Archive: Cfps and funding

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 e.i.watkins@leeds.ac.uk 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 (Kirsty.dootson@yale.edu) 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 submissions@cinemaetcie.net 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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