From Rayson K Alex
Green greetings from Goa.
Have you ever felt that you should film that bird which you spot in the tree when you open your bedroom window? Has a documentary made you rethink your water usage? Do the statistics of tiger population alarm you? Are you in the process of greening your attitudes?
If you nodded an yes for any of these questions, then you should be there for TEFF 2014.
What is TEFF?
tiNai Ecofilm festival (TEFF 2014) is organised by the Department of Humanities and Management, Birla Institute of Technology and Sciences-Pilani, K.K. Birla Goa Campus, to promote ecological filmmaking in India. TEFF is dedicated to ecological documentaries. It is designed to become an ultimate platform for documentary filmmakers who focus on ecological issues.
Excited to hear about this? Then do join us and participate in our efforts to make TEFF 2014 an exciting event for film and green enthusiasts.
Now that we have gained your attention, let us tell you how you can help us in our efforts:
* Register to attend the festival
* Send us your green films for competition/screening
* Write for our blog
* Tell us your ecological/environmental stories that could be your dream documentary
* Support us with funds or try raising funds for us
*Â Make a promo video/poster
For more details visit us at <http://teff.in/>. If you think your friends/students/teachers/colleagues will be interested in participating in TEFF, kindly forward the mail to them. If you want us to do that for you, send us your contacts, we could forward the mail to them. If you have not liked our facebook page, yet, click on to the link and like it, if you really like it: https://www.facebook.com/teff2014
Hope to see you at TEFF.
Thanks.
Best,
Rayson K. Alex
Assistant Professor
Department of Humanities and Management
BITS-Pilani, K.K. Birla Goa Campus
Goa
Perhaps of interest to some of you, if you haven’t seen it as yet: Peter Goggin’s edited Environmental Rhetoric and Ecologies of Place is just out from Routledge. A variety of ecomedia chapters, including Michael Springer and Peter Goggin’s one on video games and Amy Propen’s one on scientific visualization of the Patagonia Sea.
K. Brenna Wardell, an instructor at the University of Alabama, has recently published a great essay in the online journal The Cine-Files. Here is a link to Wardell’s essay, “Waste Not: Luis Buñel Frames Space and Waste in The Phantom of Liberty“ and a short excerpt:
“In 1974, the director and writer Luis Buñuel released The Phantom of Liberty, his second-to-last film in a long career as a scathing critic of bourgeois social, political, and cultural complacency. In Phantom, Buñuel adds a further critique—blindness and passivity in the face of environmental damage—by developing a trope repeated throughout his films: bourgeois separation from the body, its appetites, and the waste, actual and figurative, produced. The director does so largely by utilizing Phantom’s mise-en-scène to create uncanny, alienating reversals that pinpoint and attack bourgeois viewpoints about bodies and the natural world and bring viewers face to face with these viewpoints’ damaging results.”
Call for Proposals for the Twelfth Annual Meeting of the Cultural Studies Association (US)
Ecologies: Relations of Culture, Matter, and Power
University of Utah, Salt Lake City May 29-31, 2014
The Cultural Studies Association (CSA) invites proposals from its current and future members for participation in its twelfth annual meeting in Salt Lake City, Utah.
Everyone cares about the environment these days, but what does it mean to speak of ecology? Network and systems theories suggest complex approaches to questions of culture and ecology. Assemblage theories explode stable conceptions of locality, sociality, and the human. We speak of programming environments, learning environments, media ecologies, organizational ecologies, digital ecologies, ecologies of resistance, ecologies of play, flows of information, nodal points of power, and open-source ecologies of collaboration and collective action. We mobilize ecological discourse as a means of understanding and challenging the material formations of power that discipline raced, gendered, sexed, and classed bodies. These discourses and processes create an ecology of meaning that informs how we talk about and understand our environments.
The theme of the 2014 Cultural Studies Association meeting, “Ecologies: Relations of Culture, Matter, and Power,†prompts inquiries into how environmental factors and ecological discourses shape conceptions of culture, matter, and power, and how these factors and discourses are shaped by forces of history and globalization. The theme also invites us to re-imagine the gathering as an ecology in its own right: an assemblage of cultural critics and producers. This year’s conference aims to provide spaces for the cross-pollination of art, activism, pedagogy, design, and research by bringing together participants from a variety of positions inside and outside the university. While formal academic papers will be accepted, we encourage contributors to experiment with alternative formats that challenge traditional disciplinary formations or exclusionary conceptions of the academic.
Proposals from all areas and on all topics of relevance to cultural studies are welcome, but preference will be given to proposals that critically and creatively engage this year’s theme. Proposal topics might include, but should not be limited to:
The hybridization of ecology discourses: environmental activism, media ecology, organizational ecologies, social ecology, systems theories, spatial surveillance, etc.;
The cultural ecology of textual production, consumption, and interpretation;
Ecological perspectives on privatization, imperialism, racial hierarchies, global capitalism, etc.;
Queer, indigenous, activist, anti-capitalist, transgender, postcolonial and/or materialist perspectives on ecology;
Post-humanist, object-oriented, or actor-network ontologies, epistemologies, methodologies, and case studies;
Interpretive possibilities raised by ecology and the challenge of cultural materialism;
The “greening†of specific disciplines, fields and institutions, its implications, and its continued silences;
Pedagogical reflections, institutional ecologies, and ecologies of learning;
“Natural†disasters, privatization, waste, environmental inequality, and the displacement of industrialism;
Ecological foundations or justifications for new forms of surveillance, management, and control;
Collectives, nodes, networks, flows, vectors, circuits, and other models that de-center the autonomous individual;
Proliferation of synergistic and ecological discourses as reactionary requirements of late capitalism;
Sustainability and discourses of the future;
The invisible information ecology of data collection (e.g. the data collection center the NSA is building in Utah);
Digital environments and built spaces;
Bodily interactions with environmental elements (food, water, air, flows of energy);
Food justice and the politics of ingestion;
New modes of scholarship and activism that attempt to address questions of ecology;
Analysis that reflects upon the context of its case study or studies;
and Any other topic relevant to the theme.
Additionally, please note that all session organizers must be CSA members for the 2014 calendar year at the time of submission.
As at past CSA conferences, we welcome proposals from a range of disciplinary and topical positions, including literature, history, sociology, geography, politics, anthropology, communication(s), popular culture, cultural theory, queer studies, critical race studies, feminist studies, post-colonial studies, legal studies, science studies, media and film studies, material cultural studies, platform studies, visual art and performance studies. We particularly encourage submissions from individuals working beyond the boundaries of the university: artists, activists, independent scholars, professionals, community organizers, or K-12 and community college educators.
Submission Deadline and Process
All proposals should be submitted through the CSA online system, available at CulturalStudiesAssociation.org. Submission of proposals is limited to current CSA members. See the benefits of membership and become a member at CulturalStudiesAssociation.org.
The submission system will be open in November, 2013. Please prepare all the materials required to propose your session according to the given directions before you begin electronic submission. Notification of acceptance will be given in February of 2014.
The School of Communication at Florida State University is accepting
applications for a tenure-track, assistant professor position in Media
Production. The ideal candidate will have technical skills in media
production, an active research/creative program and classroom experience
teaching media production. Areas of expertise may include camerawork, editing
and post-production, lighting, sound recording and mixing, or 3D video
production. Applicants with additional expertise in documentary and/or sports
media are particularly encouraged to apply.
Candidates should have a research/creative agenda that fits within
Communication and the Public Interest, one of the emphasis areas for the
School of Communication. Candidates should also have the ability to work
effectively within an interdisciplinary environment. Current faculty
research interests within the School currently include environmental
communication, political economy, health communication, civil rights and
social movements and media effects. More information about the School can
be found here: http://comm.cci.fsu.edu [1].
A Ph.D. in communication or a related discipline, or MFA in film or video is
required. The position will require a demonstrated record of scholarly
publication and/or juried exhibition of creative work, potential for
externally funded research or creative projects, and effective teaching.
Successful applicants will be expected to teach in the undergraduate and
graduate (Master’s and Ph.D.) programs within the School, serve on School,
College, and University committees, and advise students.
How to Apply:
If qualified and interested in a specific vacancy as advertised, apply to
Florida State University at https://jobs.fsu.edu [2].
Applicants are required to complete the online application with all
applicable information. Applications must include work history and all
education details (if applicable) even if attaching a resume.
Requests for additional information should be addressed to Andy Opel, PhD,
Chair, Director Search Committee: aopel@fsu.edu [3]. Application letters
should be addressed to Andy Opel and should detail perspectives, and
approaches; vision of the profession; cover letter; curriculum vitae; and
contact information for at least three references. Review of applications
will begin on October 1, 2013 and continue until the position is filled.
Preferred starting date is August 2014.
Application materials should be sent electronically to:
Andy Opel, Ph.D.
Media Production Search Committee Chair
School of Communication
Florida State University
3100 University Center, Building C
296 Champions Way
Tallahassee, FL 32306-2664
aopel@fsu.edu [4]
FSU is an equal employment opportunity employer.
In the classroom, one of the main goals of ecomedia studies is to make visible for students the seemingly invisible ecological footprint of media texts and industries. To that end I recommend taking a look at the 2012 Public Broadcasting NOVA special Hunting the Elements, hosted by David Pogue (the New York Times technology correspondent who also hosted the PBS series “Making Stuff”). Hunting the Elements emphasizes that the stuff that makes up the human body and the stuff that make up media are pretty much the same, part of the same table of elements. While this basic lesson in chemistry makes sense on an intellectual level, seeing and hearing the elements interacting and combined in different ways really makes the basic argument that all things are interconnected palpable. Included on the NOVA website are links to the full video of the episode, an iPad app, and additional videos and web links related to this very interesting program. For media scholars the highlight of the show is perhaps the section on smartphones.
On October 31, 1938, the morning after Orson Welles and his Mercury Theatre players aired their infamous adaption the H.G. Welles novel War of the Worlds over the CBS radio network, the New York Times ran the following front page headline – “Radio Listeners in Panic, Taking War Drama as Fact.”
While the fear and anxiety provoked in viewers by last week’s opening night documentary for the Discovery Channel’s “Shark Week,” entitled Megalodon: The Monster Shark that Lives, may not be on par with that provoked by the War of the Worlds Broadcast, the Megalodon documentary raises a number of concerns about the future of wildlife television, particularly as the number of species at risk continues to increase.
Although the Megalodon has been been extinct for millions of years, this documentary offers to take viewers on a search for a currently existing creature, claiming, “What you are witnessing are the actual events as they unfolded.” Using sophisticated digital imagery and highly manipulated handheld camera techniques and other staples of this new form of documentary filmmaking – used extensively by History channel and other networks for shows on paranormal and alien encounters – threatens to further distance viewers from actual environmental concerns.
It is easy to claim that viewers are savvy enough to know when they are being duped, the increasingly sophisticated technologies and techniques used for these programs is clearly making it harder for viewers to tell what is real and what is fake. The only disclaimer made in the program is a 3-second text disclaimer that appears on screen only at the very end of the program, something Daily Show host John Oliver points out in the video embedded below.
As a rough measure of the impact of the Megalodon show on viewers Discovery created an online poll giving viewers three options –
1) “YES! The evidence for Megalodon can’t be ignored. This monster shark lives.”
2) “MAYBE… 95 percent of our oceans remain unexplored, so it’s possible that Megalodon is still out there.”
3) “NO! The scientists are right: Megalodon went extinct 1.5 million years ago. (Thankfully!)”
As of today (8/13/2013), 29% of poll takers have selected option 1, 47% have selected option 2, and 24% (myself included) have selected option 3.
While not the most scientific of measures, the poll’s results are startling. What is particularly troubling is the wording of option 3, which reminds us that 76% of those taking the poll have implicitly decided that the scientists are wrong – something that should sound familiar to those following the global warming debate in the US and elsewhere.
Interestingly, the early version of the poll, as least the version shown on CNN in the days after the “documentary” aired last week, only gave respondents two options – either yes the shark exists or no it does not. And CNN reported that, even without the maybe option, 73% of respondents chose yes.
As a one-time event/stunt, the Megalodon documentary – and I insist on labeling it as such because it presents itself as a documentary or faux-documentary rather than a mockumentary (no hints of irony here) – may not be cause for alarm, however two things have me particularly worried about what the show signals for the future of “wildlife” programming.
First, the Megaladon docu is only the latest in a trend, one that includes the Animal Planet programs, Mermaids: The Body Found and its sequel, Mermaids: The New Evidence in addition the faux-historical, paranormal, and alien documentaries popping up across the mediascape. While we can all have a good laugh at Roger Corman’s (yes that Roger Corman), recent SyFy channel hit Sharknado, there’s something far more insidious about the faux-documentary format, particularly give the wildlife films’ already troubled history of constructed reality and what Derek Bouse calls “false intimacy”.
Second, and perhaps most important, is that the Megalodon documentary reached an estimated 4.8 million viewers, making it the highest rated show in Shark Week history. While these numbers still fall short of Discovery’s highest ever ratings – approximately 6 million viewers per episode for Planet Earth in 2007 – the popularity of the program is likely to encourage the network (and others like it) to continue this trend as such programs are significantly cheaper to produce than blue-chip wildlife films, particularly as CGI costs come down due to software advances.
Perhaps there’s little here to surprise anyone who’s followed the literature on wildlife and animal film and television over the past couple of decades but unlike the Dinosaur documentaries of the 1990s or other similar uses of CGI, there’s something deceitful in the Megalodon documentary that has raised the ire of numerous commentators over the past week. Yet while Discovery has had to go on the defensive you know those executives are plotting out the ratings and cost-benefit and likely have several more ideas in the works.
CFP Ecomedia Panel: Nature and Culture through the Visual Lens
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EASLCE-NIES joint conference in Tartu, April 22-26, 2014
In recent years, ecomedia studies has been establishing itself as a vibrant interdisciplinary extension of literary ecocriticism and its modes of critical analysis. This panel aims to explore the ecomedia dimensions of the EASLCE-NIES conference theme of “Framing Nature†(http://www.easlce.eu/2014-easlce-nies-joint-conference/) by fostering discussion of how such framing happens in visual culture and non-print media such as photography, comics, TV, film, computer games, and digital media. What are the specifics, potentials, and limitations of different ecomedia forms and what does this mean for the framing of nature? How do we articulate theories and practices of ecomedia studies? What might we expect from ecomedia as a form of art, advocacy, and/or activism? These are some of the questions we would like to address in this panel. Both theoretical approaches and analyses of specific texts are welcome.
Please send a 300-500 word abstract with your name and affiliation to Alexa Weik von Mossner at Alexa.WeikvonMossner@aau.at and Nicole Seymour at Nicole.Seymour@carsoncenter.lmu.de by September 15, 2013. We will notify you promptly as the EASLCE panel proposal deadline is October 1st.