This edited volume on Sylvester Stallone will be a contribution to a new series of ‘Screen  Storytelling’ texts published by Bloomsbury Academic. The SCREEN STORYTELLING series is designed for students, professors, and enthusiastic consumers of film, television and new media who seek information about contemporary and historically significant screenwriters that is both accessible and critically rigorous.

The Institute for Multidisciplinary Research in Art (ICMA) and the Faculty of Visual Arts and Design at George Enescu National University of Arts (UNAGE) are pleased to invite submissions of articles for publication in the Beyond Biopolitics: Visual Digital Culture and the 21st Century Disruptive Events volume.

In person ONLY The American University of Rome 13-15 June 2024 The twenty-first century has witnessed a burgeoning of non-fiction filmmaking in Italy, facilitated in part by technological developments and in part by the desire to respond to rapidly shifting social realities and changes in the natural environment.

CFP: Media Values: The Velvet Light Trap, Issue 95 (to be published Spring 2025) Media industries utilize a number of different strategies to assign value to their commodities. Box office receipts have long been a benchmark of success for theatrical film releases, despite proliferating ancillary revenue streams. Audience ratings determined advertising dollars as the dominant form of evaluation in linear commercial television.

Edited by Irena Jurković, Marko Lukić and Tijana Parezanović Urban myths and legends continuously serve as a source of fascination and creative inspiration in anglophone cultures, especially in the context of horror genre, within which they have a specific way of articulating collective fears and fascination with the unknown.

The European Communication Research and Education Association (ECREA), the Faculty of Social Sciences of the University of Ljubljana (UL FDV), and the Slovene Communication Association will host the 10th European Communication Conference (ECC) in Ljubljana (Slovenia) from 23 to 27 September 2024.

This full-day preconference will provide a space for those studying audiences through interviews, focus groups, ethnography, and other human-based qualitative approaches to share both findings and methodological tips and interrogations. Excited advertising rhetoric tells us that everything has changed, and certainly at industrial and textual levels, much has already been done and said to chart the shifting landscape.

The two-day conference on “Images, Film, and Video of Atrocity” invites scholars and researchers from diverse disciplines to submit their papers and join us in exploring the complex and multifaceted realm of non-fictional representations of atrocity.

De Montfort University’s Cinema and Television History Institute is supporting an initiative to identify, safeguard and catalogue the film and TV collections of private collectors, which will be launched at an event at Leicester’s Phoenix Cinema on Sunday 29 ^th October.

The proposed book will consider how filmmakers of colour (predominantly, but not only Black) have explored white societies, cultures and practices. It will take as its case studies films and television series that treat whiteness, in all its complexities, not as an unmarked and naturalised position from which to speak, but as an object of inquiry and sustained scrutiny.