On Cinema - Special Issue

On Cinema
New perspectives of research
Editors: Nuno Crespo and Daniel Ribas
Associated editor: Carlos Sena Caires

Deadline for submissions: June 15, 2019.



This special issue intends to be a forum for the discussion of new practices of researching film. The past two decades saw a change in Cinema’s forms of experience and production, which require a search for new vocabularies to access what is at stake in this “new cinema” as well as new methodologies for its study.

The special issue arises from the need to think how film culture has evolved in the past decades, how its aesthetical experience has changed, and how we can characterize it in the present. Given this scope, the call-for-papers focuses on three large-scale areas:
1. The relation between Cinema and the Arts:
(a) The intersection of film and visual arts: the presence of cinema in art-exhibition galleries demands a critical reflexion on new genres of exhibition (and on the curatorial practices associated with it) that take cinema out of the theatre into the art-exhibition space. On the other hand, the contrary movement from to the white cube into the cinema theatre (the so called artist films) also demands reflection and further research. In short: how do we see, understand and experience images in the cross-field of cinema and the so-called ”contemporary visual arts”?;
(b) The intersection of cinema and literature and the written word. How are both mutually influenced? What is the presence of cinematic elements in literature and vice-versa?
2. The new paths of contemporary cinema: based on hybrid forms and genre blending, and the new vocabularies for film research, such as: body and sensory experience; non-human and the role of nature in our complex world; slow time and slow cinema in a fast and technological planet (durational films and the new realism); the post-colonial thinking in today’s world cinema; realism; etc.
3. The cinema-essay. In a visual-centred world, we observe new models for using moving images for pedagogical as well for researching cinema. In these terms, there is the important role of the digital audio-visual essay. Is it a valid way for investigating cinema? Can it be compared to traditional forms of written research?

About the editors
Nuno Crespo studied philosophy and aesthetics at Lisbon New University. Currently he is the dean of the School of Arts of the Portuguese Catholic University (UCP) where he teaches contemporary art theory and aesthetics. His research interests are the relations between art, philosophy and criticism. Besides the academic career he works as free lance art critic and art and curator. He is associated researcher at CITAR where he coordinates a research group about art, criticism and politics (http://artecriticapolitica.weebly.com). He was member of the curating team of the Prémio EDP – Novos Artistas (2006- 2011) and BESPhoto (2007-2009). He as been since 2003 senior art critic in the Portuguese newspaper Público, and has some collaborations with the American magazine ArtPapers. We can name his essays on Adriana Molder, Aires Mateus, Axel Hütte, Bernd e Hilla Becher, Candida Höffer, Carrilho da Graça, Daniel Blaufuks, Fassbinder, Gerhard Richter, Luisa Cunha, Miguel Ângelo Rocha, Nuno Cera, Paulo David, Pedro Costa, Rui Chafes, Vasco Araújo, among others, and his books Wittgenstein e a Estética (Assírio & Alvim), Julião Sarmento. Olhar Animal (Cooperativa Árvore), Arte. Crítica. Política. (Tinta-da-China), Haus Wittgenstein (MAAT Museum).

Daniel Ribas is an assistant professor of cinema at the School of Arts of the Portuguese Catholic University and deputy director of CITAR – Research Centre for the Science and Technology of the Arts. He is a film programmer at Porto/Post/Doc and Curtas Vila do Conde festivals. PhD in Cultural Studies from the Universities of Aveiro and Minho, he wrote several articles and book chapters on contemporary Portuguese cinema, experimental cinema and documentary. He is a regular collaborator of the Portuguese newspaper Público, and he was the editor of the books Pure Cinema: Curtas Vila do Conde 20 Years After and Agência: Uma Década em Curtas. He recently published A Dramaturgy of Violence: The Films of João Canijo (2018).

Carlos Sena Caires is Associate Professor for Design and Dean of the Faculty of Creative Industries of the University of Saint Joseph (Macao, China). He was also the chief editor of the Journal of Science and Technology of the Arts – CITARJournal – of the School of Arts between the years 2010 and 2013. As a senior researcher, he was the coordinator of the Research Group of Digital Creativity at the CITAR research center between 2010 and 2016. Holding a PhD degree in Aesthetics, Science and Technology of the Arts from the University of Paris 8 (2010, Paris, France) and a graduate degree in Graphic Design from the University of Madeira in Portugal (1994), his core academic research is grounded in the field of Digital Design for Interactive Arts and New Media Design. As a digital artist, he produced numerous artistic projects, presented and performed worldwide, such as in Portugal, Spain, France, Brazil, and Canada. His creative art projects focus on interactive-video installations, interactive cinema, and digital art installations. More information about his work and personal hobbies can be found on his personal website: www.carloscaires.org