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Centre for Film Aesthetics and Cultures, University of Reading, Reading, 27th January 2016Cam&#245;es Centre for Portuguese Language and Culture, King&#8217;s College, London, 28th January 2016&#160;Argument&#160;The fortieth anniversary of Portuguese decolonisation of Africa has acted as a catalyst in discussing how Portugal &#8216;imagined&#8217; colonial politics through moving images and how these propagandist portrayals began to be questioned by the Portuguese &#8216;Novo Cinema&#8217;.&#160; This can be seen in works that were censured and prohibited. Portuguese colonial cinematographic representations were later challenged by films made in the context of the liberation movements and by images that emerged out of the national cinematographic projection (Frodon) of the new Portuguese-speaking African countries.&#160;&#160;This conference intends to go some way in highlighting common aspects in the emergence of cinema in Angola, Mozambique and Guinea-Bissau, which have all been studied individually.&#160; In addition, it will provide a reflection on the roots of the emergence of the &#8216;New Cinema&#8217; from the militancy that uses film as a means of changing society and focussing on the birth [in images] of new nations, being projected by the programs of the Marxist parties that assumed power. The aim of the conference is also to analyse how, through &#8216;Third Cinema&#8217;, the &#8216;Cinema Novo&#8217; of Brazil and Cuban Cinema, more specifically, in addition to the authors of the French &#8216;Rive Gauche da Nouvelle Vague&#8217;, all played a role in questioning and rupturing the colonial representations of the Portuguese dictatorship and, most of all, in the formation of the projects and cinematographic archives of emerging African nations.&#160;This conference also intends to question, apart from the reasoning of nationalist propaganda, how did these new countries tell the story of their own history through film and cinema (Godard/Ishaghpour)? &#160;Finally, it will be discussed how, given the &#8216;urgency of the present&#8217;, the redemption of the past (Benjamin) is realised through a &#8216;cinema of resistance&#8217; (Deleuze), such as that of Pedro Costa, and by other moving images artistic practises?&#160;Submission guidelinesCommunication proposals (of up to 300 words) will be receiveduntil the 21th November 2015through the conference email address (alephconferencia@gmail.com).&#160; Proposals will be reviewed and decisions communicated early December.Main topicsExamples of topics can be found below:Internationalist cinema and the filmed emergence of nations&#8220;Imagined&#8221; colonialisms. From colonial and militant propaganda cinema to a &#8220;cinema of resistance&#8221; (Deleuze)Contributions towards a genealogy of New Cinema(s). From nations to people(Post-)Colonial representationsIntermediality on colonial and post-colonial representations and decolonization of the moving imagesFrom censorship processes to images &#8220;in spite of everything&#8221; (Didi-Huberman).(Post)colonial genre(s)Artistic practices and investigations regarding the &#8220;colonial archive&#8221;Neocolonialism in moving imagesCoordinatorMaria do Carmo Pi&#231;arraOrganising committee&#160;L&#250;cia Nagib, director of the Centre for Film Aesthetics and Cultures, University of ReadingJo&#227;o Paulo Silvestre, Cam&#245;es Centre for Portuguese Language and Culture, King&#8217;s College LondonRosa Cabecinhas, Head of the PhD Program in Cultural Studies (University of Minho and University of Aveiro) and Associate Professor at the Social Sciences Institute, University of MinhoMaria do Carmo Pi&#231;arra, postdoctoral researcher, Centre for Film Aesthetics and Cultures, University of Reading / Communication and Society Research Centre, University of Minho / CEC &#8211; FLUL / University of LisbonAbdoolkarim Vakil, Department of Spanish, Portuguese and Latin American Studies &#38; Department of History, King&#8217;s College LondonJos&#233; da Costa Ramos, Professor at ISCTE &#8211; Instituto Universit&#225;rio de Lisboa&#160;Specialists and invited artists&#160;Ana Balona de Oliveira, postdoctoral researcher, CEC &#8211; FLUL / University of Lisbon / Institute for Art History of the New University of LisbonCatarina Laranjeiro, filmmaker and doctoral researcher, CES &#8211; University of CoimbraDaniel Barroca, artistFilipa C&#233;sar, artistJos&#233; Manuel Costa, director of Cinemateca Portuguesa &#8211; Museu do CinemaLee Grieveson, director of the Graduate Programme in Film Studies at University College London and co-principal investigator of&#160; &#8216;Colonial Cinema: Moving Images of the British Empire&#8217;Maria Benedita Basto, professor, Universit&#233; Sorbonne Nouvelle - Paris 8Paulo Cunha, researcher, CEISXX &#8211; Universidade de CoimbraPedro Costa, filmmakerRaquel Schefer, artist and professor, Universit&#233; Sorbonne Nouvelle &#8211; Paris 3Robert Stock, professor, University of KonstanzRos Gray, theorist and lecturer in Fine Art (Critical Studies), Goldsmiths College, University of LondonTeresa Castro, art historian and professor, Universit&#233; Sorbonne Nouvelle &#8211; Paris 3 &#160;Supporting institutionsCentre for Film Aesthetics and Cultures, University of ReadingCam&#245;es Centre for Portuguese Language and Culture, King&#8217;s CollegeCommunication and Society Research Centre, University of MinhoCinemateca Portuguesa &#8211; Museu do CinemaAleph - Rede de investiga&#231;&#227;o e conhecimento cr&#237;tico da imagem colonial