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Argument120 years after the filming of King John by Herbert Beerbohm Tree in 1899, which inscribed Shakespeare on celluloid for the first time; thirty years after the release of Kenneth Branagh&#8217;s Henry V (1989), which triggered the fin-de-si&#232;cle wave of screen adaptations; twenty years after the publication of Kenneth S. Rothwell&#8217;s seminal History of Shakespeare on Screen (CUP, 1999) and twenty years after The Centenary Shakespeare on Screen Conference organized by Jos&#233; Ram&#243;n D&#237;az at the University of M&#225;laga in September 1999, which constituted &#8220;Shakespeare on Screen&#8221; scholars into an international academic community, time has come to gather together again to reflect on the evolutions of both our objects and methods of study.The &#8220;Shakespeare on Screen in the Digital Era&#8221; International Conference invites scholars worldwide to explore the consequences of the digital revolution on the production, distribution, dissemination and study of Shakespeare on screen. Since the 1999 M&#225;laga conference, the rise (and fall) of the DVD, the digitalization of sounds and images allowing us to experience and store films on our computers, the spreading of easy filming/editing tools, the live broadcasts of theatre performances in cinemas or on the Internet, the development of online video archives and social media, as well as the increasing globalisation of production and distribution (raising the question of technological availability worldwide), have changed the ways Shakespeare is (re)created, consumed, shared and examined. Shakespeare&#8217;s screen evanescence and his transfictional and transmediatic spectrality have blurred the boundaries between what Shakespeare is and is not, leading us to question our own position as scholars who keep spotting, constructing and projecting &#8220;Shakespeare&#8221; in audiovisual productions.Submission guidelinesWe invite&#160; seminar proposals (international pairs or trios of convenors are welcome) and panel proposals (featuring 3 short contributions) exploring the screen afterlives of Shakespeare&#8217;s works in the digital era all over the world, revisiting the Shakespearean &#8220;classics&#8221; as they have been re-released in various formats, examining how the technological and aesthetic issues intersect with questions of gender, class, ethnicity and ethics, and interrogating more theoretically what &#8220;is&#8221; and &#8220;is not&#8221; Shakespeare on screen. Seminar proposals (including a 400-word presentation and a short bio for each convenor) and panel proposals (including three 300-word abstracts and three short bios) should be sentby&#160;30 May 2018to Sarah Hatchuel (s_hatchuel@hotmail.com) and Nathalie Vienne-Guerrin (nathalie.vienne-guerrin@univ-montp3.fr)Dates: Thursday 26, Friday 27, Saturday 28 September 2019Venue: Universit&#233; Paul-Val&#233;ry Montpellier 3, site Saint Charles (France)Conference coordinatorsSarah Hatchuel&#160;(GRIC, EA 4314, Universit&#233; Le Havre Normandie)Nathalie Vienne-Guerrin&#160;(IRCL, UMR5186, CNRS/ Universit&#233; Paul-Val&#233;ry Montpellier 3)Advisory boardSylvaine Bataille, Universit&#233; de Rouen Normandie, France;&#160;Victoria Bladen, University of Queensland, Australia;&#160;Claire Cornillon, Universit&#233; Paul-Val&#233;ry Montpellier 3, RIRRA21, France;&#160;Christy Desmet, University of Georgia, USA;&#160;Jos&#233; Ram&#243;n D&#237;az, University of M&#225;laga, Spain;&#160;Patricia Dorval, IRCL, UMR5186, CNRS/Universit&#233; Paul-Val&#233;ry Montpellier 3, France;Sujata Iyengar, University of Georgia, USA;&#160;Pierre Kapitaniak, IRCL, UMR5186, CNRS/ Universit&#233; Paul-Val&#233;ry Montpellier 3, France;&#160;Ronan Ludot-Vlasak, Universit&#233; Lille 3, FrancePlenary speakersDouglas Lanier, University of New Hampshire;&#160;Courtney Lehmann, University of the Pacific;&#160;Samuel Crowl, Ohio University;&#160;Russell Jackson, University of Birmingham;&#160;Judith Buchanan, University of York;&#160;Poonam Trivedi, University of Delhi