to buy "Visitors ticket". Then you can travel all over Växjö city and you can choose between a ticket valid for 24 or 72 hours. The tickets can be purchased on board the bus or at Customer center (Växjö Resecentrum) at Växjö railway station. If you want to pay on the bus we suggest you use your credit card. If you pay with cash there is an extra fee. The price varies between 67 SEK-144 SEK depending if you choose 24 hours or 72 or hours and your age.
Note: During a two year period while construction work is carried out at Växjö Resecentrum the bus stop "Resecentrum" has been moved and is now bus stop "Storgatan" and is located on Kronobergsgatan.
This information and more you will find at Lanstrafikenkron.se.
By bicycle: Many hotels in Växjö have bicycles you can borrow or rent, the ride will take about 20 minutes from Växjö city center to Linnaeus University.
Other useful information
To be posted shortly