Archive: Cfps and funding

Past CFPs and events.

Conference Registration open: Global Colour and the Moving Image Conference, University of Bristol, 10-12 July 2019. Keynote speakers: Professor Barbara Flueckiger, University of Zurich and Professor Ranjani Mazumdar, Jawaharlal Nehru University.

Plus a screening of Point Blank (1967) and Q&A with the director John Boorman CBE at the Bristol Watershed.

Ten years on from the Colour and the Moving Image conference in Bristol, the study of film colour has grown impressively. While the majority of research has been undertaken on early 20th century colour processes, far less is known about the introduction and application of colour technologies from the second half of the 20th century onwards. As stocks such as Eastmancolor, Agfacolor, and Fujicolor became cheaper, national film industries increasingly converted to colour, exhibiting a variety of aesthetic, cultural, economic and intermedial approaches to its application.

The conference brings together papers on a number of themes, countries and contexts that will add to our knowledge of the origins and nature of colour film’s increasing ubiquity since the 1950s.The conference is organized by The Eastmancolor Revolution and British Cinema research project team in an attempt to reach a greater understanding of the multiple, comparative complexities of global colour and the moving image.

Registration Now Open: Please visit the Eastmancolor Revolution to register before 1st June and for the full programme.

Please note: that tickets for the screening of Point Blank on Wednesday 10th July will need to be purchased separately from the Watershed once available.

updated 11 June 2019

Call for Submissions: Film Stock: Histories, Technologies, Aesthetics, edited by Alice Lovejoy, Kirsty Sinclair Dootson and Pansy Duncan.
Contributions are sought for Film Stock: Histories, Technologies, Aesthetics, a volume that aims to offer a critical overview of the history of film stock in its multiple material, technical, social, political, industrial, and aesthetic dimensions. The scope of the book is conceived in truly global terms: we particularly welcome contributions that address non-Western contexts, as well as contributions that work between national or regional contexts. The book’s focus on film stock as a form of material culture is animated by a host of recent and emergent trends in the discipline of film and media studies, and we anticipate that contributions will critically engage with film stock’s many material components, its ecological and environmental aspects, its economic and industrial histories, and the ideological underpinnings of its material and technical bases. We welcome contributions not only from film scholars but also from archivists, preservationists, and practitioners read more

added May 2019

CFP: Postgraduate Research Poster Showcase Competition, BAFTSS 7thAnnual Conference, University of Birmingham (25 -27 April 2019)The BAFTSS Executive Committee would like to invite postgraduate members to showcase their doctoral research during the 2019 conference at the University of Birmingham (25-27 April 2019).  We will host a display of research posters in a central space at the conference, and offer a prize of £100 to the poster judged to be the winner by a panel of delegates and EC members.  Our aim is to provide a structured yet comfortable forum for scholarly exchange, while promoting the visibility of the research being conducted within our postgraduate community. Draft Posters should be sent to Sue Harris and Liz Watkins no later than Deadline:Friday 1st March 2018  further information

January 2019

Conference: BAFTSS 7th Annual Conference University of Birmingham, 25- 27 April 2019 is on Intersecting Identities: Race, Sex, Nation. The conference is concerned with intersecting identities in all their forms (racial, sexual, national and transnational, cultural, political and gendered/generic). It will provide an opportunity to debate how the study of identities has developed since the early decades of screen studies, where it is now, and how the discipline should take it forward. Intersectionality as a concept was born at the end of the 1980s, and has proven influential ever since as a method for analysing film and media productions as well as in the fields of critical race and disability studies, feminist theory and transnational studies. In the words of Kimberlé Crenshaw in 2017, ‘Intersectionality is a lens through which you can see where power comes and collides, where it interlocks and intersects.’ Deadline: CFP: now closed (Friday 14 December 2018.) Completed proposal forms should be sent to  Applicants notified in January 2019.

The conference fee will be £160 (£80 unwaged) for 3 days or £110 (£55 student, unsalaried, unwaged) for 2 days. Registration opens early in 2019.

April 2019

Registration open: Professor Sarah Street (University of Bristol) has been awarded the Colour Group, GB’s Turner Medal for work on colour, film and art. Sarah Street will be giving her Turner Lecture on The Art of Film Colourat City University, London on Wednesday 6th February 2019 (17:15 – 19:30). Registration: Admission to lecture and reception only by a free ticket.

 January 2019

Registration open:for the Colour Group GB’s Fourth International Conference on Colour in FilmThe conference runs from 12noon on Monday 25th February – 14:00 Wednesday 27th February 2019 at the BFI Southbank, London. Location, times, prices.   Eventbrite.   Programme

The event is organised by the Colour Group GB and HTW – University of Applied Sciences Berlin and ERC Advanced Grant FilmColors (University of Zurich) in collaboration with The British Film Institute (BFI) .The event will include screenings, keynote lectures and presentations from international film and colour scholars in the BFI’s – National Film Theatre. continue reading

January 2019

Funding:  Early Career Travel Awards of up to £500 are being offered by the Colour Group, GB . ‘The goal of the Colour Group Awards Scheme is to encourage students and young researchers (PhD students or postdoctoral scholars) who are members of the Colour Group GB either working or studying in a UK institution to present their work at national and international meetings, and to benefit from interaction with the international colour community.’ Deadline for applications: 16:00 on the 10th April 2019.

added 14th October 2018

Funding: The BAFTSS Event Funding scheme is open for applications. A limited number of awards of up to £300 each will be made in 2018-19. This funding is typically for the support of seminars, symposia and local conferences organized by individual members of BAFTSS (faculty or graduate students). Events must take place before 30th September 2019. Application details.

added 9th October 2018

Funding: BAFTSS Special Interest Group Funding Applications can be made to BAFTSS for fundingof up to £250 to support the organisation of a meeting, film screening or other event that facilitates the research interests of the Special Interest Group. Each SIG can apply for £250 pa. The initial funding period runs December 2016 – December 2018).

added  30th September 2018

CFP: BAFTSS Special Interest Group on Colour and Film Panel Convenor. If you are a current member of the SIG and would like to organise the Colour and Film SIG Panel for the BAFTSS 7th Annual Conference (25-27 April 2019) then please contact by 1st December 2018.  Previous panels organised by the Colour and Film SIG were on Journeys through Colour (Bristol 2017) and Retrochrome (2018). The panel proposal – on any topic on colour, film, media and/or the conference theme – can include 3 to 4 speakers (15-20mins presentations) and the name of someone to chair the session.

added  18th October 2018

CFP for a color TV panel at SCMS 2019 (Seattle) on Color TV Aesthetics. While scholars once lamented the lack of critical attention paid to color in film, in recent years a number of publications have reversed this trend, making color a lively and dynamic field of enquiry for film scholars. Color television has yet to benefit from this new wave of chromophilia however, and has not received the close scrutiny afforded to film.  Question of color aesthetics have been almost entirely absent from discussions of color broadcasting. Histories of the post-war period tend to focus exclusively on the international diplomatic wrangling over which color system each country would adopt (PAL, SECAM, or NTSC) amidst a cold-war climate where content-sharing was freighted with geo-political importance. more

Please email a paper proposals, including a title (120 characters), abstract (2500 characters), 3-5 bibliographic sources, and a bio (500 characters) by 6th August 2018 to Kirsty Sinclair Dootson ( and Professor Susan Murray ().

added 18th July 2018

Call for Essays: Cinema and Mid-Century Colour Culture, Cinema&Cie, International Film Studies Journal, Edited by Elena Gipponi and Joshua Yumibe. Deadline: Closed.

Recently there has been renewed scholarly interest in the technology of cinema, shaped in part by the ongoing digital transformations of the apparatus. Film theorists have long acknowledged a crucial role for technology in shaping new forms of experience, and conversely, recent examinations of the cinematic apparatus have also emphasised the ways in which a given technology itself is a form of mediation influenced by aesthetic choices, other intermedial forms of technology, and broader social and cultural processes. Informed by such insights, this issue of Cinéma&Cie will focus on the technology of cinematic colour, specifically its analogue changes at mid-century, ca. the mid-1930s to the mid-1960s, though studies are welcome that extend this timeframe, particularly for thinking through parallel developments in the Global South. This is the era in which photographic systems such as three-strip Technicolor, Kodachrome, Agfacolor, Eastmancolor, and Fujicolor dramatically transformed cinematic practice – from musicals and melodramas, to animation, experimental, and amateur cinemas – and led to the eventual normalisation of colour over black-and-white cinema around the world. Our emphasis is on how colour functions during the era as a transformative technological and cultural form inherent to image production and reception. Full details

Please send your abstract (300–500 words in English + bibliographical references) and a short biographical note to by June 1, 2018. 

All notifications of acceptance will be emailed no later than June 15, 2018. If accepted, 5,000/6,000-word essays will then be required for peer review by October 15, 2018.

added  14 May 2018

‘British Women Amateur Filmmakers and Colour Films – BAFTSS Amateur Cinema SIG Symposium’, 2 March 2018.  
Location: East Anglian Film Archive, John and Joy Chittock Research Room, County Hall, Norwich, NR1 2DQ.                                                                                                                            The Symposium has received generous support from the BAFTSS, ACSN, and East Anglian Film Archive, and is organised in collaboration with the Amateur Cinema Studies Network and AHRC funded ‘The Eastmancolor Revolution and British Cinema, 1955-1985’ project.  Programme    Additional information

updated 21st February 2018

BAFTSS Annual Conference 2018. Revolution, Politics, Technology, Aesthetics. 12th-13th April 2018, University of Kent. The 6th BAFTSS Annual Conference will be held at the University of Kent and focuses on the politically revolutionary and technologically or aesthetically innovative aspects of film, television and screen media around the world.

BAFTSS 2018 Conference   Programme  Panels & presentations on COLOUR & FILM


added 2nd March 2018

The Colour Group GB’s third International Film Conference on Colour in Film  19th-21st March 2018. Programme Details

The conference was organized by Dr Elza Tantcheva-Burdge of the Colour Group (GB), Professor Ulrich Ruedel at the  University of Applied Science HTW Berlin and Professor Barbara Flueckiger at the University of Zurich, in cooperation with the British Film Institute and Birkbeck, University of London.

 updated  13th January 2018

The Alchemy of Colour. Exhibition, 15 March -27 August 2018. John Rylands Library, University of Manchester.  “Poisonous paints, blackened bones, and beetles steeped in booze. Discover the strange and curious recipes that artists used to create some of history’s most vivid colours in our latest exhibition.Throughout the ages, artists experimented with intriguing ingredients to concoct their colours. Often they turned to nature in their pursuit for the perfect pigment.  Gorgeous yellows were cooked up from the stinking urine of cows, tree growths dissolved in acid made inky blacks, and precious stones were crushed up into vibrant shades of blue. 

The Alchemy of Colour uncovers the bizarre stories behind artists’ palettes through a display of some of the most striking manuscripts in our collection. An exhibition full of surprises, immerse yourself in a history of colour that’s as remarkable in its inventiveness as it is in its beauty.”

More information on the Alchemy of Colour can be found in the John Rylands Library’s videos: 1) Why Does Yellow Glow?  2) Why do some Black Inks Vanish? 3) How do you identify Blue? 4) Powerful Paintings: Identifying Purple

 Updated 9th July 2018

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