{"id":11242,"date":"2025-05-02T10:28:11","date_gmt":"2025-05-02T09:28:11","guid":{"rendered":"https:\/\/ciac.pt\/?p=11242"},"modified":"2025-05-09T12:06:10","modified_gmt":"2025-05-09T11:06:10","slug":"iii-conference-for-mediterranean-cinema","status":"publish","type":"post","link":"https:\/\/ciac.pt\/en\/event\/iii-conference-for-mediterranean-cinema\/","title":{"rendered":"III International Conference for Mediterranean Cinema"},"content":{"rendered":"\n
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III International Conference for Mediterranean Cinema<\/h2>\n\n\n\n

15-16th May 2025<\/strong><\/p>\n\n\n\n

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The CIAC \u2013 Centre for Research in Arts and Communication of the University of Algarve, Film Studies Research Group annually organizes the International Conference on Mediterranean Cinemas<\/em> with the aim of promoting intercultural dialogue and stimulating the exchange of knowledge and the creation of partnerships with a view to research on cinema in Mediterranean countries, in an interdisciplinary and multidisciplinary perspective.<\/p>\n\n\n\n

Given the enormous socio-economic and cultural importance of the tourism and film industries in Mediterranean countries, and the impact of cinema on the creation of tourist flows, the 3rd edition of this colloquium has as its main theme the relationship between cinema and tourism.<\/p>\n\n\n\n

The event, which will take place on the 15th and 16th of May, at the ESGHT Faculty auditorium and in auditorium 1.4 of the Pedagogical Complex of the Penha Campus, University of Algarve, and will have the participation of guest speakers from the United Kingdom, Spain, Italy, USA, Brazil and Portugal.<\/p>\n<\/div>\n\n\n\n

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Keynotes<\/h2>\n\n\n\n
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Francisco Teixeira Pinto – Instituto Polit\u00e9cnico de Leiria\/CITUR
Film Tourism: Between Dream and Reality<\/em><\/h4>\n\n\n\n

The film industry can be described as a dream-producing machine. And dreaming is the last bastion of freedom. No one can imprison a dream \u2013 in it, one can fly anywhere, become someone else, and do whatever one desires. Imagination, which forms the socio-anthropological foundation of tourism, is nourished by dreams: plenitude, happiness\u2026 the search for paradise elsewhere.
Travel dreams, therefore, can be fuelled by cinematic images and storylines \u2013 this being the most evident facet of the relationship between cinema and tourism. For this reason, film tourism studies tend to absolutize a single topic: the impact of cinema on visitation to specific locations, while ignoring another important facet of this relationship \u2013 the direct, indirect, and induced impacts of cinema during filming in the territories where movies are shot.
In this presentation, both types of impacts will be placed side by side, designated respectively as the \u201cNetflix Effect\u201d and the \u201cTitanic Effect.\u201d The conclusion appears to be quite evident: the impact of cinema on tourism begins upstream, during the scriptwriting phase, and only ends when the film is completely erased from collective memory \u2013 sometimes long after it has disappeared from screens.<\/p>\n\n\n\n

Francisco Dias<\/strong> holds a PhD in Tourism Sciences from the University of Perpignan. He previously earned a Master\u2019s degree in Neuropsychology from Moscow State University and another in Social Psychology from the University of Porto. He is a Full Professor at the Polytechnic Institute of Leiria.<\/p>\n\n\n\n

From 2010 to 2013, he was Director of GITUR \u2013 the Tourism Research Unit at the Polytechnic of Leiria. In 2010, he founded and became the first Editor-in-Chief of the European Journal of Tourism, Hospitality and Recreation (EJTHR), serving until 2015. He also founded and was the first President of the Euro-Asia Tourism Studies Association (EATSA).<\/p>\n\n\n\n

His empirical studies cover a broad spectrum of tourism, particularly its psychological and sociological aspects \u2013 imagination, social representations, destination image, motivation, perceived quality \u2013 as well as various elements of destination management.
Beyond his academic roles, he created and continues to lead two innovative, low-cost, high-impact projects aimed at bridging the gap between the audiovisual and tourism industries: the ART&TUR \u2013 International Tourism Film Festival, a globally relevant forum; and the Centro de Portugal Film Commission, where he serves as Vice President.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Tim Bergfelder – University of Southampton\/UK<\/strong>
What film studio history can teach us about architecture, technological innovation, and workspaces<\/em><\/h4>\n\n\n\n

Drawing on my research on the collaborative 5-year ERC-funded project \u2018STUDIOTEC: Film Studios Infrastructure, Culture, and Innovation in Britain, France, Germany and Italy 1930-60\u2019, my keynote addresses the new turn in film history towards the study of film studios. Unlike previous scholarship that has used the term \u2018studio\u2019 as interchangeable with the story of production companies and their outputs (films), the new approach is to conceive of studios as concrete, physical spaces with their own history, internal organization, development, and specific relationship to the local, regional, and national environments in which they are placed. Some surviving film studios in the US and to a lesser extent in Europe have found a second life or a subsidiary function as tourist attractions. Some studios, such as Babelsberg in Germany and Cinecitta in Italy have become national emblems. But many film studios of the 20th century have disappeared or have been repurposed \u2013 in the same way they themselves sometimes repurposed and adapted buildings that served other uses before they became film studios (as airport buildings, as factories, or as research laboratories). In those instances, the approach towards studio history takes on a reconstructive and archaeological dimension. In this paper I reflect on some of the challenges the project involved and the discoveries the project team made.<\/p>\n\n\n\n

Tim Bergfelder<\/strong> is Professor of Film Studies at the University of Southampton (UK). He is co-editor of the journal Screen, and series editor of Berghahn\u2019s Film Europa book series, and of the Palgrave series European Film and Media Studies. He is co-author of the forthcoming book Film Studios in Britain, France, Germany and Italy<\/em>. Architecture, Innovation, Labour, Politics, 1930\u20131960<\/em>; London: BFI\/Bloomsbury (2026). Previous publications as author, editor, and co-editor include \u201cEXIL SHANGHAI as Audio-Visual Archive and Cross-Cultural Collage.\u201d In: Angela McRobbie (ed.), Ulrike Ottinger. Film, Art and the Ethnographic Imagination (Bristol: Intellect 2024); The German Cinema Book (second edition, London; BFI 2020); \u201cPopular European Cinema in the 2000s: Cinephilia, Genre and Heritage,\u201d in Mary Harrod, Mariana Liz, and Alissa Timoshkina (eds.), The Europeanness of European Cinema<\/em>. Identity, Meaning, Globalization,<\/em> London and New York: I.B. Tauris 2015; Destination London: German-speaking \u00e9migr\u00e9s and British Cinema, 1925\u20131950<\/em> (Oxford and New York: Berghahn 2008); Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema<\/em> (Amsterdam: Amsterdam University Press 2007); International Adventures. Popular German Cinema and European Co-Productions in the 1960s<\/em> (Oxford and New York: Berghahn 2005).<\/p>\n<\/div>\n<\/div>\n\n\n\n

Guest Speakers
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Sofia Sampaio \u2013<\/strong> Instituto de Ci\u00eancias Sociais, Universidade de Lisboa<\/strong><\/h4>\n\n\n\n

Portugal Unknown (1969): Cinema, Tourism, Intermediality and the Marcelist Project of \u201cRenewal in Continuity\u201d<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Hugo Barreira \u2013 FLUP-CITCEM<\/strong><\/h4>\n\n\n\n

Touriste Avant la Lettre: Porto Visited and Constructed by Invicta Film<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Susana Ara\u00fajo \u2013<\/strong> Faculdade de Letras da Universidade de Coimbra\/CEComp da Universidade de Lisboa<\/strong><\/h4>\n\n\n\n

Michael Haneke\u2019s France and the Terror(ism) of Hidden (2005)<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Luca Fazzini \u2013<\/strong> <\/strong>CEComp\/FLUL<\/strong><\/h4>\n\n\n\n

Other Steps Along the Routes of the Empire. Cavalo Dinheiro (2014), by Pedro Costa, and Maremoto (2021), by Djaimilia Pereira de Almeida<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Diana D\u00edaz Gonz\u00e1lez \u2013<\/strong><\/strong><\/strong>Universidade de Oviedo<\/strong>
Josep Llu\u00eds i Falc\u00f3 \u2013<\/strong><\/strong><\/strong><\/strong> Universitat de Barcelona<\/strong><\/h4>\n\n\n\n

From Screens to Record Players: The Journey of the Music of The Miracle of Marcelino in Mediterranean Countries<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

Thematic Painel: Film Studies at the Estudos F\u00edlmicos na University of North Carolina Wilmington, USA<\/h2>\n\n\n\n
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Stefani Byrd \u2013<\/strong><\/strong><\/strong><\/strong> UNCW: University of North Carolina Wilmington<\/h4>\n\n\n\n

Here There: (Re)Collecting Labor on the American Railways<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Chip Hackler \u2013<\/strong><\/strong><\/strong><\/strong> UNCW: University of North Carolina Wilmington<\/h4>\n\n\n\n

A Picture\u2019s Worth a Thousand Films<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Lani Akande \u2013<\/strong><\/strong><\/strong><\/strong> UNCW: University of North Carolina Wilmington<\/h4>\n\n\n\n

Re-imagining Film Studies: Decolonial African Approaches<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Program and registration<\/h2>\n\n\n\n

Program<\/a><\/p>\n\n\n\n

Abstracts book<\/a><\/p>\n\n\n\n

Registration form<\/a><\/p>\n\n\n\n