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*** Latest News ***
NEW CFP: Sound-Tracking Melbourne Symposium 15-16 June 2018
2017 SSAAANZ Best Published Paper Prizes for Academics and Post-Graduate Students: Entries open 1 January 2018     The SSAAANZ Executive Committee is pleased to announce that entries for the 2017 SSAAANZ Best Published Paper Prizes for Academics and Post-Graduate Students are now open. As announced in the SSAAANZ Newsletter (No. 4) published in April, for the 2017 award there will be two separate prizes: one for the best published article by an academic(s), and the best published article by a post-graduate student(s). The prizes are open to all SSAAANZ members. If you have had an article published in a refereed journal with a 2017 publication date on any aspect of Screen Studies, you are eligible to enter that paper in either the Academic category, or if you are a postgraduate student, the Postgraduate category. Articles can be submitted by email to info@ssaaanz.orgfrom 1 January 2018. The closing date for entries is 28 February 2018. Entries will be judged by a panel of luminaries comprising several of SSAAANZ’s Honorary and Executive Members.  Winners will be announced at the 2018 SSAAANZ conference to be held at Monash University, and will receive a cash prize and a certificate of commendation. Dr. Susan Potter from the University of Sydney won the SSAAANZ’s inaugural 2015 Best Published Paper Prize for her article “Valentino’s Lesbianism: Stardom, Spectatorship, and Sexuality in 1920s Hollywood Cinema” published in Framework: The Journal of Cinema and Media.
Mentors wanted for the SSAAANZ Mentoring Scheme Higher Degree Research (HDR) student and Early Career Researchers (ECRs)   SSAAANZ is introducing a mentoring scheme that will pair Higher Degree Research (HDR) student and Early Career Researchers (ECRs) with established scholars in the field. The scheme is open and exclusive to current SSAAANZ members. The primary purpose of the mentoring scheme is to support HDR and ECR members by linking them with senior scholars for mentoring support. Mentoring will be task or project based (for instance, towards publishing a scholarly essay or preparing a conference paper) and will be for 3 or 6 month periods. The scheme will be administered by members of the SSAAANZ Executive Committee and both mentors and mentees will sign an agreement of terms prior to commencement of the mentorship. SSAAANZ will be offering 3 mentorships in 2018. All participants will receive a letter of acknowledgment on successful completion of their mentoring contract. SSAAANZ is currently seeking expressions of interest from mentors available to participate in the scheme in 2018. Mentors must be current SSAAANZ members and be established or senior scholars in the field. We are requesting that members available to mentor an HDR or ECR member submit an expression of interest and offers of availability to the SSAAAANZ executive via email by Feb 1st 2018. SSAAANZ will call for applications for mentees in early 2018 and will notify successful applicants by March 30th 2018. For any questions or further information please contact: Jodi Brooks at or Mark Ryan at
CFP: Intersections in Film and Media Studies: SSSN and Fusion Journal  Intersections in Film and Media Studies (Special Issue) Fusion Journal Special Issue
CFP: Doing Women’s Film and Television History IV  CFP: Doing Women’s Film and Television History IV
CFPFilm Journal Special Issue: Actors Behind the Camera
CFP: Desecrating Celebrity, Fourth International Celebrity Studies Conference Wednesday 27th June to Friday 29th June 2018, at Sapienza University in Rome.
CFP: 28th International Screen Studies Conference 2018 is now open.
(Selected) chapters for ‘Australian Genre Film’ collection   Dr. Kelly McWilliam (USQ) and Dr. Mark Ryan (QUT) are currently putting together a proposal for an edited collection on Australian Genre Film. The book will bring together influential and emerging scholars of Australian film to offer analyses of, and across, the genres of Australian fictional feature films, collectively offering an up-to-date survey of Australian genre cinema. The book will be centrally organised around 13 chapters, each focused on a genre in Australian cinema, including any significant sub-genres. Each chapter will offer a brief historical contextualisation of the genre, including an assessment of the genre’s distinctiveness in the context of Australian cinema (e.g. core tropes, motifs, style etc), before focusing primarily on the significant developments and key films in the genre since 2008 (though noting significant precedents where necessary).     While we already have a number of authors attached to the project, there are still some chapters for which we are seeking contributors. Specifically, we are now seeking contributors to write chapters on:  
  •  biopic
  • romance
  • science fiction
  • thriller/suspense thriller
  Chapters would be 5000 words long with our timeline anticipated as follows:  
  •   Abstract (200-300 words) & short bio due: 10 July 2017
  •    Full papers required for refereeing: 31 July 2018
  •   Referee reports returned to authors: 30 September 2018
  •   Chapter revisions due to editors: 30 December 2018
  If you are interested in contributing, please let us know as soon as possible and forward on your abstract (and a short bio) by 10 July to   And of course, should you have any questions, please don’t hesitate to get in touch with us. A draft synopsis is also available on request.
Call For Papers: Inaugural SSAAANZ conference issue of Studies in Australasian Cinema     Edited by Mark Ryan (QUT) and Constantine Verevis (Monash University)     This is a call for papers for a special issue of Studies in Australasian Cinema (SiAC) devoted to themes arising from the inaugural Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ) Conference, Sea Change: Transforming Industries, Screens, Texts, which took place in Wellington last year (November 2016).     The orientation of this special issue mirrors that of both the SiAC journal and the Sea Change conference, placing a particular focus on the analysis of the Australian, New Zealand and Pacific mediascapes.     Topics for papers include:
  • The relationship between Australia, Aotearoa New Zealand, and/or Pacific rim screen industries and cultures
  • Geographies of Australian, New Zealand and Pasifika media
  • New histories of Australian and/or Aotearoa New Zealand screen industries and cultures
  • Indigenous (Australian Aboriginal and Torres Strait Islander, Maori, and Pasifika) film and television practices
  • Economic, government and regulatory influences on Australia and Aotearoa New Zealand screen industries
  • Analysis of labour circulation and practices in the Australian and Aotearoa New Zealand screen industries
  • The effects of globalization on local and regional film and media
  • New interpretations of Australian and New Zealand film and media texts, genres, cycles and aesthetics
    Priority will be given to articles developed from papers presented at the Sea Change conference, but all abstracts will be considered.      Please send proposals of no more than 300 words and a 150 word biographical note to by July 3, 2017.     Articles selected for publication will be due by 1 September and will be 5000–7000 words in length.     Please direct any enquiries or questions about the special issue to Constantine Verevis, Monash University

Wentworth is the New Prisoner

A two-day international conference

Thursday 5th and Friday 6th April 2018, RMIT University, Melbourne, Australia

Confirmed keynote speakers and panellists: Professor Sue Turnbull (University of Wollongong, Australia); Kim Akass (University of Hertfordshire, UK); Kate Hood (actress, writer and director, aka Prisoner’s Kath Maxwell); Jan Russ (casting director, PrisonerNeighbours, etc.)

Wentworth (aka Wentworth Prison) is an award-winning Australian prison drama series now in its fifth season and recently renewed for a sixth season. It screens in Australia on Foxtel, in the UK on Channel 5 and in the USA on Netflix. The series was inspired by Prisoner (aka Cell Block H), a groundbreaking drama produced between 1979 and 1986, which was internationally successful and led to a cult following. Set in a women’s prison in contemporary Melbourne, Wentworth dramatises current cultural and political issues, and provides a rich example of creative and industrial screen practice that can often be read in the context of its predecessor, Prisoner.

This conference will unite those who study and are fans of Wentworth and Prisoner, with those who are or who have been involved in making the series.

We invite abstracts for papers (critical or creative, 20 minutes) from academics, practitioners or those who are both, including research degree candidates and early career researchers. All topics related to Wentworth and Prisoner will be considered, with the aim of generating a lively exchange of critical and creative ideas. Our intention is that selected papers from the conference will lead to a publication (most likely an edited collection).

Conference organising committee:

Associate Professor Craig Batty (RMIT University); Dr Tessa Dwyer (Monash University); Dr Radha O’Meara (University of Melbourne); Dr Stayci Taylor (RMIT University).

Please email your 300-word paper abstract, along with a 100-word biography, to by Monday 30 October 2017.

Potential paper and panel topics include, but are not limited to:

  • Gender in Wentworth/Prisoner
  • Sexuality and Queerness in Wentworth/Prisoner
  • Class in Wentworth/Prisoner
  • Prison industrial complex in Wentworth/Prisoner
  • Race and ethnicity in Wentworth/Prisoner
  • Diversity behind bars
  • Nation in Wentworth/Prisoner
  • Violence in Wentworth/Prisoner
  • Substance abuse in Wentworth/Prisoner
  • Mental health and mental illness in Wentworth/Prisoner
  • Aesthetics of Wentworth/Prisoner
  • Serial narrative and Wentworth/Prisoner
  • Performance inWentworth/Prisoner
  • Wentworthas reboot or remake of Prisoner
  • Television genre and the prison drama
  • Prestige TV and prison dramas
  • Reception of Wentworth/Prisoner
  • Wentworth/Prisonerfans, fan practices and fandoms
  • Distribution of Wentworth/Prisoner
  • Creative practice in the development and production of Wentworth/Prisoner
  • Industrial practice in the development and production of Wentworth/Prisoner
  • Wentworth/Prisonerand transnational TV and format trade
  • Activism, Social Change and Wentworth/Prisoner
  • Music and lyrics in Wentworth/Prisoner


Screening the Past: Special SSAAANZ Conference Section Call for Papers

This is a call for papers for a special section of Screening the Past devoted to research presented at the recent SSAAANZ Conference, Sea Change: Transforming Industries, Screens, Texts which took place in Wellington last November.

This focus of this section will be on general papers, rather than topics on Australia, New Zealand and Pacific mediascapes. (Material on these areas will be published in MEDIANZ: Media Studies Journal of Aotearoa New Zealand and Studies in Australasian Cinema.) This could include, but is not limited to, research on European and American cinema and television, film and television genres, textual practices, aesthetics, gender, audiences, embodiment, sexuality, funding, distribution, exhibition, platforms, and media technologies.

Please send proposals of 250-300 words to by 22nd May, 2017. Proposals should include an abstract of the contribution as well as name, institutional affiliation, full contact details, and a short biographical note. Full articles will be due by 28th July and should be approximately 5000-7000 words in length. Please direct any enquiries or questions about the special section of Screening the Past to Dr Tim Groves (



Children’s Media Symposium: From Print to Screen

 24–26 November, 2017

University of the Sunshine Coast, Queensland, Australia

The University of the Sunshine Coast’s School of Communication and Creative Industries invites conference paper submissions for its inaugural Children’s Media Symposium. This year’s theme is “From Print to Screen” and will feature keynote presentations from the ABC’s former Director of Television Kim Dalton OAM, celebrated children’s author Gary Crew, Oscar-winning illustrator Shaun Tan, and CEO of the Australian Children’s Television Foundation Jenny Buckland.

Convergence, transmedia storytelling, interactivity, fragmentation, the rise of social media and online streaming services have transformed the production and distribution of children’s media. The Children’s Media Symposium is a chance for the creative sector and the academic community to engage and collaborate in exploring the complex relations between this special audience and a fast-changing media landscape.

We invite submission of abstracts of 250 words for individual papers (20 minutes) or suggestions for three-paper panels. We welcome papers on screen adaptations of children’s literature; children’s screen content; the status of child consumers; writing for children and the image of the child in screen content and literature, in addition to other interpretations of this year’s theme.

Outstanding papers from this year’s symposium will be invited to appear in forthcoming issues of Australian Teachers of Media (ATOM) publications Metro and Screen Education.

Please send abstracts to by 30th June, 2017

CFP: Film in the Colony Symposium: New Zealand, South Africa, Australia, 1890s to 1940s

Centre for Research on Colonial Culture, University of Otago, and Ngā Taonga Sound and


Wellington 13-14 July 2017, with screenings 12 July (colonial-era) and 15 July (contemporary)

The early decades of cinema (1890s to 1940s) coincide with the late colonial periods of New Zealand, Australia and South Africa. In each colony, films were made about indigenous peoples, and their relationships with settlers. Some were historical films; others documented, or capitalised on, indigenous life by drawing on legends or scenes of traditional life; others developed fictional narratives. This symposium investigates the uses of locally-made moving images, for colonies-becoming-nations, and for indigenous communities and their sense of cultural belonging.

How did the involvement of indigenous peoples in the film-making process open out new understandings of collaboration, co-creativity and cross-cultural exchange? Did indigenous people make their own films? What were the implications and outcomes of filming traditional stories on historical locations, or within contemporary communities? How were productions received by local audiences, then and now?

For this symposium we invite papers that investigate the cross-cultural dimensions of film in the colonial context. We welcome contributions from a variety of disciplines and backgrounds, such as film studies, history, Māori and/or indigenous studies, anthropology, archives, screen industries and communities.

Speakers: Dame Professor Anne Salmond, Natalie Robertson (Auckland) Dr Ian-Malcolm Rijsdijk, Dr Litheko Modisane (Cape Town).

Exhibiting: Lisa Reihana (Auckland)

Convenors: Annabel Cooper, Diane Pivac, with Honiana Love, Minette Hillyer, Jo Smith

Send a 200-word abstract to by 25 March.

For more information see:

CFP MEDIANZ: Media Studies Journal of Aotearoa New Zealand This is a call for papers for a special issue of MEDIANZ: Media Studies Journal of Aotearoa New Zealand devoted to themes arising from the recent SSAAANZ Conference, Sea Change: Transforming Industries, Screens, Texts, which took place in Wellington last November (information about other special issues dedicated to the publication of the conference papers will be announced soon). The orientation of this special issue mirrors that of the conference with a particular focus on the analysis of the New Zealand and Pacific mediascapes. Possible topics include, but are not limited to:
  • The relationship between Aotearoa New Zealand, Australia and/or Pacific rim screen industries and cultures
  • Geographies of New Zealand and Pasifika media
  • New history of New Zealand screen industry and culture
  • Māori and Pasifika film and television practices
  • Economic, government and regulatory influences on the Aotearoa New Zealand screen industry
  • Gender and sexuality in Aotearoa New Zealand screen culture
  • Critiques of labour circulation and practices in the Aotearoa New Zealand screen industry
  • The effects of globalization on New Zealand film and media
  • New interpretations of New Zealand film and media texts, genres, cycles and aesthetics
Please send proposals of 300 words to by 31 March, 2017. Proposals should include an abstract of the contribution as well as name, institutional affiliation, full contact details, and a short biographical note. Full articles will be due by 1 July and should be approximately 5000-7000 words in length. Please direct any enquiries or questions about the special issue to Dr Alfio Leotta (

CFP Analysing Pleasure: A Symposium University of Otago, Dunedin, New Zealand

Friday 21st and Saturday 22nd April Masterclass with Professor Richard Dyer Thursday 20th April

***************DEADLINE 13TH MARCH********************


The Department of Media Film and Communication at Otago University invites paper proposals for a symposium taking the theme ‘Analysing Pleasure’. The symposium is being organised around a visit by Professor Richard Dyer, whose work informs it. With his first few articles on topics such as the rights of entertainment, The Sound of Music, disco, homosexuality and film noir, and stars such as Lana Turner and Rita Hayworth, Richard Dyer insisted that the pleasures of popular culture were deserving of detailed analysis.

Many current debates build upon his foundational work for example: discussions of class; taste; cinephilia; beauty and aesthetic pleasures; popular culture; sexual gratification; social, historical and cultural conditions of pleasure; idiosyncratic and fan pleasures; haptic, tactile and sensory engagements; non-representational theory and affect and interrogations of spectacle and other visual pleasures.


For this two day symposium we invite proposals for papers of 20 minutes across the broad spectrum of Media and Cultural Studies, to include literature, music, theatre, media and the arts.

Key questions and themes to be explored may include but are not limited to:
  • How have understandings of pleasure shifted?
  • What new approaches exist for analysing pleasure?
  • How have viewer/text relations expanded thanks to multi-platform, cross-platform and relocated media?
  • What kinds of pleasures remain outlawed and what kinds of pleasures have become mainstream?
  • How is the body currently being written into theory?
  • Intersectionality and pleasure
  • Sexuality, gender and pleasure
  • Race, critical whiteness and pleasure
  • Displeasure and critique
  • Feel good and feel bad texts
MASTERCLASS In addition to the Symposium, on the Thursday afternoon before, there will be a Masterclass with Professor Dyer, for which applications from Postgraduates and early career researchers will be prioritised. Professor Dyer will assign several of his publications for discussion. Participants will also get a chance to discuss their own work. A dinner will follow the Masterclass. Instructions for Submissions for Symposium and Masterclass There is no registration charge for this symposium for which acceptance will be highly competitive. Submissions for these events and any questions should be sent to: with by Monday 13th March. Acceptances will be sent Friday 17th March.
  • For the Symposium please send an abstract of 250 words and brief bio to with the words ‘SYMPOSIUM’ in the subject line.
  • For the Masterclass please send an abstract of up to 500 words and brief bio to with with the words ‘MASTERCLASS’ in the subject line.
  • If you hope to attend both the Symposium and the Masterclass then follow the instructions above and put ‘SYMPOSIUM AND MASTERCLASS’ in the subject line.

CFP SYDNEY SCREEN STUDIES NETWORK 2017 program: Intersections in Film and Media Studies

******DEADLINE 19TH FEBRUARY*********

SSSN invites scholars working across film, television, video, and internet genres to explore the state of contemporary screen studies and screen culture. Developments in digital technologies, as well as rapid changes in production, distribution and consumption patterns, mean that ‘cinema’ is an increasingly fluid term that moves across platforms, genres, and textual boundaries. Screen culture is also an inescapable part of the contemporary media environment, with a plethora of media objects moving across a variety of screens, technologies, and devices. Cinema and screen studies likewise possess a fluidity that encourages interdisciplinary approaches and collaboration.

This program will explore the transitional nature of contemporary screen studies and the movement of scholarship, theory and ideas across its boundaries. The program is interested in three core areas of study:

  • Interdisciplinary and cross-disciplinary approaches to screen media
  • Intersections in screen media
  • The value of a single-discipline approach

Potential seminar topics include, but are not limited to:

  • Interdisciplinary and cross-disciplinary approaches to screen media
  • Applying a single discipline to study a screen object not in that discipline (e.g. using film studies approaches to television or applying video games scholarship to YouTube)
  • Investigations of screen media interactions and crossovers (e.g. cinematic television, televisual YouTube)
  • In what ways are different screen-based media texts informing and shaping one another?
  • What are the boundaries of film/television/video/YouTube?
  • How are screen-based media texts being confined to specific mediums of distribution and consumption?
  • In response to the convergent media environment are texts adhering to particular media-specific conventions in order to delineate themselves?
  • Can we continue to define what is cinema? What is television? etc.
  • How are audiences of screen texts responding to the fluidity of screen media genres?

All seminar presentations will be considered for an edited special issue with Fusion Journal, pending editorial approval. We particularly encourage postgraduate and early career researchers to apply.

Please send proposals including a title, an abstract (200 words), and a short biography to by Sunday 19th February 2017.

For any queries or further information on the Sydney Screen Studies Network, please direct your questions to the above email address.


Call for Papers

BOND University 21 – 23 June 2017 The Australian Screen Production Education and Research Association (ASPERA) 2017 annual Conference will be held at Bond University, on the Gold Coast Australia. This year’s conference is interested in “what excites you”, as researchers, educators and creators of screen production. The conference convenors invite papers, topics for panels, interactive workshops, posters and exhibits that explore what is currently exciting you in your research, teaching, or screen production work. Both double-blind peer reviewed and non-peer reviewed papers are welcome to be presented. Double-blind peer reviewed papers have the opportunity to be published in the conference proceedings, or possibly a journal. Postgraduate student submissions, and submissions from international academics and practitioners, are strongly encouraged. Please submit all proposals and inquiries to Important Deadlines:
  • All abstracts of 250 to 300 words, plus author/s biographical details up to a maximum 100 words, are due by Monday 27th February 2017.
  • Please make it very clear in your submission if you wish to have your fully written paper double-blind peer reviewed prior to the conference, for publication.
  • All successful submissions will be notified as soon as practical.
  • For those requesting double-blind peer review, full draft papers of 4000-5000words must be submitted by *Monday 17th April 2017
The conference will publish fully refereed conference proceedings via the ASPERA website. Previous years’ proceedings offer an idea of the content and scholarship required and can be viewed at All papers submitted for peer review will receive two blind peer reviewers’ reports. Final, polished, papers for publication in the conference proceedings will be due shortly after the conference, to enable publication before the end of 2017.

New Directions in Screen Studies II

Call for Papers

Date: Thursday 22 – Friday 23 June 2017
Venue: Caulfield Campus, Monash University, Melbourne
Keynote Speakers: TBC
Deadline for submissions: Friday 3 February 2017 Following the success of the inaugural 2015 conference, New Directions returns in 2017 to offer a forum for new researchers to showcase their work before their peers and develop professional links across campuses around the country and beyond. The conference will also feature keynote presentations from established academics and screen practitioners. We invite papers from postgraduate students and early career researchers whose work engages in historical, textual and critical approaches to film and television, and related video and new screen technologies. Topics of interest and approaches may include, but are not limited to:
  • Celebrity studies
  • Digital humanities
  • Transnational frameworks in screen studies
  • Sites of spectatorship (film festivals/non-traditional spaces/site-specific screen practices)
  • Gender and gender identity
  • Contemporary understandings of film style, genre and/or narrative
  • Intermediality and cross-platform storytelling
  • Migration and film/screen
  • The animal turn/nonhuman turn and posthumanism
Presentations should be 20 minutes in length. Proposals for panels of three presenters are also welcome. A selection of presenters will be invited to develop their papers for publication as part of an edited collection. Proposals of no more than 300 words, clearly stating the paper’s title and the author’s name/affiliation, should be sent as a Word document attachment to by 5pm Friday 3 February 2017. The Conference Organising Committee: Felicity Chaplin and Belinda Glynn ____________________________________________________


The Screen Studies Association of Australia and Aotearoa New Zealand is a membership-based professional organisation that aims to strengthen Screen Studies scholarship and its institutional recognition and support in Australia and New Zealand.

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