Design by Darius Shah



Hosted by
Ryerson University (Canada)
The University of Texas at Dallas (USA)
University of Sao Paulo (Brazil)
Leeds Trinity University (UK)
University of Bayreuth (Germany)

June 8-10, 2022

Interactivity is omnipresent. From cultural production (games, films, books), audience perception (streaming, virtual reality, real-time), intellectual publications (news, hypertexts, social media), and virtual world economy (cryptocurrency), we are witnessing a shift in all levels of cultural production. As a result, interactivity gains more space and conceptual independence with specific terminology, questions, promises, and challenges. Moreover, interactivity is growing as an academic discipline, field of study, and area of research in several spheres.


What are the interactive film and media epistemological contributions to contemporary art and media fields? How do/might interactive technologies, practices, experiences invite, or indeed, demand revised modes of listening? How might taking seriously the work of listening (as a form of attending to) open onto more generous ways of knowing, practicing, and being in an era of socio-ecological crisis?


Due to what can be diagnosed as deep mediatization--the ubiquity of media in every sphere of life--current modes of thought, behaviour, and culture are becoming increasingly interactive. The inclusion of interactivity in film and media marks a turning point contributing to the development of education and the epistemological repercussions in contemporary cultural practices, activism, and social engagement.


Thus, the 4th Interactive Film and Media International Conference invites academics (faculty, researchers, and Ph.D. students) and practitioners (filmmakers, artists, VR and game designers, and media producers) to explore the definitions, terms, and practices to frame the conditions of interaction and interactivity in three strands:


EPISTEMOLOGY: The first strand will focus on the interactivity’s epistemological contributions. What is this knowledge that brings interactivity? How does interactivity expand cinema and media perception? How does interactivity enhance the immersion of the audience in the realm of storytelling? How does interactivity contribute artistically, aesthetically, economically, and politically to new practices in communication, entertainment, education, and the arts? How does interactivity promote social engagement?


LISTENING: The second strand will address the question of listening, a question that became increasingly prominent across the presentations at the 3rd International Film and Media Conference in August 2021. What does it mean to listen in the 21st century? This second strand intends to provide a lens through which to think about how we know via interactive technologies, etc., and how through our engagements with such technologies we might be inspired to listen more responsibly. What might it mean to listen ecologically? Ultimately, what is to "listen" to our surroundings in ways that might invite us to take up pressing questions differently--more responsibly, ethically, etc.?


ECOMEDIA: The third strand will take up the issue of interactivity in the context of ecomedia. If ubiquitous mediatization is the one big theme of our age, ecology is the other. Believing that the conjunction of the two is thus one of the critical issues for our time, facing an entanglement of socio-ecological crises, we invite reflections on the different forms of interconnection between them. For example, which role do agency, engagement, and immersion play in this context? How can interactivity increase personal engagement and, what can interactive ecomedia add to the striving to create  ‘moving’ experiences and encounters?


Hudson Moura, Chair (Ryerson University, Canada)

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

Sonia Regina Cunha (University of Sao Paulo, Brazil)

Stefano Odorico (Leeds Trinity University, United Kingdom)

Anna Wiehl (DiD-Digital Documentary Projects, University of Bayreuth, Germany)


Judith Aston (The University of the West of England, United Kingdom)


Irina Lyubchenko (Independent Scholar, Canada)