WFTHN Seeks Twitter & Website Editor

Are you a budding social media enthusiast? If so, we’d love to hear from you!

The Women’s Film and Television History Network is looking for a volunteer to lead our social media presence on Twitter and to support the website, specifically by updating content and posting the WFTHN blog. The Twitter and Website Editor will join colleagues on the WFTHN Steering Committee and will work alongside a smaller group of members who deliver the social media and online outputs of the Network.

The role offers experience in terms of using social media platforms, research, administration and representation at committee level alongside experienced colleagues with interests in women’s film and television history.

We particularly welcome applications from disabled and Black, Asian and Minority Ethnic (BAME) women who are under-represented on the WFTHN committee at present. Training will be offered to candidates who demonstrate commitment and enthusiasm but may lack previous experience. However, experience of using WordPress and other social media platforms is welcome.

The role will be initially for 1 year and involve the following:

*  administration of the Network’s Twitter account
*  sourcing and posting news, events, and resources to the WordPress website
*  contributing to the Network’s other social media outputs, particularly the posting of the regular Network blog
*  participating in the organisation of the Network as a steering committee member

Expressions of interest are welcomed until midnight on Friday 30 June, after which the role will be appointed.

For further information, please contact Clare Watson via the Contact Us page on the WFTHN website.

Trailblazing Women Symposium

EVENT ANNOUNCEMENT

Trailblazing Women On and Off Screen

A One Day Symposium Blending Theory and Practice

Department of Creative Professions and Digital Arts (CPDA), University of Greenwich

Thursday 29th June 2017

The Creative Professions and Digital Arts Department at the University of Greenwich, in collaboration with the Women’s Film and Television History Network UK/Ireland, are proud to host a one-day symposium blending theory and practice to explore the themes of trailblazing women on and off screen, past and present. 

The event is aimed at both academic researchers and film and television practitioners. The day will comprise a blend of screenings, keynote talks and panels, including representatives from the BFI, Raising Films, Calling the Shots (AHRC-funded research project), Women’s Film and Television History Network and Women Over 50 Film Festival.  This promises to be a unique day to explore the challenges and opportunities encountered in contemporary film and television culture.  

The event is free and places can be reserved through Eventbrite, where further details (including confirmed speakers) can currently be found here.

You can find the full PDF advertising the event here.

Please direct any queries to trailblazingwomen@greenwich.ac.uk

CfP: Mothers of Invention: Parenting and/as Filmmaking Practice

MOTHERS OF INVENTION: PARENTING AND/AS FILMMAKING PRACTICE, co-edited by Corinn Columpar and Sophie Mayer.

In 1983, E. Ann Kaplan famously called second-wave feminist film culture a movement created by daughters “unwittingly…repeat[ing] the patriarchal omission of the Mother.” By way of what Charlotte Brunsdon has called disidentification, several scholars and practitioners associated with more recent varieties of film feminism, from its third wave to its “post” incarnation, have, unwittingly or not, followed suit. Swimming against this tide, Mothers of Invention invites contributors to help construct a feminist genealogy of a different sort, one that foregrounds the relationship between acts of production on the one hand and those associated with reproductive and caring labour on the other. More specifically, it seeks to build on the ground-breaking industry research already underway at the Raising Films campaign in the UK and Moms in Film in the US in order to create an interdisciplinary edited collection that considers the role that parenting, as both a theme and a diversified practice, plays in film and media cultures.

Mothers of Invention welcomes essays about fatherhood and film and media, but the balance of the volume will be weighted toward mothers and female carers, particularly those from communities that have been historically under-represented, marginalised, and/or excluded from film and moving image practice. As much as the film and media industries, especially at the commercial end, present a challenge for all people with caring responsibilities, those who identify as female remain disproportionately responsible for caring and domestic labour. It is precisely the nature of this challenge – as well as the acts of creative invention and innovative resistance it has inspired – that are of interest to this volume. Indeed, works as diverse as Mary Kelly’s Post Partum Document (1973-79), Agnès Varda’s Daguerréotypes (1976), Arnait Video’s Before Tomorrow (2008), and Sophie Hyde’s 52 Tuesdays (2013) incorporate parenting and caring labour into both their narrative content and their artistic practice and thereby contribute to a transnational and transgenerational body of work has yet to be considered through the lens of feminist parenting studies.

We invite contributions on historical and contemporary global moving image practices, across the spectrum from industrial to artisanal and concerning all key production roles. We are open to a wide range of approaches, from close readings of film and media objects to industrial analyses to studies of circulation and spectatorship, and we welcome work from a variety of disciplines, including the following: film, television, and/or media studies; cultural and creative industries; women and gender studies; moving image practice-based research; media anthropology; and cultural studies. Finally, following Lisa Baraitser’s definitional essay ‘Mothers Who Make Things Public’ (2009), we use the term mother to “denote anyone who both identifies as female and performs primary maternal work, with a ‘child’ being understood as the other whom such a ‘mother’ elects, names and claims as her child,” and carer to denote anyone who performs primary physical and emotional work unremunerated for a partner, parent, sibling, other family member, or friend.

Please submit a 500-word proposal and brief biographical note to corinn.columpar@utoronto.ca and sophie@sophiemayer.net by 1 August 2017.

We anticipate that finished essays will be approximately 6000 words in length, including notes, and we plan to send out acceptances of proposals by the end of September 2017.

Feel free to email us prior to the deadline with any questions.

Call for Contributions: Encyclopaedia of Gender, Media and Communication

Encyclopaedia of Gender, Media and Communication

 

A small team of us are working with Wiley Blackwell to develop the first ever Encyclopaedia of Gender, Media and Communication which constitutes the latest project in the ICA series of Sub-disciplinary Encyclopaedias of Communication. We hope you agree that this will be an exciting and important contribution to the field. While there are several handbooks and edited collections which focus on many of the gendered aspects of media, culture and communication, an encyclopaedia which maps the broader landscape is currently missing: our project intends to remedy that lack. The project is obviously ambitious and we will not be able to please everyone or include everything, but we have identified around 250 potential index entries and would be pleased if you would take a look and see if there is a topic about which you would like to write. We are keen that the encyclopaedia is as inclusive and broad-based as possible and we are therefore seeking a mix of established and less experienced contributors, from all parts of the global research community.

The topic list is not exhaustive and if you think there is a significant omission about which you like to write, then please let us know your suggestion. You will also see that there are a few entries where we are actively seeking suggestions for entries on specific people (eg filmmakers and political leaders), particular films and media representations in particular regions – all indicated on the attached list in *green font*. As an editorial team, with our various experiences of researching and writing on aspects of the gender-media relationship, we are mindful of issues such as intersectionality, fluid sexual identities and stereotypes. You will see that in the list, we continue to use certain terms (eg women, men, disability, age, race, LGBTQ, trans) in order to mark out the parameters for the topics to be discussed and in this way, hope to make the /Encyclopaedia/ a useful and useable resource. Where appropriate, we encourage you to develop a critical approach to the use of these labels in the entries which (we hope!) you will write. The /Encyclopaedia/ is focused on gender (albeit itself a rather contested category) so all contributions must engage with this central theme, either privileging one ‘identity’ category or else adopting a comparative or intersectional approach.

If you are interested in accessing the headword list, please click here <https://www.dropbox.com/s/o69un2qtc5x93xc/GenderMediaComm-Encyclopaedia-topic-list.docx?dl=0>.

If the broad ambitions of the project sound appealing, please read on.

*Timescale* – we expect the three-volume /Encyclopaedia/ to be published in 2019 so working backwards, we would expect to receive first drafts of entries in autumn 2018 for shorter entries and spring 2019 for longer ones.

*Style* – an encyclopaedic entry is a *summary* of the research on a particular topic and is thus more a literature review than an opportunity to talk about an original piece of research although you can obviously do this in a modest way.

*Length *– entries will be of different lengths, ranging from long overview essays of around 10,000 words down to smaller entries of around 2000 words. We have identified a suggested length for each entry in the topic list but if you would like to write more or less, then please suggest an alternative length.

*Payment* – contributors will be paid in books and online access to the /Encyclopaedia/ for a specified length of time, currently 24 months from publication and for as long thereafter as you are prepared to provide updates: for long essays (10,000 words) = $350 worth of Wiley-Blackwell books; mid-length essays (4,000 – 8,000 words) = $250; short essays (2,000 – 4,000 words) = $150; and very short essays (1,500 – 2,000 words) = $100.

*Next steps* – if you are interested in writing an entry, please provide: 1) a <200-word synopsis of what you intend to cover, key authors, themes, etc. and   2) a <150-word biographical statement to include current affiliation and your job title.  We anticipate that a number of topics will attract multiple expressions of interest and in such cases, we will make decisions taking account of the overall balance of contributors in order to have the most diverse group of scholars. If that happens, we may suggest an alternative but related topic to you.

*Deadline* – please send your synopsis and biog by 29^th May 2017, to the Associate Editor identified with the sub-section of the /Encyclopaedia/ in which you potential topic appears. We will aim to get back to you by 1^st August 2017.

Thanks very much for getting to the end of this email and we hope to hear from you soon.

Kind regards

The Editorial Team//Encyclopaedia for Gender, Culture and Communication/

Karen Ross (Editor)

Ingrid Bachmann (Associate Editor)

Valentina Cardo (Associate Editor)

Sujata Moorti (Associate Editor)

Marco Scarcelli (Associate Editor)

Women in the Media Industries: Inputs & Influences

 Women in the Media Industries: Inputs & Influences

  10 April 2017

De Montfort University, Leicester

A Women’s Network Event organised by Dr Gamze Toylan, Lecturer in Media & Communication at De Montfort University.

Funded by MeCCSA Women’s Media Studies Network & Leicester Media School, De Montfort University.

This event focuses on women working in the media industries and how their inputs influence production processes and outputs – what we see on our screens and how they are made. We will be bringing together media professionals  and academics to talk about their professional roles and practices, as well as to discuss their research on media industries that focus on gender and inequalities in cultural production industries.

The event will revolve around panel discussions with the aim of developing exchange of ideas in a non-hierarchical set-up. Each panel (with 3 participants in each) will be an hour long with a Q&A session at the end. We have a wonderful group of speakers who are from a range of backgrounds (TV, radio, film and digital game design) and working in different capacities. The speakers include:

Anne Morrison: BAFTA Deputy Chair

Nainita Desai: Music Composer for Film & Television and one of 2016 BAFTA Breakthrough Brits

Judy Ducker: Established Prop/Production Buyer for Film & Television

Dr Kate Murphy: Former Senior Producer for Radio 4 Woman’s Hour and Senior Lecturer in History at Bournemouth University

Joanna Bostock: Broadcast Journalist, BBC Radio Leicester

Dr Bridget Conor: Senior Lecturer in Culture, Media and Creative Industries, King’s College London

Dr Alison Harvey: Lecturer in Media & Communication, University of Leicester

Dr Natalie Wreyford: Research Fellow at University of Southampton and Senior Development Executive in the British film industry

For more information and to book a place please go to the link below:

https://www.eventbrite.co.uk/e/women-in-the-media-industries-inputs-influences-tickets-31837670329 

* This is a free event but a place needs to be booked.

Dr Gamze Toylan

Lecturer in Media & Communication

Leicester Media School, Faculty of Technology

De Montfort University

gamze.toylan@dmu.ac.uk