Tuesday, September 30, 2014

CfP: Membayangkan Indonesia Baru (Indonesia in New Wave) Conference on Communication, Culture and Media Studies 2014 Yogyakarta, 10 - 11 Desember 2014

FYI, Call for Abstract: Membayangkan Indonesia Baru (Indonesia in New Wave)
Conference on Communication, Culture and Media Studies 2014
Yogyakarta, 10 - 11 Desember 2014
Keynote speaker: Professor Ariel Heryanto
Important dates:
24 October: Deadline for abstract
21 November: Deadline for registration
28 November: Deadline for full paper

CCCMS 2014 mengusung tema utama “Membayangkan Indonesia Baru (Indonesia in New Wave)”

Kami mengundang berbagai hasil riset, kajian teoritik, dan pembelajaran praktis untuk mendiskusikan situasi “Indonesia dalam gelombang baru” terutama dalam konteks komunikasi, budaya, dan media. Hal-hal yang diulas dapat mencakup sejumlah topik di bawah ini tetapi tidak terbatas pada:

Komunikasi Politik dan Ekonomi Politik Media Massa
Kebijakan dan Etika Komunikasi
Komunikasi Pemberdayaan dan Volunterisme
Media Publik dan Media Komunitas
Opini dan Ruang Publik
Media Baru dan Budaya Digital
Budaya Populer dan Subkultur
Pemuda dan Media Kreatif
Media dan Representasi
Sejarah Media dan Memori Kolektif
Literasi Media

Sasaran CCCMS 2014 adalah akademisi, peneliti, mahasiswa, aktivis, dan praktisi di bidang komunikasi, media, dan budaya.
Ketentuan abstrak:

Ditulis dalam Bahasa Indonesia atau Bahasa Inggris.
Panjang 300 – 400 kata.
Dilengkapi dengan tiga hingga lima kata kunci.
Dilengkapi dengan nama, afiliasi lembaga, dan alamat email penulis.
Ditulis dengan huruf Arial ukuran 12 spasi satu.
Dikirimkan dalam bentuk file rtf dan/atau pdf ke email panitia: konferensi.komunikasiuii@gmail.com
link: http://conference.communication.uii.ac.id/call-for-paper/ketentuan-abstrak/

Seluruh paper lengkap dari abstrak yang lolos seleksi, yang diterima panitia paling lambat pada 28 November 2014, akan dimasukkan dalam prosiding konferensi dengan nomor ISBN



Call for Papers IACS Conference 2015
MAIN THEME: Undercurrents: Unearthing Hidden Social and Discursive Practices DATES: 7-9 August 2015 VENUE: Airlangga University, Surabaya,

fUndercurrents: Unearthing Hidden Social and Discursive Practices

DATES:7-9 August 2015

VENUE: Airlangga University, Surabaya, Indonesia

ORGANIZERS: Inter-Asia Cultural Studies Society, University of Indonesia and Airlangga University

KEYNOTE SPEAKER: Prof. Abidin Kusno, University of British Columbia, Canada

2 September 2014 · by Annisa Beta · in Call for papers, Conferences

Undercurrents: Unearthing Hidden Social and Discursive Practices

DATES: 7-9 August 2015

VENUE: Airlangga University, Surabaya, Indonesia

ORGANIZERS: Inter-Asia Cultural Studies Society, University of Indonesia and Airlangga University

Opening Keynote Speaker: Prof. Abidin Kusno, University of British Columbia, Canada

Closing keynote speaker: Prof. Melani Budianta, University of Indonesia

Plenary panel 1: Hilmar Farid (Institute of Indonesian Social History, Indonesia), Chua Beng Huat (NUS, Singapore), Prigi Arisandi (Ecoton, Indonesia)

Plenary panel 2: Diah Arimbi (Airlangga University, Indonesia), Firdous Azim (BRAC University, Bangladesh), Shunya Yoshimi (University of Tokyo, Japan)

Plenary panel 3: Sri Palupi (tbc) (Ecosoc Rights, Indonesia), Meaghan Morris (University of Sydney, Australia), Goh Beng Lan (SEAS Dept. NUS, Singapore)


Submission deadline : Jan 31st 2015 – online submission for panels and papers
Email : iacsconference2015@gmail.com
Announcement of accepted panels and papers : March 1st 2015
The general theme of the 2015 conference is “Undercurrents: Unearthing Hidden Social and Discursive Practices.” Cultural Studies scholarship has contributed to the humanities and social science scholarship by giving voices to the subaltern, everyday life, popular culture and social movements. Inter-Asia Cultural Studies has furthered the areas of inquiries by bringing down the East- West divide and foregrounding the fluid trans-local knowledge production, which gives a dialogic perspective on the region. However, there are still many social and cultural forces as well as praxis, that shaped everyday reality in Asia, which remain under-theorized and unexplored. This conference aims at bringing the undercurrents into the surface, examining how they intersect with, subvert, or mould the formal structures. By engaging with the undercurrents, the conference hopes to open up new frontiers of inquiries in the inter-Asia cultural studies scholarship.

1. Courting ecological disaster: movement, subversion, corruption
2. Para-sites: Alternative space and knowledge production
3. ‘Free man’, mafia and underground economy
4. Healing and killing:‘pharmakon’ and alternative modernity
5. Uncharted border, illegitimate transnationality, diaspora
6. Voices of the supernatural: ghosts, cults, spirit mediums
7. Challenging urbanity: rural, underclass, urban guerillas
8. Theorizing emergent movements: arts, youth, social media, politics
9. Surviving political violence: memory, narratives, performativity
10. Secrecy, blasphemy, laughter and promiscuity: grafting unsacred codes
11. Performing sexuality: communities and practices
12. Fetishizing the culinary: foodporn and the body

We welcome panel proposals of 3 – 4 papers based on the subthemes and other important topics in inter-Asia cultural studies today. The Conference encourages trans-local panel proposals and discourages single-university or single-country panels. The call is now open — please submit your panel proposal using our Call for Panels online form.

While we prefer panel proposals, we will be accepting individual paper proposals, on condition that author(s) would accept our decision on the organization of relevant papers into panels and the right to reorganize panels due to withdrawals and other contingencies. The call is now open — please submit your paper proposal using our Call for Papers online form.

Information on Registration fee, Accommodation and other administrative details will be posted soon.


Why was the city of Surabaya chosen to host our 2015 IACS Conference? Surabaya plays a critical role in the development of grassroots movements in Indonesia. The country’s struggle for independence from the Dutch colonialism reached its peak with the famed November 10 Battle against the Dutch Army in Surabaya (celebrated as Indonesia’s Memorial Day). The city is also well-known for its multicultural, vibrant, and egalitarian denizens.  The rural-urban and boundary-crossing dynamics of this 700-year-old port city is indisputable. It becomes a perfect venue for our conference due to the widely-recognized creativity of its inhabitants in seeking innovative solutions to life problems that the mainstream power structures cannot accommodate in the economic, social, cultural, and political realms. In recent years, Surabaya has impressed the international public in Southeast Asia, as well as Asia, for its pioneering capability of transforming polluted industrial zones marked by densely populated slum areas into a city dazzlingly characterized by dominant public green spaces.

Surabaya is also curiously located very close to the epicenter of the uncontainable underground geological eruptions: the renown – albeit infamous – Lapindo Mud. These eruptions, as well as the prolonged suffering and unyielding struggle of the people affected by the mud flood in seeking reparative justice and steadfastly fighting against the existing power structures, have inspired Cultural Studies scholars both locally and nation-wide. The Lapindo case maintains a symbolic significance as it underscores the intersectionality of ecology, Cultural Studies, and complex, multi-dimensional cultural movements.

Friday, September 5, 2014

Work with Troma

We are looking for general, editing, and graphic design enterprise observers/volunteers. You will have the opportunity to gain valuable experience in the film world and work with Troma President, legendary filmmaker, and creator of the Toxic Avenger, Lloyd Kaufman!!!
In-office editing enterprise observers/volunteers must have a laptop with, preferably, Adobe Premiere or Final Cut Pro. These positions are unpaid and school credit can be provided but isn't mandatory.
Please submit your resume, and your reel if you're applying for an editing position. Applicants must be residents of NY, and be able to commute to the Troma offices in Long Island City.
Email observer-volunteers@troma.com to apply!!!

Tuesday, September 2, 2014

10 Films I want To Watch in this Year's Busan Film Festival (My Wish List)

1I wish I could go to Busan in October. :((. There are a lot of great movies. Here's my wish list:

      The Look Of Silence – Joshua Oppenheimer http://www.biff.kr/eng/html/program/prog_view.asp?idx=14391&c_idx=100&sp_idx=288&QueryStep=2  ç a “sequel” of The Act of Killing. 

2.       Garuda Power: The Spirit Within – Bastian Mereisonne ß on history of Indonesian action movies, with very rare excerpt from early films?

3.   The President – Mohsen Makhmalbaf, It’s Mohsen Makhmalbaf. Enough said.

4.   When the Rooster Crows, Southeast Asian Cinema = Leonardo CINIERI LOMBROSO,  SEA Cinema is one of my research interests.

5.       A Rose Reborn  = Park Chan Wok , Old Boy and Thirst, that’s why!

6.   The Singer - Nonzee NIMIBUTR ßthe director of Nang Nak and Jan Dara
7.   Cambodia 2099 – Davy Chou , I love Golden Slumbers.
8.   the Man Who Is Tall Happy? : An Animated Conversation with Noam Chomsky – Michel Gondry. Gondry-Animation-Chomsky. Irresistible
9.       Men Who Save the World – Liew seng tat. I love flower in the pocket.
10.    Fluid Boundaries – Daniel Rudi Heryanto ß Indonesian film in Busan? And I want to know Rudi’s development after Prison and Paradise.

CFP: Locating Southeast Asian Horror

CFP: Locating Southeast Asian Horror

CALL FOR PAPERS   Plaridel Special Issue   Locating Southeast Asian Horror   
Issue editors: Katarzyna Ancuta & Patrick F. Campos

The unprecedented success of Japanese and Korean horror on international markets in the early 2000s increased the demand for the genre from the region, but also set a new standard against which these productions were judged. Encouraged by the enthusiastic reception of (the problematically labeled but widely accepted category) “Asian Horror” by commentators and the global fan community, Southeast Asian national cinemas began to revitalize their local horror genres, and distributors eventually turned to Southeast Asian horror as well.
But contemporary “Southeast Asian Horror” proved to be quite diverse,ranging from those that adapt the same strategy that made J- and K-horror into a global phenomenon, to a great majority of horror films that resisted or spawned its own formula. Many of these films followed local modes of narrative, frequently mixed elements of comedy with horror, introduced stories of supernatural creatures incompatible with the generic hordes of universally acceptable ghosts and monsters, and appreciated a different aesthetics than one usually associated with either Western or East Asian horror film.

There is much to be said about Southeast Asian horror yet until now the genre has mostly eluded the attention of the academic community. This collection is an attempt to fill in the gap. Horror forms a staple part of Southeast Asian cinematic repertoire. As a genre, it is almost exclusively supernatural. This is not surprising, given the region’s rich texture of religiosity, supernatural beliefs, shamanic rituals, and animistic practice. While there is no denying that, at least to a certain extent, Southeast Asian horror has been influenced by Western or, more recently, East Asian horror films, we cannot underestimate the importance of the particular politics, local cultural grounding, and other permutations of Southeast Asian Horror.

With this in mind, this special issue aims to answer a number of questions: Does Southeast Asian horror exist as a separate, recognizable category? How is Southeast Asian horror different from Western or East Asian horror genres? What are the particular political and cultural characteristics of horror films when considered in the context of Southeast Asia or as being Southeast Asian? Are there any similarities or differences between films in the region across national cinemas? What is the current reach of Southeast Asian horror, in terms of international viewership? What are the modes of receiving and appreciating Southeast Asian horror?

We invite contributions of academic articles that can further the discussion of the topic.

Some of the suggested themes are:
  • History of the genre in the region or in particular Southeast Asian national cinemas
  • Foreign influences on Southeast Asian horror
  • Transnational horror
  • Southeast Asian horror narrative structure
  • Southeast Asian horror sub-genres
  • Comparative view of horror from Southeast Asian national cinemas
  • Themes, motifs and locations
  • Folklore and oral tradition
  • Rural and urban horror
  • Haunting and spectrality
  • Representations of otherness
  • Representations of gender
  • Race, class and ethnicity issues
  • Political dimension of Southeast Asian horror
  • Cultural dimension of Southeast Asian horror
  • Southeast Asian horror audiences                                                 
Manuscripts should be submitted via email to plarideljournal@gmail.com, on or before 1 DECEMBER 2014.

About Plaridel

Plaridel: A Philippine Journal of Communication, Media, and Society was first published in 2004 as a national journal of communication and has since been released on a regular bi-annual basis. It has an international advisory board. In 2010, Plaridel began to publish essays on Asian and Southeast Asian media and communication topics, analyzed and evaluated from diverse disciplines and employing different methodologies,by Filipino and international scholars. Current and past issues may be viewed at www.plarideljournal.org.

Information for Authors

Plaridel is a refereed biannual journal published by the University of the Philippines College of Mass Communication (UP CMC). Articles may focus on any aspect of communication and media. Reviews of a book, film, website, TV, radio program, event, or festival may also be submitted. All articles should exhibit a high degree of scholarship.

All manuscripts should be written with proper citations using the American Psychological Association (APA) style. Articles must not exceed a maximum of 10,000 words, while reviews must have up to 1,500 words. In addition, articles should be accompanied by an abstract of 100 to 150 words. Abstracts for contributions written in Filipino must be written in English and be 200 to 250 words in length.

Submissions are to bee-mailed to the Editor-in-Chief at plarideljournal@gmail.com in MS Word format without any identifying information such as author(s) name and institutional affiliations. Authors should also submit a separate title page with the manuscript title, author name(s), institutional affiliation and contact information for the corresponding author.

Authors submitting manuscripts should not simultaneously submit them to another publication. Manuscripts should not have been published elsewhere in substantially similar form or with substantially similar content. Authors are responsible for gaining permission for including any copyrighted material that needs permission, including quotations of more than 300 words.

Plaridel publishes original articles that have gone through a rigorous double-blind peer-review process. Papers submitted to the journal for publication consideration undergo an initial editorial review by issue and associate editors. At this stage papers can be accepted or rejected. Papers that are favorably reviewed move forward to the double-blind peer-review process. Referees are selected based on their publication history and expertise in the field where the article seeks to make a contribution.

Plaridel is accorded Category A-2 status by the Commission on Higher Education (CHED) Journal Accreditation System since 2010. For further information, call (02) 9206864 or UP trunkline 981-8500 loc. 2668 or email plarideljournal@gmail.com.