Call for Papers: Film Distribution, Exhibition and Consumption in the Second World War: A Workshop on Data Collection and Analysis, Computational Methods and the Opportunities for Comparative Research

Organized by DICIS and IMS
15-16 May 2018
KU Leuven, Belgium
Within the specific time frame of the Second World War, this workshop invites researchers who examine the operations of distribution, exhibition and consumption of cinema in belligerent and neutral countries. Following in the footsteps of ‘Cinema and the Swastika: The International Expansion of Third Reich Cinema’ (Vande Winkel & Welch, 2007, 2011 revised) and inscribing itself into the field of ‘New Cinema History’ (Maltby, Biltereyst & Meers, 2011), this workshop brings together researchers who are compiling and analysing empirical data about wartime film distribution, exhibition, reception in or across specific cinemas, cities, regions or countries. The workshop, organised by the Institute for Media Studies (IMS) and the Scientific Research Network on Digital Cinema Studies (DICIS), strives to stimulate collaboration among scholars and to explore new methodologies and new types of interdisciplinary investigation, taking full advantage of the impact of digitalization on historical research (digital humanities).

The aim of this workshop is:

  • To compare ongoing or recently completed research on film distribution, exhibition and consumption/reception during World War II.
  • To share individual experiences about the use of digital tools and sources such as digitized newspapers and journals; online databases related to film such as IMDB or; tools such as Nvivo for analysing transcribed oral history interviews; geographic information software such as GIS, or specifically designed databases, as well as traditional analogue source materials (newspaper archives, film posters, wartime documents, diaries, reference works) to retrieve empirical data, identify the films mentioned in historical sources and reconstruct the circulation of those films.
  • To compare and interrogate specific research questions and methodologies
  • To present and discuss the pros and cons of existing databases and methods to analyse.
  • To think about ways to make computational databases ‘talk to each other’ (through data modelling and harmonization), allowing direct comparative research.
  • To stimulate collaboration among scholars within, as well as outside the discipline of film studies, and to explore new methodologies and new types of collaborative investigation, taking full advantage of the impact of digitalization on historical research

Papers may discuss topics such as:

  • Film distribution networks or practices (local, national, international)
  • Film exhibition (local, national, international)
  • Film censorship (local, national, international)
  • Film consumption/reception (local, national, international)
  • The ways in which the ideological visions of the wartime belligerents translated into different approaches to film policy
  • The practical implementation of wartime film policies
  • The ways in which new research on distribution, exhibition and reception can help us learn how audiences reacted to wartime films
  • The challenges of gathering and validating the quantitative information needed to analyse such topics
  • Formulating hypotheses about the circulation of films in societies dominated by economic constraints and political coercion (censorship, restricted access to the international film market and/or bans on films from particular countries).
  • Digital and analogue tools and sources used for that purpose.
  • The consideration of best practice in formulating research questions and employing comparative tools and methodologies from an international/comparative perspective

Confirmed Keynote: ‘Wartime Geopolitics at the Movies: The ‘European Cinema’ of the Nazi New Order in Global Perspective’ by Benjamin Martin (Department of History of Science and Ideas, Uppsala University), author of ‘The Nazi-Fascist New Order for European Culture’ (Harvard University Press, 2016).Thunnis van Oort (CREATE, University of Amsterdam) and Roel Vande Winkel (KU Leuven) will present the results of their recently conducted joint research in the introductory paper ‘Comparative Potential. The Cinema Context Data Model and World War II: A Comparative Case Study into Film Exhibition in German-occupied Amsterdam (Netherlands) and Antwerp (Belgium)’.

The workshop welcomes participants working on countries in the Axis sphere of influence (Germany, Italy, Japan and the countries they occupied or befriended) as well as contributions on the Allies (USA, UK, USSR) and their sphere of influence. Research on film distribution, exhibition and consumption in neutral countries (where films from both spheres of influence met and competed) is particularly welcomed.


  • Proposals for papers and/or hands-on presentations are now invited. Every paper/presentation should offer a reflection on the sources and methodologies employed. Please send abstracts of 300-500 words and a short biography to by December 18 and address any queries to the same email.
  • After the workshop, you may be invited to submit a revised version of your paper for consideration in a special issue or edited volume to be organized by members of the committee.

Scientific committee:

Roel Vande Winkel (DICIS – KU Leuven), Pavel Skopal (DICIS – Masarykova univerzita) and Thunnis van Oort (University of Amsterdam, Create)


Call for Papers: Researching Past Cinema Audiences: Archives, Memories and Methods

Researching Past Cinema Audiences: Archives, Memories and Methods
Monday 26th – Wednesday 28th March 2018, Aberystwyth University, UK
In collaboration with:
Media Industries and Institutions Research Cluster, Department of Theatre, Film and Television Studies, Aberystwyth University
Centre for Media History, Aberystwyth University
Keynote Speakers:
Professor Sue Harper, Portsmouth University, UK
Professor Daniel Biltereyst, Ghent University, Belgium
Since Allen and Gomery’s (1985) call for a revision of existing approaches, the emergence and rise in prominence of the New Film History tradition has irrevocably changed what it is to be a film historian. No longer solely concerned with film aesthetics or viewing cinema as a ‘reflection’ of society (Chapman, Glancy and Harper, 2007: 2–3), films themselves are now not necessarily the chief focus of a historical investigation of cinema. Indeed, over the past twenty years there has been a notable shift towards the study of all kinds of past film exhibition spaces (both public and private) and the tastes, responses and habits of the audiences who frequented them. This is illustrated by the growing number of publications, networks and research projects on past cinema audiences which cross and connect the disciplines of film and media studies, cultural and leisure studies, and history and cultural geography.  With this shift towards researching spaces of exhibition and their audiences, film historians have met the call to look beyond traditional film history methodologies and incorporate the use of a wide range of sources, from archival, industry and reception sources, to audience memories elicited through interviews or questionnaires.
This conference offers a platform for both established and emerging scholars who share this desire to research past cinema audiences – prior to 2000 – through a wide range of investigative foci. The conference will allow for the showcasing and sharing of current research and, consequently, for the consideration of current and future directions and debates within the field. We welcome proposals for twenty minute papers, as well as for poster presentations, the latter of which may be ideal for masters or first year PhD students.   Please send paper proposals (of 250 words maximum) to Jamie Terrill and Kate Egan at by Friday 1st December 2017. Panel proposals (of 3 or 4 speakers) are also welcome; please include a brief panel introduction (of 150 words maximum) with paper proposals in these cases.
Paper and panel topics may include (but are not limited to):
·         Past audiences for cinemas in particular cities, towns or villages (rural, seaside, etc.)
·         Past audiences for cinemas in particular eras or decades
·         Past cinema audience responses and experiences in relation to gender, class, nationality, age, race or sexuality
·         Audience responses to – or recollections of – past film controversies (local, national or international)
·         Changing audience tastes, including in relation to particular stars, genres or modes (documentary, experimental, avant-garde, underground, cult cinema)
·         Audiences for past forms of home media (Super 8, analogue video, laserdisc)
·         Considerations of particular archives, sources or methods for researching the habits or experiences of past audiences
·         Audience responses to past technological developments (in relation to sound, colour, widescreen, 3D, etc.)
·         Audience habits or experiences associated with particular kinds of cinema or forms of exhibition (picture palaces, art cinemas, fleapits, grindhouse cinemas, multiplexes, drive-ins, midnight movies and cult screenings, matinee screenings, film societies and clubs)

Call for Papers: Doing Women’s Film and Television History IV

Doing Women’s Film and Television History IV:
Calling the Shots – Then, Now, and Next
May 23 – 25, 2018

University of Southampton, UK
Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford

As researchers of the AHRC-funded project Calling the Shots: Women and Contemporary UK Film Culture 2000-2015 we are proud to host the fourth International Doing Women’s Film and Television History conference in association with the Women’s Film and Television History Network – UK/Ireland.

The focus for DWFTH-IV is predicated on the idea of the contemporary as an historical formation. The conference will offer a space to think about the interconnectedness of the past, present and future in feminist historiography and theory, as well as across all forms of women’s film culture and film and television production. It will also consider women’s film and television histories and their relationships with the contemporary, framed and read historically, to reflect on our methodological, theoretical, ideological and disciplinary choices when researching and studying women and/in film and television. In addition to this theme, we are interested in proposals/panels on all topics related to women’s film and television history, from all eras and from all parts of the globe. We hope that DWFTH-IV will build on the successes of the previous conferences through new work on women, both historical and contemporary, and fresh thinking on what we mean by women’s film and television history.

Confirmed Keynote Speakers

Professor Jane Gaines, Columbia University, USA
Dr. Oluyinka Esan, University of Winchester, UK
Dr Rashmi Sawhney, Srishti Institute of Art, Design and Technology, India
Professor Shelley Stamp, University of Santa Cruz, USA
Professor Yvonne Tasker, Universit of East Anglia, UK

The conference will also include screenings with practitioners and other industry professionals.

Papers are invited on any aspect of women’s work in, consumption of, and relationship with film and television. The following is an indicative (and by no means exhaustive) list of possible topics:

·      women’s film/TV historiography: filling gaps or changing history?

·      history formulated as in medias res: how do we do contemporary history, and what are the implications of thinking of the historical in this way?

·      methodologies: archive searches, data collection (uses, limitations, difficulties collecting); interviews with practitioners; creative/cultural industrial approaches

·       the impact of social, economic and industrial conditions (including industry regulation) on women’s roles and creative practices

·      new ways of doing textual analysis of women’s films (rethinking feminist theory?)

·      the intersection of class, race, sexuality, disability and women both on screen and behind the camera

·      issues of archiving and preservation for women’s film and television

·      distribution and exhibition and broadcasting – finding and seeing women’s film and television

·      re-thinking women as ‘auteurs’ of film and television (directors, showrunners, producers, actors)

·      feminism & women’s film history; historicizing women’s film collectives of 1970s and 80s; feminist filmmaking today (and tomorrow?)

·      international and transnational contexts: connections, comparisons, collaborations, migration

·      crossing industry boundaries: film, television, theatre, radio, journalism, art, etc

·      practice-based research: directing, screenwriting, sound/set/costume design, etc

– the relationship between practice-based research and history

·      women audiences/viewers and women as fans

·      women campaigner/activists in film and television and for on-screen/off-screen change

·      women’s film criticism/women film critics

·      the uses of social media by women filmmakers/showrunners/actors/critics/fans/campaigners etc

·      digitisation in women’s filmmaking and future histories

·      ‘women’s cinema’ as critical category in post-feminist contexts

·      women’s independent filmmaking and/versus women’s mainstream (or blockbuster) directing

·      changing the curriculum: critical canons; pedagogies of women’s film and television history; teaching feminist history and theory; women’s film and television in core curricula

·      the relationship between film and television genres, their gendered affiliations and women’s involvement in their production

·      women practitioners’ negotiations of femininity and/or feminism in their working lives

Proposals for twenty-minute presentations must include the title of the presentation, a 250-word abstract and a brief biography the author(s). Pre-constituted panels of three speakers may also be submitted, and should include a 250-word panel rationale statement, as well as individual abstracts. Proposals from both established scholars and early career researchers including postgraduate students are welcomed. Proposals should be submitted to before the 3 November 2017. Participants will receive a response from the selection committee before 20 December 2017.

Calling the Shots: Women and Contemporary Film Culture in the UK, 2000-2015 is an AHRC funded research project, running from 2014-2018. Further details of the project can be found at:
Further details on the Women’s Film and Television History Network – UK/Ireland can be found at:

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