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<p class="MsoNormal"><i><span style="font-size:11.0pt">Revelation Perth International Film Festival and
<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size:11.0pt">Curtin University’s School of Media, Creative Arts & Social Inquiry present
<o:p></o:p></span></i></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt"><o:p> </o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt">2020 Revelation Academic Conference<o:p></o:p></span></b></p>
<p class="MsoNormal"><i><span style="font-size:11.0pt">21<sup>st</sup> Century Screen Media: Ruptures and Continuities<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size:11.0pt"><o:p> </o:p></span></i></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Perth Cultural Centre, Perth, Western Australia<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">9-10 July 2020<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt">CALL FOR PAPERS<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">The late 19<sup>th</sup> century’s technological race saw inventors like Lumiere, Edison, and Friese-Greene compete to create a functional mechanical device that would actualise the cinematic concept entertained
at least since the invention of photography. This quest was in fact already energised by ancient visual tales and visual trickery shows based on the manipulation of light, shadow, and reflection. From Plato’s cave to Muybridge’s chronophotography, moving images
existed centuries before the development of the photographic and cinematic technologies that would so dramatically shape modern experience.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Well past the commemoration of cinema’s centenary in 1996 and the advent of the third millennium, moving images are incontrovertibly an essential constituent of contemporary culture and subjectivity, but the
ways we make, use, exhibit, share and trade them today have changed dramatically since the heyday of cinema theatres and television living rooms. With the rapid development of interactive, portable, smart, autonomous and immersive technologies of media and
visualisation, including the internet, drones and virtual reality, cinema and television as we knew them until relatively recently have not only been undermined but allegedly reached their natural course. But is this so? Are we living through a transitional
post-cinema, post-media, big-data period in which networked, interactive technologies of expanded sensory experience are increasingly replacing a still active but definitively atavistic screen culture? Or are traditional screen forms and concepts repositioning
themselves within the emergent technological landscape? Did the cinema experience already prefigure through its myriad forms, genres, and approaches the essential aspects of the XR technology increasingly dominating today’s media culture just like the premise
of shadow puppet or magic lantern shows could be sensed in the earliest screenings of celluloid films?
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Writing in 1999, film and media scholar Malcolm Le Grice gauged that experimental film had indeed prefigured the essential elements of the innovative computer art and digital cinema of the 1990s, namely, narrative
non-linearity; transformative images; and interactive and expanded viewer experience. In Le Grice’s words: “the concepts embodied in the computer as a technology have emerged together in parallel with other contemporary philosophical, conceptual or aesthetic
developments” (2001, 319-320). <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Taking place at the start of the century’s third decade, the
<i>2020 Revelation Academic Conference -</i> <i>21st Century Screen Media: Ruptures and Continuities</i> will be held in conjunction with two highly significant events: the 23rd
<i>Revelation International Film Festival</i> and the 2<sup>nd </sup><i>XR-WA</i>. Seeking to create a space of reflection and discussion about philosophical, cultural and technological continuities and discontinuities within screen culture and industry, the
conference organisers invite national and international proposals from scholars, researchers, creative practitioners, postgraduate students, cultural workers and cinephiles for 20-min papers, 5-min provocations and 5-min (or less) screen works. Proposals for
panels of three presenters are also encouraged. Provocations and screen works will be presented alongside academic papers and/or in special screenings, displays and performances. The conference organisers welcome approaches from across the humanities and social
sciences, as well as engagements with screen media and culture in areas of design, built environment, science and technology.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">The following are potential topics but any other relevant ones are also acceptable:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- moving images: practice/cultural transitions in the 21st Century</span><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;mso-fareast-language:EN-GB"><br>
<span style="background:white">- the visual turn and the affect turn within immersive visualisation media<o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- technological, theoretical, socio-historical ruptures and continuities</span><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;mso-fareast-language:EN-GB"><br>
<span style="background:white">- obituaries: cinema, television, screen, DVD, video libraries, video stores</span><br>
<span style="background:white">- atavisms and reconstructions in screen theory/education in the post-theory, post-media age
<o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- futures: screen genres, narrative, writing, directing, performance</span><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;mso-fareast-language:EN-GB"><br>
<span style="background:white">- internet cinema and television</span><br>
<span style="background:white">- screen audiences: old, new, emergent</span><br>
<span style="background:white">- from Industry to industries: collapsing, converging, emerging production, distribution and consumption models, old and new</span><br>
<span style="background:white">- forms of interactivity, immersiveness, multi/inter/trans/hybrid-media in visual and screen arts, old and new</span><br>
<span style="background:white">- art/science visualisation experiments</span><br>
<span style="background:white">- 3D/VR/XR: affect, ethics, politics, ideology, genres, creative methodologies<o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- drones, satellite and other surveillance vision in cinema, television and the web<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- iCameras, GoPros, smartphones, iPads: small image capture cultures<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- screen commercial innovations; screen jobs of the past and the future<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- film & media collectives and alternative 21<sup>st</sup> century models of screen collaboration<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- viral video, memes and sharable content<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- evolving/emerging fan and celebrity cultures<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- politics of representation, identity and diversity on 21<sup>st</sup> century screens: case studies<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- indigenous and community cinema and television in the age of the internet<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- national cinema and television in a post-nation age of mass migration<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- third cinema and political media activism in the age of big-data and the internet<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- the future of the auteur and art house cinema<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- the future of film festivals and cinephilia<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- experimental cinema in the digital age<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- the life and times (and futures) of film, TV & sound archives<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- cinema, television and total media: big-data, climate change and the Anthropocene
<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">- the evolution and future of gaming<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt">Abstracts/Synopsis due: Monday 10<sup>th</sup> February 2020<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Send a 250-word abstract/synopsis and 50-word author biography to: Dr Kath Dooley & Dr Antonio Traverso:
</span><span lang="EN-GB" style="font-size:11.0pt"><a href="mailto:MCASIAdmin@curtin.edu.au"><span lang="EN-AU">MCASIAdmin@curtin.edu.au</span></a></span><span style="font-size:11.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">For further information, please contact Dr Kath Dooley:
</span><span lang="EN-GB" style="font-size:11.0pt"><a href="mailto:kath.dooley@curtin.edu.au"><span lang="EN-AU">kath.dooley@curtin.edu.au</span></a></span><span style="font-size:11.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt">Please note that the papers presented may be considered for publication in a journal special issue or edited collection after the conference.
<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">For more information on the
<i>Revelation Perth International Film Festival</i> see: </span><span lang="EN-GB" style="font-size:11.0pt"><a href="https://www.revelationfilmfest.org/">https://www.revelationfilmfest.org/</a></span><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;mso-fareast-language:EN-GB">XR:WA
</span><span lang="EN-GB" style="font-size:11.0pt"><a href="https://xrwa.com.au/">https://xrwa.com.au/</a></span><span lang="EN-GB" style="font-size:11.0pt;mso-fareast-language:EN-GB"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt">References<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">Le Grice, Malcolm (2001).
<i>Experimental cinema in the digital age</i>. London: British Film Institute.<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:6.0pt;margin-left:1.0cm;text-indent:-1.0cm">
<span style="font-size:11.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><i><span style="font-size:11.0pt">Revelation Perth International Film Festival
</span></i><span style="font-size:11.0pt">and<i> Curtin University </i>acknowledge and pay respect to the Traditional Custodians of the</span><span style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB">
</span><span style="font-size:11.0pt">land on which we work and live, the Noongar Whadjuk People, and</span><span lang="EN-GB" style="font-size:11.0pt;color:#201F1E;background:white;mso-fareast-language:EN-GB"> to
</span><span style="font-size:11.0pt">their elders past, present and emerging. <o:p>
</o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt"><o:p> </o:p></span></p>
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