{"id":14080,"date":"2025-04-17T10:06:55","date_gmt":"2025-04-17T15:06:55","guid":{"rendered":"https:\/\/blog.uvm.edu\/aivakhiv\/?p=14080"},"modified":"2025-04-17T10:06:55","modified_gmt":"2025-04-17T15:06:55","slug":"cfp-the-life-cycle-of-moving-images","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/aivakhiv\/2025\/04\/17\/cfp-the-life-cycle-of-moving-images\/","title":{"rendered":"CFP: The Life-Cycle of Moving Images"},"content":{"rendered":"\n

The deadline is coming soon; please write to me<\/a> if you need more time.<\/em><\/p>\n\n\n\n

Call for Chapter Proposals:<\/strong> The Life-Cycle of Moving Images: Ecological Entanglements from Conception to Consumption and Beyond<\/p>\n\n\n\n

We invite contributions for a forthcoming edited volume entitled The Life-Cycle of Moving Images: Ecological Entanglements from Conception to Consumption and Beyond<\/em>, edited by Adrian Ivakhiv, Maria Boguszewicz, and Aitor Arruza Zuazo.<\/p>\n\n\n\n\n\n\n\n

Concept and Scope: <\/strong>Inspired by the \u201cthree ecologies\u201d framework developed in Adrian Ivakhiv\u2019s Ecologies of the Movin<\/em>g Image: Cinema, Affect, Nature<\/em> (Wilfrid Laurier University Press, 2013), The Life-Cycle of Moving<\/em> Images<\/em> articulates a holistic model for understanding moving images both within their multiple ecological contexts and across their entire \u201clife-cycle.\u201d It defines this life-cycle not only in material terms, as life-cycle analyses of objects have done in such fields as industrial ecology or science and technology studies, nor in exclusively cultural and representational terms, as is more common in film and media studies. Rather, it defines it materially, socially, and perceptually, presenting this tri-ecological framework in a detailed, multi-authored opening chapter. It then supports and elaborates this framework through a range of case studies that make up the book\u2019s three parts: \u201cFrom Concept to Project,\u201d \u201cFrom Production to Screen,\u201d and \u201cFrom Audience to Afterlives.\u201d A concluding chapter proposes that a life-cycle analysis can be made not only of individual films, videos, and other moving images, but of cinema and audio-visual media as a whole, considered within the history of industrial production and its earthly transformations and impacts. In this sense, the book suggests that the life-cycle of moving images has been an integral part of the life-cycle of the geological \u201cevent\u201d known as the Anthropocene, and that the future of moving images calls for a reintegration of their impacts within the productive and reproductive capacities of earthly life. <\/p>\n\n\n\n

Ecologies of the Moving Image<\/em> proposed that every moving image operates within three intertwined ecological registers. The material<\/em> register includes measurable aspects like mineral extraction and product manufacturing, CO2 footprint, waste generated during production and consumption, and physical impacts on production sites. The social<\/em> register involves the changing and dynamic relations of agency among those producing, consuming, and represented in films and moving-image media. And the perceptual <\/em>register includes the many ways in which moving images both shape and are shaped by the perceptions and sensibilities \u2013 including the sensory capacities that are enabled and extended by media \u2013 of the audiences and media users interacting with larger, more-than-human worlds. In sum, moving images change the world materially, socially, and perceptually\/sensorially. <\/p>\n\n\n\n

What had been implicit in the model was that each of these unfolds across the full life cycle of moving image media, from conception to production, distribution, reception\/consumption, to the afterlives of media\u2019s impacts and residues. This book, The Life-Cycle of Moving Images<\/em>, will explicitly articulate this life-cycle dimension of the model through a theoretically rigorous opening chapter and a range of case studies from around the world. The choice of \u201cmoving images\u201d reflects the broad scope of the study, which intentionally avoids limiting itself to any single audio-visual medium. The authors analyze a spectrum of works including short and feature films, YouTube videos, visual art installations, and other forms. This diversity reflects the hybrid nature of contemporary digital culture and the ubiquity of audio-visual media in modern life. By exploring this range, the book seeks to shed light on the intricate relationships between moving images, human cultures, and the Earth\u2019s ecological systems.The material studied in the book will span a global array of cultural and geographical contexts. This broad scope allows for a nuanced analysis of diverse ecological contexts that share global features, such as climate change and the politics of energy transition, even as they evince local particularities. <\/p>\n\n\n\n

The book recognizes that discussions of ecology must account for colonial histories and social inequalities, as these shape how different communities experience and respond to environmental challenges. By foregrounding local voices within a global framework, we aim to contribute to a more inclusive and multi-dimensional understanding of ecological entanglements in audio-visual media.<\/p>\n\n\n\n

Contributor Guidelines<\/strong>: We invite chapter proposals <\/strong>of 300\u2013500 words that clearly outline the focus of your contribution, the theoretical and\/or methodological framework, and its relevance to the themes of the volume. We welcome proposals from scholars at all career stages, as well as practitioners working in audiovisual media, and we encourage interdisciplinary and experimental approaches. Please include the following in your proposal: <\/p>\n\n\n\n