Accepted Proposals to the #IFM2024 Virtual Conference (June 11-14)

 

We are excited to unveil the list of presenters selected for the 6th Interactive Film & Media International Conference. Every proposal underwent a rigorous review process by at least two members of our Organizing Committee.

This year, we've seen an unparalleled influx of exceptional proposals for both papers and research-creations from across the globe, marking a milestone for our conference. Given the exceptional quality and volume of submissions, we're delighted to extend the conference by another day.

This extension means our four-day event will now span from Tuesday, June 11, to Friday, June 14, 2024.

We congratulate all selected presenters and warmly welcome them to the #IFM community! 

 

RESEARCH-CREATION PROPOSALS ACCEPTED

(alphabetical order by title)

A 360-Filmmaking Approach for Participatory Dissemination: Santa Lucia Di Mendola as a Case Study

Ilaria Vecchi, University of Leeds, UK

Stefano Odorico, Technological University of the Shannon, Ireland

All Coding is Always Transcoding: On Structures, Rhythms and Systems: New Media Interfaces for Performing and Embodying the Archive.

Laura Luna Castillo, University of Washington, USA

AR Cité: Imagine if the City Could Speak

Reisa Levine, Dawson College, Canada

Firgrove Reimagined

David Han, York University, Canada

Joel Ong, York University, Canada

Emergence as Method: the Virtuality of Grief and Remembrance in Memory Eternal.

Monique Tschofen, Toronto Metropolitan University, Canada

Jolene Armstrong, Athabasca University, Canada

Queer Representation Matters

Natalie Krikowa, University of Technology Sydney, Australia

Relational Possibilities: Using Generative Artificial Intelligence in Artful Digital Storytelling with Black and Indigenous Aesthetic Forms

Dana Reijerkerk, Drexel University, USA

kYmberly Keeton, The University of North Texas, USA

Shocking, Heartbreaking, Transformative: Personal Stories as Products

Jess Shane, Pratt Institute, USA

The Great Tit is a Bird

Ar Ducao, New York University, USA

Virtual Aquapolis

Samara Smith, State University of New York at Old Westbury, USA

Laura Chipley, State University of New York at Old Westbury, USA

 

PAPER PROPOSALS ACCEPTED

(alphabetical order by title)

Aesthetic Influence, Narrative Structures, and Interactors' Agency in Social Media Self-Presentation

Rebecca Jinxiu Han, The University of Texas at Dallas, USA

Aliens Among Us: “Let me show you this photo of my dog.”

Liz Burke, Swinburne University of Technology, Australia

A Kin-Aesthetic Cinematics: Artificial Intelligence, Breath, Kinaesthesia, and Relational Aesthetics.

Lisa Müller-Trede, University of Southern California, USA

An Ethnography of Collaboration in the Production of the Polyphonic Documentary ‘Can You Feel the Heat?’

Karen Boswall, Sussex University, UK

Zeynep Merve Uygun, Özyeğin University, Turkey

Vanessa Zallot, Lucerne University of Applied Sciences and Arts, Switzerland

Beyond the ‘God-Trick’ – Multisensory Storytelling and Documentary Epistemology

Mandy Rose, University of the West of England, UK

Tom Livingstone, University of the West of England, UK

Choice, Chance and the Climate Crisis: Transforming Narrative Structures Through Combinatory and Generative Cinema.

Roderick Coover, Temple University, USA

Committed Documentary Practices in Digital Media Cultures: Community Building and Socio-Cultural Participation

Jasmin Kermanchi, University of Hamburg, Germany

Creatoon- Interactive Digital Storytelling

Maruf Rahman, The University of Texas at Dallas, USA

Defining “Done” in Oral History and Interactive Documentaries

Kathleen Ryan, University of Colorado Boulder, USA

David Staton, University of Northern Colorado, USA

Detangling the Multidimensional Barriers for a Better Interactive Experience

Emeka Ikebude, The University of Texas at Dallas, USA

Entangled Realities: Navigating Ethical Complexity in Refugee Interactive Narratives

Hudson Moura, Toronto Metropolitan University, Canada

Exploring Space-Based Narratives: A Study on Interactive Documentaries and Community Engagement

Patricia Nogueira, Universidade da Beira Interior, Portugal

Exploring Virtual Bodies and Invisible Avatars as Storytelling Tools in Contemporary Narrative-Based Virtual Reality Projects.

Kath Dooley, The University of South Australia

From the South: Contemporary Documentary Filmmaking in Pakistan and Colombia

Umair Bilal, New York University Abu Dhabi, The United Arab Emirates

Manuel F Contreras, New York University Abu Dhabi, The United Arab Emirates

Girl-Bossing Too Close to the Sun—Exploring the Pitfalls of Navigating Capitalism and Neoliberalism in Parallel with OnlyFans

Angelene (Angie) Vo, The University of Texas at Dallas, USA

Home After War: Navigating Community and Literacy in Digital Media Landscape

Cansu Nur Simsek, Istanbul Bilgi University, Turkey

Imagined Communities and Reimagined Spaces of Delhi Metro: @metrodoodle on Instagram

Sonali Sharma, AJK Mass Communication Research Centre, Jamia Millia Islamia, India

Interactive Documentaries Informing Design: Starting a Conversation

Rengin Gurel, University of the West of England, UK

Life Narratives and the Cross-Cultural Communication of Documentary Films in the Post-Pandemic Era

Zhan Xiao, University of Exeter, UK

Media and Architecture: How Cityscapes and Built Environment are Defined by Cinema in India in the New Millennium.

Mallikarjun Naralasetty, Srishti Manipal Institute, MAHE, India

MEL 23.55

Max Schleser, Swinburne University of Technology, Melbourne, Australia

Metaphor, Database, History: Towards a Documentary Research Method for Filmmaker-Scholars

Daniel Rudin, UC Merced, USA

Of Disqus, Discourse and Dramatic Trolls

Bassey Ekpe, Akwa Ibom State University, Nigeria

Israel Wekpe, University of Benin, Nigeria

Optional Thinking and Loop Disentanglement Strategies in Films and Videogames.

Ben Shaul Nitzan, Tel Aviv University, Israel

Pixelated Personalities. Videogames, Personality Tests and What Their Confluence Says About Us.

Mauro Colarieti, Università Cattolica del Sacro Cuore, Italy

Poetic Futurity: Envisioning Trans Narratives as Technopoetic Utopia

Silpa Joy, St. Joseph’s College Devagiri, India

Psychogeotherapy and A Framework of Collective Augmented Reality Game

Haoran Chang, York University, Canada

Yuemin Huang, East China Normal University, China

Reshaping Narratives: Authorship, Agency, and Digital Storytelling in Marginalized Settings

Chiara Ligi, Politecnico di Milano, Italy

Elettra Panepinto, Politecnico di Milano, Italy

Sounding a Clearing: Social and Collective Listening Otherwise

Emily Collins, York University, Canada

The Entangled Career of Guo Xiaolu:  Between China and the World

Gina Marchetti, Pratt Institute, USA

The Universe Peoples: Towards a Symptomatic Deep Ecology in OReilly’s

Jerald Lim, University of Utah, USA

Transmedia Stories and Practice. Shaping the Entanglements between the Internal and External Margins of Society.

Mariana Ciancia, Politecnico di Milano, Italy

Francesca Piredda, Politecnico di Milano, Italy

Understanding Unfiction: Conspiracy Theories, Immersive Escapism, and Falling Down the Rabbit Hole

Cameron Irby, The University of Texas at Dallas, USA

Web-based Documentary’s Legacy? The Sandbox Mindset

Frédéric Dubois, Ifs Internationale Filmschule Köln, Germany

The Interactive Potential of Emergent Narrative through Spatial Nesting of the Cinematic Experience.

Pavel Prokopic, University of Salford, UK

Jayne Sayer, University of Salford, UK

The Korsakowian Approach – A Metamodern Method that Shapes the Thinking Patterns of Those Who Apply It?

Florian Thalhofer, University of the West of England, UK / HSLU, Switzerland

The World, Storytelling, and Interactivity: A General Model of Interactive Narrative Systems from the Perspective of Human Learning

Pratama Atmaja, University of Pembangunan Nasional “Veteran” Jawa Timur, Indonesia

Sugiarto, University of Pembangunan Nasional “Veteran” Jawa Timur, Indonesia

Eka Mandyartha, University of Pembangunan Nasional “Veteran” Jawa Timur, Indonesia

What’s Our Name? Migrant Communities, Identity and Football in Latin America. Decolonising the British informal Empire in Chile and beyond.

Camilla Affleck, Liverpool John Moores University, UK

#IFM2024 Conference - CFP New Deadline January 16th, 2024

CALL FOR PROPOSALS

Interactive Film and Media Annual Virtual Conference

June 12-14, 2024, via Zoom

 

Communities | Structures | Entanglements

 

Extended Deadline: Tuesday, January 16th

 

The VI Interactive Film and Media Conference 2024 is thrilled to announce a Call for Proposals focused on the compelling and intricate themes of "Communities - Structures - Entanglements." These themes present a rich ground for exploration, innovation, and critical examination in the rapidly evolving interactive film and media domain.

 

Themes:

 

Communities

Communities navigate complex relationships, power dynamics, and ethical considerations. How are these challenges integrated into the community's evolving structure? In the interconnected world of interactive film and media, understanding the evolving roles and nature of communities is crucial for both creators and participants. What defines a community? How do communities evolve and sustain themselves? What kinds of "shared language," including shared narratives, questions, and commitments, enable a community to form and flourish? What does "shared" mean in this context? How does a community become a shared experience? Technologies like AI, VR, and AR are redefining communal experiences, so how are power dynamics and member contributions managed in these contexts? Communities also act as collective memory banks, archiving shared experiences. How does this shape community identity?

 

Structures

Structures serve as scaffolding that shapes narratives, fosters creativity, and broadens new possibilities. Studying these frameworks inspires both analysis of current methods and the creative imagining of novel structures that open up new spaces for exploration and consideration. This venture blurs the line between visual and conceptual, urging deeper examination of idea visualization and encouraging dialogue about needs and aspirations within the field of interactive film and media. As we navigate the complexities of structuring interactive narratives, the fusion of creativity, narrative and form emerges as pivotal thinking about how stories are experienced and engaged in the interactive digital environment. How do design choices in the underlying structures of interactive digital projects impact the form and content of different media forms, digital creativity, narrative structure, and interactors' agency? What challenges and opportunities do these structures present to create innovative, inclusive, and ethical storytelling experiences in an increasingly entangled digital world? As creators, researchers, and consumers, how can we actively shape these structures to foster new narrative exploration and interaction paradigms?

 

Entanglements

Entanglements promise the possibility of an intricate dance of influences within interactive media, where elements intertwine. Each element contributes to an overall tapestry of narrative, whose formal features produce interconnections that resonate for audiences. Entanglements demand careful consideration and management to ensure a harmonious and impactful interactive experience. How can creators effectively identify and balance the multitude of entanglements within an interactive project to create a coherent and engaging narrative? How can insights into entanglements enhance the design process to enable a more holistic integration of diverse elements while also promoting inclusivity, ethical considerations, and adaptability? Why is this important to the design of an interactor experience that is seamless, intuitive, responsive, and immersive? Is there a way the structuring of entanglements opens onto new forms of community?

 

CALL FOR CONTRIBUTIONS

The 6th Interactive Film and Media Virtual Conference (June 12-14, 2024) invites academics (faculty, researchers, and Ph.D. students) from all disciplines (media, communication, film, digital studies, visual arts, etc.) and practitioners (filmmakers, artists, VR and game designers, media producers, etc.) to submit their proposals. We seek proposals that blend critical analysis with creativity, push the boundaries of conventional thinking, and contribute to the burgeoning discourse on communities, structures and entanglements in interactive film and media. While presenters are encouraged to consider this year’s themes, proposals on matters relevant to the IFM community and beyond are welcome.

 

Possible topics may include but are not limited to:

• Innovation in current and emerging structural design in interactive storytelling.
• Empowerment of communities’ agency and participation in interactive narratives.
• Visualization techniques for conceptualizing narrative structures.
• The implications of structures and entanglements in shaping interactive experiences.
• Role of technology, including AI, in amplifying or restricting agency, whether individual or community-oriented.
• Impact of cultural and sociopolitical contexts on agency and entanglements.
• Collaboration and co-creation in building innovative platforms.
• Case studies highlighting the successful implementation of new structural concepts.
• Ethics and responsibilities in facilitating agency, navigating entanglements, and designing structures.
• Exploration of how VR and AR technologies create immersive environments that leverage agency, structures, and entanglements for a richer user experience.
• Community's role in shaping inclusive structures and agency within interactive narratives.
• Societal connections and values in interactive entanglements and their influence on content and experience.

 

KEY AREAS

1. Digital theory: history of digital media, intermediality, transmedia storytelling, multimedia
2. Digital humanities: e-literature (e-Lit), fan fiction, remix culture, web serials, e-Learning
3. Interactive film: documentary, fiction, animation, experimental
4. Interactive platforms: teleconference, streaming, mobile screens, virtual museums, multimedia installations
5. Interactive media: webseries, digital news, snack media, ecomedia, social media
6. Games: storytelling, educational games, docugames, serious games, games for change
7. VR (Virtual Reality) / AR (Augmented Reality): immersion, alternative environments and realities, interfaces
8. Database and Big data: digital archiving, politics and ethics, metadata

 

TRIBUTE TO PATTY ZIMMERMANN

In honor of distinguished professor and friend Patty Zimmermann, the IFM community will celebrate her contributions to strengthening communities, her careful structuring of entanglements, and her commitment to empowering people to speak. We will dedicate sessions of the conference to our esteemed colleague, relentless scholar, dedicated social advocate, and a pioneering force in cultivating cross-platform and interdisciplinary engagement.

FULL FREE ADMISSION

No fee is charged for presentation and attendance at this conference or publication in the journal. 

 

PRESENTATIONS

We have opted for a hybrid approach to make the event more inclusive. Presenters are asked to record and share their presentations one month in advance. This arrangement allows us to avoid/minimize issues related to poor connectivity and makes the event more time-zone-friendly. Attendees can view these presentations at their leisure before the live event. Presenters participate in a debate or Q&A session during the conference about their work, which participants have previously viewed. This minimizes the stress and need to be online for an extended period, allowing for more flexibility around time zones.

 

PAPER ABSTRACT SUBMISSION

To submit your abstract (500 words long, including the research objectives, theoretical framework, methodology, and hypotheses) and a brief Bio-CV (150-200 words), please download the paper proposal application form here: IFM2024 Paper Presentation Form (https://docs.google.com/document/d/115Zrr77tcyRIlii1FFDAwM4XptZPB8_6) and submit it to the section  ‘conference paper abstract’ at the #IFM Journal’s Submissions system by the deadline.

 

RESEARCH CREATION SUBMISSION

For research creation and artist/collective project proposals, complete the form, including description, research objectives, theoretical framework and methodology, and a brief Bio-CV (150-200 words for each participant/author). Please download the research creation presentation proposal application form here:  IFM2024 Research Creation Form (https://docs.google.com/document/d/1Y5gwHGsAF1gi_GH3Ke0LpmwPX4QUrhld ) and submit it to the section  ‘research creation presentation’ at the #IFM Journal’s Submissions system by the deadline.

 

Organizing Committee

Hudson Moura, Chair (Toronto Metropolitan University, Canada)

Stefano Odorico, Co-Chair (Technological University of the Shannon, Ireland)

Heidi Rae Cooley (The University of Texas at Dallas, USA)

Dale Hudson (NYU Abu-Dhabi, United Arab Emirates)

Jenna Ng (University of York, UK)

Leah Shaver (Hobart and William Smith Colleges, USA)

Marta Fiolic (NOVA University of Lisbon, Portugal)

Il Sun Moon (Kingston University, UK)

Logan Acton (The University of Texas at Dallas, USA)

 

Designs by Darius Shah and Anika Noehre

 

Subscribe to the  #IFM list group to be updated on our deadlines and informed about our new endeavors. 

 

INTERACTIVE FILM AND MEDIA CONFERENCE

https://journals.library.torontomu.ca/index.php/InteractiveFilmMedia/IFM2024 

Contact email: ifmjournal@torontomu.ca 

#IFMJournal

 

 

CFP #IFM2023: Paper and Research Creation Proposals

#IFM2023

Call for Papers for IFM Annual Conference

June 7-9, 2023

Craft, Care, Collaboration

Deadline:  January 9th, 2023

EXTENDED Deadline: Monday, January 30th, 2023

The annual Interactive Film and Media Conference invites abstracts that explore, interrogate, interweave, unravel, and reinvent the dynamic relationships between craft, care, and collaboration across new media platforms, practices, and theories. This nexus of craft, care, and collaboration has emerged as a fertile ground for thinking through the crucial yet unresolved work of combatting polarization with multiple voices, plural practices, and new ways of working together to invent shared languages and ideas. The conference invites participants to think about these three axes–craft, care, collaboration–whose definitions and relationships are not fixed, but fluid and adaptive.

CRAFT

Craft suggests a physical relationship to material to emphasize tactility and concrete engagement with the matter of the world. Craft traditions such as quilting bees and barn-raisings, gardening and sewing, etc., re-emerge in digital cultures through questions of tactility, working with machines, rethinking exhibition strategies, and more.  Sometimes, craft is considered as a form of individual authorship or artisanal; other times, it is deemed collective; most of the time, it winds between both. Our conference asks the following: what is craft?  Why is it important now?  Is it possible to think of craft in new ways?  How does craft work through our engagement with material?

CARE

Care implies attention to relationships between the human and the nonhuman. It is embedded in the relationship between makers/designers and subjects, and between work(s) and its participants/audience. This notion speaks to the affordances of the technologies, materials, and infrastructure that make media work possible.  Care pays attention to how work is made in communities, and how an ethics of care entails endlessly reformulated and adaptive relations that we inhabit.  How do works invite care?  What is the ongoing work of care in media work and practice?  What kinds of bonds are formed in and through this work, and how can they be nurtured, respected, and encouraged to evolve?

COLLABORATION

Collaboration has become a dominant meme in media practice and scholarly work. It opens up ways to think beyond the auteur-as-individual, drawing on long traditions across the arts and platforms of working with others. It moves from the one to the many, from the monovocal to the polyvocal.  It is often grouped with concepts such as collectivity, community, co-creation, participatory modes, activism.  What is collaboration?  How does collaboration change from project to project in different iterations and different political, social contexts?  Why is collaboration necessary or important? What challenges and pitfalls does collaboration pose? 

This conference does not propose closed definitions of the terms craft, care, and collaboration.  Nor does it map the ways in which these three terms entangle, enmesh, separate, collide.  Instead, the conference celebrates the open fields, gaps, and fissures between these terms in an initial attempt to enhance what is ambiguous, unresolved, and needing our attention. The conference invites participants to think through and imagine craft, care, and collaboration in new ways that mine these cracks and ambiguities.

KEYNOTE SPEAKER

Sharon Daniel, University of California, Santa Cruz

Daniel's work is located at the nexus of art and activism, theory and practice. She is a professor and media artist who creates interactive and participatory documentary artworks, innovative online interfaces, and multi-media installations addressing social, racial and environmental injustice issues. Her work has been exhibited in museums and festivals internationally, and her essays have been published in books and journals.  Daniel was honored by prestigious awards, scholarships, and grants worldwide. She is a Professor in the Film and Digital Media Department and the Digital Arts and New Media MFA program at the University of California, Santa Cruz, where she teaches digital media theory and practice classes. Her recent project, Exposed, an interactive documentary, which provides a cumulative public record and evolving history of the coronavirus pandemic’s impact on incarcerated people, was presented at the #IFM2021 Conference and published in the proceedings.

The 5th Interactive Film and Media Virtual Conference (June 7-9) invites academics (faculty, researchers, and Ph.D. students) and practitioners (filmmakers, artists, VR and game designers, and media producers) to submit their paper abstracts. While presenters are encouraged to consider the themes of Craft Care Collaboration. Proposals on matters relevant to the IFM community and beyond are welcome.

FULL FREE ADMISSION

No fee is charged for presentation and attendance at this conference or publication at the journal. 

PAPER ABSTRACT SUBMISSION

To submit your abstract (500 words long, including the research objectives, theoretical framework, methodology, and hypotheses) and a brief Bio-CV (150-200 words), please download the paper proposal application form here:

IFM2023_Paper_Presentation_Proposal.docx and submit it to the section  ‘conference paper abstract’ at the #IFM Journal’s Submissions system by the deadline.

To guarantee full participation and inclusion at the conference of a great diversity of voices, disabilities, accessibilities, and locales from everyone in the world, presenters must submit both video and paper presentations one month before the conference. Further details and instructions will be sent once your proposal is accepted. The Scientific Committee’s decision will be taken by mid-February.

RESEARCH CREATION SUBMISSION

For Research Creation and Artist/Collective Projects Interactive Workshop proposals, fill out the form, including the research creation’s description, research objectives, theoretical framework and methodology, and a brief Bio-CV (150-200 words for each participant/author). Please download the research-creation presentation proposal application form here: IFM2023 Research Creation Presentation Application Form.docx and submit it to the section ‘ research-creation presentation’ at the #IFM Journal’s Submissions system by the deadline.

To guarantee presenters' full engagement and interaction during the workshop discussions, the organizers will provide an online training session before the Conference.

PUBLICATIONS & PROCEEDINGS

The video presentations and the peer-reviewed post-conference papers will be published in the #IFM Journal.

KEY AREAS

1. Digital theory: history, storytelling, intermediality, transmedia, multimedia

2. Interactive film: documentary, fiction, animation

3. Interactive platforms: teleconference, streaming, mobile screens, virtual museums, multimedia installations

4. Interactive media: webseries, digital news, snack media, ecomedia, social media

5. Games: storytelling, education, docugames, serious games, games for change

6. VR (Virtual Reality) / AR (Augmented Reality): immersion, alternative environments and realities, interfaces

7. Database and Big data: archive, politics, ethics

ORGANIZING COMMITTEE

Hudson Moura, Chair (Toronto Metropolitan University, Canada)

Heidi Rae Cooley (The University of Texas at Dallas, USA)

Stefano Odorico (Technological University of the Shannon, Ireland and Leeds Trinity University, UK)

Patricia Zimmermann (Ithaca College, USA)

 

More info: https://journals.library.ryerson.ca/index.php/InteractiveFilmMedia/IFM2023

Contact email: ifmjournal@torontomu.ca