{"id":203,"date":"2024-03-31T07:04:10","date_gmt":"2024-03-31T05:04:10","guid":{"rendered":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/?page_id=203"},"modified":"2026-03-31T10:49:14","modified_gmt":"2026-03-31T08:49:14","slug":"","status":"publish","type":"page","link":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/nicoleta-salcudean\/","title":{"rendered":"","raw":""},"content":{"rendered":"\n

Associate Professor
Nicoleta S\u0102LCUDEAN, PhD<\/h2>\n\n\n\n

nicoleta.s\u0103lcudean@ubbcluj.ro<\/p>\n\n\n\n

habilitation: 5481 \/ 04.12.2019<\/p>\n\n\n\n

doctoral students in internship: 5<\/p>\n\n\n\n

Academic profiles:<\/strong><\/p>\n\n\n\n

Google Scholar:<\/p>\n\n\n\n

https:\/\/scholar.google.com\/citations?user=FI7x8jMAAAAJ&hl=en<\/a><\/p>\n\n\n\n

Academia.edu:<\/p>\n\n\n\n

https:\/\/ubbcluj.academia.edu\/NicoletaSalcudean<\/a><\/p>\n\n\n\n

CV LONG<\/a><\/strong><\/p>\n\n\n\n

CV SHORT<\/a><\/strong> <\/p>\n\n\n\n

CNATDCU STANDARD FULFILMENT<\/a><\/mark><\/strong><\/p>\n\n\n\n

\n\n\n\n
\"\"<\/figure>
\n

Ileana Nicoleta S\u0103lcudean<\/strong> has held a Ph.D. in Sociology since 2012, with a thesis entitled “Cultural Policies and Identity Constructions in the European Context,” and since 2019, a habilitation certificate in the field of doctoral studies in Cinematography and Media, with a thesis entitled “Film and Creative Industries.” Her areas of interest include cultural studies, sociology of culture, and creative industries.<\/p>\n\n\n\n

Since 2014, she has been an Ambassador for CreArt at the Fundaci\u00f3n Municipal de Cultura, Ayuntamiento de Valladolid (ES). She is a member of the European Network Association (since January 2018) and the Ekphrasis Research Center (since 2016), as well as an Associate Member of the Center for Applied Philosophy, Faculty of History and Philosophy, UBB (since 2015). She served as the director of the Continuing Education and Lifelong Learning Center at UBB (2012-2014). She has been awarded the UEFISCDI Prize for Research Results in 2017. She has received numerous grants and research stays (Wheaton College; Venice Biennale; University of Valencia; Otto-von-Guericke University Magdeburg; Institute of Higher European Studies in The Hague; Sidney Sussex College; Cambridge University, Cambridge, etc.). She has managed projects or been part of national and international project teams (POCU, STARUBB, AFCN, UEFISCDI, POS-DRU, Inside Europe). She has participated as a guest, trainer, expert, or evaluator in important international conferences, teaching mobilities, and exchange of experiences.<\/p>\n\n\n\n

SYLLABUS \u2013 FILM AND SOCIETY<\/strong><\/a><\/p>\n<\/div><\/div>\n\n\n\n

\n\n\n\n

Recommended research topics for admission <\/h2>\n\n\n\n
\n\n\n
RECOMMENDED RESEARCH TOPICS<\/span><\/summary>
\n\n

I. Film genres (Themes, (super)heroes, politics and ideology, transformations in script structure, influences, identity and context).<\/p>\n\n\n\n

II. Film sociology (Film representations\/ Society. Social roles. Identities. Social structures. Interactions\/ Social semiotics\/ Influence of new technologies).<\/p>\n\n\n\n

III. Creative industries (Cultural policies and identity construction\/ Creative management\/ Organizational aesthetics\/ The creative city\/ Country branding\/ Film festivals).<\/p>\n\n\n\n

IV. Creative Writing in the Audiovisual (Communication Intentionality\/ Creative Writing\/ Creative Reading\/ Creative Writing for Online\/ Intertextuality\/ Visual Content Marketing).<\/p>\n\n<\/div><\/details><\/div>\n\n

RECOMMENDED LITERATURE<\/span><\/summary>
\n\n

Film genres<\/p>\n\n\n\n

    \n
  1. Gehring, D. Wes, Parody as Film Genre: \u201dnever give up a saga even break\u201d<\/em>, Greenwood Press, USA, 1999.<\/li>\n\n\n\n
  2. Grant, Barry Keith Grant, Film genre: from iconography to ideology<\/em>, UK, Wallflower Press: 2007.<\/li>\n\n\n\n
  3. Jung, Berenike, Narrating Violence in Post 9\/12 Action Cinema. Terrorist Narratives, Cinematic Narration and Referentiality<\/em>, VS Verlag f\u00fcr Sozialwisenschaften, 2010.<\/li>\n\n\n\n
  4. Tasker, Yvonne, Action and Adventure Cinema<\/em>, Routledge, London-New York, 2004.<\/li>\n\n\n\n
  5. Cameron, Keih (ed.), Humour and History<\/em>, Intellect Books, Oxford, 1993.<\/li>\n\n\n\n
  6. Hokenson, Jan Walsh, The Idea of Comedy: History, Theory, Critique<\/em>, Rosemont Publishing and Printing Corp., USA, 2006.<\/li>\n\n\n\n
  7. Martin, A. Rod, The Psychology of Humor: An Integrative Approach<\/em>, Elsevier Academic Press, London\/ Ontario 2010.<\/li>\n<\/ol>\n\n\n\n

    Film sociology<\/p>\n\n\n\n

      \n
    1. Chelcea, L., \u201dA face familiarul exotic \u015fi exoticul familiar: o hart\u0103 a cercet\u0103rii antropologice din Rom\u00e2nia\/ Making Exotic Familiar and Familiar Exotic: A Map of Anthropological Research in Romania\u201d, Sociologie Rom\u00e2neasc\u0103<\/em>, 7<\/em>(3), 2009, pp. 13-19.<\/li>\n\n\n\n
    2. Cresswell, Tim; Dixon, Deborah (eds.), Engaging Film. Geographies of Mobility and Identity<\/em>, Rowman and Littlefield Publishers, USA, 2002.<\/li>\n\n\n\n
    3. De la Fuente, Eduardo, \u201dThe `New Sociology of Art\u2019: Putting Art Back into Social Science Approaches to the Arts\u201d, Cultural Sociology, <\/em>vol. 1, nr. 3, 2007.<\/li>\n\n\n\n
    4. Fuery, Kelly, New Media, Culture and Image<\/em>, Palgrave Macmillan, USA, 2009.<\/li>\n\n\n\n
    5. Halliday, M.A.K., Language as a Social Semiotic<\/em>, Edward Arnold, London, 1978.<\/li>\n\n\n\n
    6. Joyce, Rosemary A. \u201dArcheology of the Body\u201d, Anual Review of Anthropology, 34, 2005.<\/li>\n\n\n\n
    7. Sutherland, Jean-Anne; Feltey, Kathryn, Cinematic Sociology: Social Life in Film<\/em>, Pine Forge Press, 2010.<\/li>\n\n\n\n
    8. Vaetisi, \u0218erban, Noile teorii etnografice \u0219i conceptul de descriere a culturii<\/em>, Efes, Cluj-Napoca, 2008.<\/li>\n\n\n\n
    9. Vallejo, Aida; Peirano, Maria Paz (eds.), Film Festivals and Anthropology<\/em>, Cambridge SP, 2017.<\/li>\n<\/ol>\n\n\n\n

      Creative industries<\/p>\n\n\n\n

        \n
      1. Caves, R.E., Creative Industries: Contracts between Arts and Coomerce<\/em>, Harvard University Press, USA, 2002.<\/li>\n\n\n\n
      2. Flew, Terry,  The Creative Industries: Culture and Policy<\/em>, SAGE, London, 2012.<\/li>\n\n\n\n
      3. Fryatt, Anthony; Kemp, Roger, \u201cMotel: Reflections on a Film Production\/interior Design Collaboration.\u201d TEXT<\/em>, 2011.<\/li>\n\n\n\n
      4. Golding, P., Murdock, G., Culture, Communications and Political Economy<\/em>, in Curran J. and  Gurevitch M. (eds.), Arnold, London,  2000.<\/li>\n\n\n\n
      5. Hesmondhalgh, D., Pratt, A. C., \u201dCultural Industries and Cultural Policy\u201d,  International Journal of Cultural Policy<\/em>, 11\/ 1, 2005.<\/li>\n\n\n\n
      6. Lostritto, Carl, \u201cRendering Representational Atmosphere Appropriating Formalisms Around Invisible Objects in Film.\u201d Architectural Design<\/em>, vol. 92, no. 2, 2022, pp. 90\u201395.<\/li>\n\n\n\n
      7. O\u2019Connor, J., Wynne, D. (eds.), From the Margins to the Centre: Cultural Production and Consumption in the Post-Industrial City, <\/em>Ashgate, Aldershot, 1996.<\/li>\n\n\n\n
      8. Smith-Shank, Deborah L., (ed.), Semiotics and Visual Culture: Sights, Signs, and Significance<\/em>, National Art Education Association, Reston, VA, 2004.<\/li>\n\n\n\n
      9. S\u0103lcudean, Ileana-Nicoleta, Politicile culturale: \u00eentre Bucure\u0219ti \u0219i Bruxelles<\/em>, Cluj-Napoca: Risoprint, 2016.<\/li>\n<\/ol>\n\n\n\n

        Creative Writing in the Audiovisual<\/p>\n\n\n\n

          \n
        1. Dawson, Paul, Creative Writing and the New Humanities<\/em>, Routledge, London\/ New York, 2005.<\/li>\n\n\n\n
        2. Donnelly, Dianne, Establishing Creative Writing Studies as an Academic Discipline<\/em>, Library of Congress, UK, 2012.<\/li>\n\n\n\n
        3. May, Steve, Doing Creative Writing<\/em>, Routledge, USA, 2007.<\/li>\n\n\n\n
        4. McGurl, Mark, The Program Era: Postwar Fiction and the Rise of Creative Writing<\/em> , Harvard University Press, USA, 2009.<\/li>\n\n\n\n
        5. Jenkings, Henry; Ford, Sam; Green, Jashua, Spreadable Media, <\/em>New York University Press, 2013.<\/li>\n\n\n\n
        6. Richardson, John; Gorbman, Claudia \u0219i Vernallis, Carol, The Oxford Handbook of Audiovisual Aethetics<\/em>, Oxford University Press, 2013.<\/li>\n\n\n\n
        7. S\u0103lcudean Ileana-Nicoleta, St\u0103nescu Emma-Teodora, Manual de Scriere Creativ\u0103<\/em>, Presa Universitar\u0103 Clujean\u0103, Cluj-Napoca, 2014.<\/li>\n<\/ol>\n\n<\/div><\/details><\/div>","protected":false,"raw":"\n

          Associate Professor
          Nicoleta S\u0102LCUDEAN, PhD<\/h2>\n\n\n\n

          nicoleta.s\u0103lcudean@ubbcluj.ro<\/p>\n\n\n\n

          habilitation: 5481 \/ 04.12.2019<\/p>\n\n\n\n

          doctoral students in internship: 5<\/p>\n\n\n\n

          Academic profiles:<\/strong><\/p>\n\n\n\n

          Google Scholar:<\/p>\n\n\n\n

          https:\/\/scholar.google.com\/citations?user=FI7x8jMAAAAJ&hl=en<\/a><\/p>\n\n\n\n

          Academia.edu:<\/p>\n\n\n\n

          https:\/\/ubbcluj.academia.edu\/NicoletaSalcudean<\/a><\/p>\n\n\n\n

          CV LONG<\/a><\/strong><\/p>\n\n\n\n

          CV SHORT<\/a><\/strong> <\/p>\n\n\n\n

          CNATDCU STANDARD FULFILMENT<\/a><\/mark><\/strong><\/p>\n\n\n\n

          \n\n\n\n
          \"\"<\/figure>
          \n

          Ileana Nicoleta S\u0103lcudean<\/strong> has held a Ph.D. in Sociology since 2012, with a thesis entitled \"Cultural Policies and Identity Constructions in the European Context,\" and since 2019, a habilitation certificate in the field of doctoral studies in Cinematography and Media, with a thesis entitled \"Film and Creative Industries.\" Her areas of interest include cultural studies, sociology of culture, and creative industries.<\/p>\n\n\n\n

          Since 2014, she has been an Ambassador for CreArt at the Fundaci\u00f3n Municipal de Cultura, Ayuntamiento de Valladolid (ES). She is a member of the European Network Association (since January 2018) and the Ekphrasis Research Center (since 2016), as well as an Associate Member of the Center for Applied Philosophy, Faculty of History and Philosophy, UBB (since 2015). She served as the director of the Continuing Education and Lifelong Learning Center at UBB (2012-2014). She has been awarded the UEFISCDI Prize for Research Results in 2017. She has received numerous grants and research stays (Wheaton College; Venice Biennale; University of Valencia; Otto-von-Guericke University Magdeburg; Institute of Higher European Studies in The Hague; Sidney Sussex College; Cambridge University, Cambridge, etc.). She has managed projects or been part of national and international project teams (POCU, STARUBB, AFCN, UEFISCDI, POS-DRU, Inside Europe). She has participated as a guest, trainer, expert, or evaluator in important international conferences, teaching mobilities, and exchange of experiences.<\/p>\n\n\n\n

          SYLLABUS \u2013 FILM AND SOCIETY<\/strong><\/a><\/p>\n<\/div><\/div>\n\n\n\n

          \n\n\n\n

          Recommended research topics for admission <\/h2>\n\n\n\n
          \n\n\n\n\n

          I. Film genres (Themes, (super)heroes, politics and ideology, transformations in script structure, influences, identity and context).<\/p>\n\n\n\n

          II. Film sociology (Film representations\/ Society. Social roles. Identities. Social structures. Interactions\/ Social semiotics\/ Influence of new technologies).<\/p>\n\n\n\n

          III. Creative industries (Cultural policies and identity construction\/ Creative management\/ Organizational aesthetics\/ The creative city\/ Country branding\/ Film festivals).<\/p>\n\n\n\n

          IV. Creative Writing in the Audiovisual (Communication Intentionality\/ Creative Writing\/ Creative Reading\/ Creative Writing for Online\/ Intertextuality\/ Visual Content Marketing).<\/p>\n\n\n\n\n\n

          Film genres<\/p>\n\n\n\n

            \n
          1. Gehring, D. Wes, Parody as Film Genre: \u201dnever give up a saga even break\u201d<\/em>, Greenwood Press, USA, 1999.<\/li>\n\n\n\n
          2. Grant, Barry Keith Grant, Film genre: from iconography to ideology<\/em>, UK, Wallflower Press: 2007.<\/li>\n\n\n\n
          3. Jung, Berenike, Narrating Violence in Post 9\/12 Action Cinema. Terrorist Narratives, Cinematic Narration and Referentiality<\/em>, VS Verlag f\u00fcr Sozialwisenschaften, 2010.<\/li>\n\n\n\n
          4. Tasker, Yvonne, Action and Adventure Cinema<\/em>, Routledge, London-New York, 2004.<\/li>\n\n\n\n
          5. Cameron, Keih (ed.), Humour and History<\/em>, Intellect Books, Oxford, 1993.<\/li>\n\n\n\n
          6. Hokenson, Jan Walsh, The Idea of Comedy: History, Theory, Critique<\/em>, Rosemont Publishing and Printing Corp., USA, 2006.<\/li>\n\n\n\n
          7. Martin, A. Rod, The Psychology of Humor: An Integrative Approach<\/em>, Elsevier Academic Press, London\/ Ontario 2010.<\/li>\n<\/ol>\n\n\n\n

            Film sociology<\/p>\n\n\n\n

              \n
            1. Chelcea, L., \u201dA face familiarul exotic \u015fi exoticul familiar: o hart\u0103 a cercet\u0103rii antropologice din Rom\u00e2nia\/ Making Exotic Familiar and Familiar Exotic: A Map of Anthropological Research in Romania\u201d, Sociologie Rom\u00e2neasc\u0103<\/em>, 7<\/em>(3), 2009, pp. 13-19.<\/li>\n\n\n\n
            2. Cresswell, Tim; Dixon, Deborah (eds.), Engaging Film. Geographies of Mobility and Identity<\/em>, Rowman and Littlefield Publishers, USA, 2002.<\/li>\n\n\n\n
            3. De la Fuente, Eduardo, \u201dThe `New Sociology of Art\u2019: Putting Art Back into Social Science Approaches to the Arts\u201d, Cultural Sociology, <\/em>vol. 1, nr. 3, 2007.<\/li>\n\n\n\n
            4. Fuery, Kelly, New Media, Culture and Image<\/em>, Palgrave Macmillan, USA, 2009.<\/li>\n\n\n\n
            5. Halliday, M.A.K., Language as a Social Semiotic<\/em>, Edward Arnold, London, 1978.<\/li>\n\n\n\n
            6. Joyce, Rosemary A. \u201dArcheology of the Body\u201d, Anual Review of Anthropology, 34, 2005.<\/li>\n\n\n\n
            7. Sutherland, Jean-Anne; Feltey, Kathryn, Cinematic Sociology: Social Life in Film<\/em>, Pine Forge Press, 2010.<\/li>\n\n\n\n
            8. Vaetisi, \u0218erban, Noile teorii etnografice \u0219i conceptul de descriere a culturii<\/em>, Efes, Cluj-Napoca, 2008.<\/li>\n\n\n\n
            9. Vallejo, Aida; Peirano, Maria Paz (eds.), Film Festivals and Anthropology<\/em>, Cambridge SP, 2017.<\/li>\n<\/ol>\n\n\n\n

              Creative industries<\/p>\n\n\n\n

                \n
              1. Caves, R.E., Creative Industries: Contracts between Arts and Coomerce<\/em>, Harvard University Press, USA, 2002.<\/li>\n\n\n\n
              2. Flew, Terry,  The Creative Industries: Culture and Policy<\/em>, SAGE, London, 2012.<\/li>\n\n\n\n
              3. Fryatt, Anthony; Kemp, Roger, \u201cMotel: Reflections on a Film Production\/interior Design Collaboration.\u201d TEXT<\/em>, 2011.<\/li>\n\n\n\n
              4. Golding, P., Murdock, G., Culture, Communications and Political Economy<\/em>, in Curran J. and  Gurevitch M. (eds.), Arnold, London,  2000.<\/li>\n\n\n\n
              5. Hesmondhalgh, D., Pratt, A. C., \u201dCultural Industries and Cultural Policy\u201d,  International Journal of Cultural Policy<\/em>, 11\/ 1, 2005.<\/li>\n\n\n\n
              6. Lostritto, Carl, \u201cRendering Representational Atmosphere Appropriating Formalisms Around Invisible Objects in Film.\u201d Architectural Design<\/em>, vol. 92, no. 2, 2022, pp. 90\u201395.<\/li>\n\n\n\n
              7. O\u2019Connor, J., Wynne, D. (eds.), From the Margins to the Centre: Cultural Production and Consumption in the Post-Industrial City, <\/em>Ashgate, Aldershot, 1996.<\/li>\n\n\n\n
              8. Smith-Shank, Deborah L., (ed.), Semiotics and Visual Culture: Sights, Signs, and Significance<\/em>, National Art Education Association, Reston, VA, 2004.<\/li>\n\n\n\n
              9. S\u0103lcudean, Ileana-Nicoleta, Politicile culturale: \u00eentre Bucure\u0219ti \u0219i Bruxelles<\/em>, Cluj-Napoca: Risoprint, 2016.<\/li>\n<\/ol>\n\n\n\n

                Creative Writing in the Audiovisual<\/p>\n\n\n\n

                  \n
                1. Dawson, Paul, Creative Writing and the New Humanities<\/em>, Routledge, London\/ New York, 2005.<\/li>\n\n\n\n
                2. Donnelly, Dianne, Establishing Creative Writing Studies as an Academic Discipline<\/em>, Library of Congress, UK, 2012.<\/li>\n\n\n\n
                3. May, Steve, Doing Creative Writing<\/em>, Routledge, USA, 2007.<\/li>\n\n\n\n
                4. McGurl, Mark, The Program Era: Postwar Fiction and the Rise of Creative Writing<\/em> , Harvard University Press, USA, 2009.<\/li>\n\n\n\n
                5. Jenkings, Henry; Ford, Sam; Green, Jashua, Spreadable Media, <\/em>New York University Press, 2013.<\/li>\n\n\n\n
                6. Richardson, John; Gorbman, Claudia \u0219i Vernallis, Carol, The Oxford Handbook of Audiovisual Aethetics<\/em>, Oxford University Press, 2013.<\/li>\n\n\n\n
                7. S\u0103lcudean Ileana-Nicoleta, St\u0103nescu Emma-Teodora, Manual de Scriere Creativ\u0103<\/em>, Presa Universitar\u0103 Clujean\u0103, Cluj-Napoca, 2014.<\/li>\n<\/ol>\n\n"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"templates\/template-onecolumn.php","meta":{"_ro_post_content":"\n

                  Conf. univ. dr. habil.
                  Nicoleta S\u0102LCUDEAN
                  <\/h2>\n\n\n\n

                  nicoleta.s\u0103lcudean@ubbcluj.ro<\/p>\n\n\n\n

                  dat\u0103 abilitare: 5481 \/ 04.12.2019<\/p>\n\n\n\n

                  doctoranzi \u00een stagiu: 5<\/p>\n\n\n\n

                  Linkuri spre profiluri academice:<\/strong><\/p>\n\n\n\n

                  Google Scholar:<\/p>\n\n\n\n

                  https:\/\/scholar.google.com\/citations?user=FI7x8jMAAAAJ&hl=en<\/a><\/p>\n\n\n\n

                  Academia.edu:<\/p>\n\n\n\n

                  https:\/\/ubbcluj.academia.edu\/NicoletaSalcudean<\/a><\/p>\n\n\n\n

                  CV detaliat<\/a><\/strong><\/p>\n\n\n\n

                  CV_scurt_EN_RO<\/a><\/strong><\/p>\n\n\n\n

                  FI\u0218\u0102 STANDARDE CNATDCU (punctaje)<\/a><\/mark><\/strong><\/p>\n\n\n\n

                  \n\n\n\n
                  \"\"<\/figure>
                  \n

                  Ileana Nicoleta S\u0103lcudean este \u00een prezent conferen\u021biar abilitat la Universitatea Babe\u0219-Bolyai, Cluj-Napoca, Departamentul de Cinematografie \u0219i Media, Facultatea de Teatru \u0219i Film. Din 2012 este doctor \u00een sociologie cu teza Politici culturale \u0219i construc\u021bii identitare \u00een contextul european. Are experien\u021b\u0103 profesional\u0103 \u00een predare, management cultural, PR, eLearning.<\/p>\n\n\n\n

                  Din 2014 este Ambasador CreArt, Fundaci\u00f3n Municipal de Cultura. Ayuntamiento de Valladolid (ES).<\/p>\n\n\n\n

                  Domenii de interes: studii culturale, sociologia culturii, industrii culturale. Pred\u0103 cursuri \u0219i seminarii despre industrii creative, scriere creativ\u0103, sociologie cinematografic\u0103 \u0219i a publicat numeroase articole \u00een reviste de specialitate.<\/p>\n\n\n\n

                  C\u0103r\u021bi: Politicile culturale: \u00eentre Bucure\u0219ti \u0219i Bruxelles, Risoprint, 2016; Manual de scriere creativ\u0103, co-autor, PUC, 2014; `Social` \u0219i `Cultural` \u00een context european, Risoprint, 2013.<\/p>\n\n\n\n

                  Disciplin\u0103 predat\u0103 la \u0218coala Doctoral\u0103: Filmul \u0219i societatea<\/p>\n\n\n\n

                  FI\u0218A DISCIPLINEI - FILMUL \u0218I SOCIETATEA (LB. ENGLEZ\u0102)<\/strong><\/a><\/p>\n<\/div><\/div>\n\n\n\n

                  \n\n\n\n

                  Tematici \u0219i bibliografie pentru admitere<\/h4>\n\n\n\n\n

                  I. Genuri de film <\/strong>(Teme, (super)eroi, politic\u0103 \u0219i ideologie, transform\u0103ri la nivelul structurii scenariului, influen\u021be, identitate \u0219i context).<\/p>\n\n\n\n

                  II. Sociologie cinematografic\u0103<\/strong> (Reprezent\u0103ri cinematografice\/ Societate. Roluri sociale. Identit\u0103\u021bi. Structuri sociale. Interac\u021biuni\/ Semiotic\u0103 social\u0103\/ Influen\u021ba noilor tehnologii).<\/p>\n\n\n\n

                  III. Industriile creative <\/strong>(Politici culturale \u0219i construc\u021bii identitare\/ Management creativ\/ Estetica organiza\u021bional\u0103\/ Ora\u0219ul creativ\/ Branding de \u021bar\u0103\/ Festivalul de film).<\/p>\n\n\n\n

                  IV. Scriere creativ\u0103 \u00een audiovizual <\/strong>(Inten\u021bionalitatea comunic\u0103rii\/ Scriere creativ\u0103\/ Lectur\u0103 creativ\u0103\/ Scriere creativ\u0103 pentru mediul online\/ Intertextualitate\/ Marketing con\u021binut vizual).<\/p>\n\n\n\n\n\n

                  I. Genuri de film<\/p>\n\n\n\n

                    \n
                  1. Gehring, D. Wes, Parody as Film Genre: \u201dnever give up a saga even break\u201d<\/em>, Greenwood Press, USA, 1999.<\/li>\n\n\n\n
                  2. Grant, Barry Keith Grant, Film genre: from iconography to ideology<\/em>, UK, Wallflower Press: 2007.<\/li>\n\n\n\n
                  3. Jung, Berenike, Narrating Violence in Post 9\/12 Action Cinema. Terrorist Narratives, Cinematic Narration and Referentiality<\/em>, VS Verlag f\u00fcr Sozialwisenschaften, 2010.<\/li>\n\n\n\n
                  4. Tasker, Yvonne, Action and Adventure Cinema<\/em>, Routledge, London-New York, 2004.<\/li>\n\n\n\n
                  5. Cameron, Keih (ed.), Humour and History<\/em>, Intellect Books, Oxford, 1993.<\/li>\n\n\n\n
                  6. Hokenson, Jan Walsh, The Idea of Comedy: History, Theory, Critique<\/em>, Rosemont Publishing and Printing Corp., USA, 2006.<\/li>\n\n\n\n
                  7. Martin, A. Rod, The Psychology of Humor: An Integrative Approach<\/em>, Elsevier Academic Press, London\/ Ontario 2010.<\/li>\n<\/ol>\n\n\n\n

                    II. Sociologie cinematografic\u0103<\/p>\n\n\n\n

                      \n
                    1. Chelcea, L., \u201dA face familiarul exotic \u015fi exoticul familiar: o hart\u0103 a cercet\u0103rii antropologice din Rom\u00e2nia\/ Making Exotic Familiar and Familiar Exotic: A Map of Anthropological Research in Romania\u201d, Sociologie Rom\u00e2neasc\u0103<\/em>, 7<\/em>(3), 2009, pp. 13-19.<\/li>\n\n\n\n
                    2. Cresswell, Tim; Dixon, Deborah (eds.), Engaging Film. Geographies of Mobility and Identity<\/em>, Rowman and Littlefield Publishers, USA, 2002.<\/li>\n\n\n\n
                    3. De la Fuente, Eduardo, \u201dThe `New Sociology of Art\u2019: Putting Art Back into Social Science Approaches to the Arts\u201d, Cultural Sociology, <\/em>vol. 1, nr. 3, 2007.<\/li>\n\n\n\n
                    4. Fuery, Kelly, New Media, Culture and Image<\/em>, Palgrave Macmillan, USA, 2009.<\/li>\n\n\n\n
                    5. Halliday, M.A.K., Language as a Social Semiotic<\/em>, Edward Arnold, London, 1978.<\/li>\n\n\n\n
                    6. Joyce, Rosemary A. \u201dArcheology of the Body\u201d, Anual Review of Anthropology, 34, 2005.<\/li>\n\n\n\n
                    7. Sutherland, Jean-Anne; Feltey, Kathryn, Cinematic Sociology: Social Life in Film<\/em>, Pine Forge Press, 2010.<\/li>\n\n\n\n
                    8. Vaetisi, \u0218erban, Noile teorii etnografice \u0219i conceptul de descriere a culturii<\/em>, Efes, Cluj-Napoca, 2008.<\/li>\n\n\n\n
                    9. Vallejo, Aida; Peirano, Maria Paz (eds.), Film Festivals and Anthropology<\/em>, Cambridge SP, 2017.<\/li>\n<\/ol>\n\n\n\n

                      III. Industriile creative<\/p>\n\n\n\n

                        \n
                      1. Caves, R.E., Creative Industries: Contracts between Arts and Coomerce<\/em>, Harvard University Press, USA, 2002.<\/li>\n\n\n\n
                      2. Flew, Terry,  The Creative Industries: Culture and Policy<\/em>, SAGE, London, 2012.<\/li>\n\n\n\n
                      3. Fryatt, Anthony; Kemp, Roger, \u201cMotel: Reflections on a Film Production\/interior Design Collaboration.\u201d TEXT<\/em>, 2011.<\/li>\n\n\n\n
                      4. Golding, P., Murdock, G., Culture, Communications and Political Economy<\/em>, in Curran J. and  Gurevitch M. (eds.), Arnold, London,  2000.<\/li>\n\n\n\n
                      5. Hesmondhalgh, D., Pratt, A. C., \u201dCultural Industries and Cultural Policy\u201d,  International Journal of Cultural Policy<\/em>, 11\/ 1, 2005.<\/li>\n\n\n\n
                      6. Lostritto, Carl, \u201cRendering Representational Atmosphere Appropriating Formalisms Around Invisible Objects in Film.\u201d Architectural Design<\/em>, vol. 92, no. 2, 2022, pp. 90\u201395.<\/li>\n\n\n\n
                      7. O\u2019Connor, J., Wynne, D. (eds.), From the Margins to the Centre: Cultural Production and Consumption in the Post-Industrial City, <\/em>Ashgate, Aldershot, 1996.<\/li>\n\n\n\n
                      8. Smith-Shank, Deborah L., (ed.), Semiotics and Visual Culture: Sights, Signs, and Significance<\/em>, National Art Education Association, Reston, VA, 2004.<\/li>\n\n\n\n
                      9. S\u0103lcudean, Ileana-Nicoleta, Politicile culturale: \u00eentre Bucure\u0219ti \u0219i Bruxelles<\/em>, Cluj-Napoca: Risoprint, 2016.<\/li>\n<\/ol>\n\n\n\n

                        IV. Scriere creativ\u0103 \u00een audiovizual<\/p>\n\n\n\n

                          \n
                        1. Dawson, Paul, Creative Writing and the New Humanities<\/em>, Routledge, London\/ New York, 2005.<\/li>\n\n\n\n
                        2. Donnelly, Dianne, Establishing Creative Writing Studies as an Academic Discipline<\/em>, Library of Congress, UK, 2012.<\/li>\n\n\n\n
                        3. May, Steve, Doing Creative Writing<\/em>, Routledge, USA, 2007.<\/li>\n\n\n\n
                        4. McGurl, Mark, The Program Era: Postwar Fiction and the Rise of Creative Writing<\/em> , Harvard University Press, USA, 2009.<\/li>\n\n\n\n
                        5. Jenkings, Henry; Ford, Sam; Green, Jashua, Spreadable Media, <\/em>New York University Press, 2013.<\/li>\n\n\n\n
                        6. Richardson, John; Gorbman, Claudia \u0219i Vernallis, Carol, The Oxford Handbook of Audiovisual Aethetics<\/em>, Oxford University Press, 2013.<\/li>\n\n\n\n
                        7. S\u0103lcudean Ileana-Nicoleta, St\u0103nescu Emma-Teodora, Manual de Scriere Creativ\u0103<\/em>, Presa Universitar\u0103 Clujean\u0103, Cluj-Napoca, 2014.<\/li>\n<\/ol>\n\n","_ro_post_name":"nicoleta-salcudean","_ro_post_excerpt":"","_ro_post_title":"Nicoleta S\u0103lcudean","_en_post_content":"\n

                          Associate Professor
                          Nicoleta S\u0102LCUDEAN, PhD<\/h2>\n\n\n\n

                          nicoleta.s\u0103lcudean@ubbcluj.ro<\/p>\n\n\n\n

                          habilitation: 5481 \/ 04.12.2019<\/p>\n\n\n\n

                          doctoral students in internship: 5<\/p>\n\n\n\n

                          Academic profiles:<\/strong><\/p>\n\n\n\n

                          Google Scholar:<\/p>\n\n\n\n

                          https:\/\/scholar.google.com\/citations?user=FI7x8jMAAAAJ&hl=en<\/a><\/p>\n\n\n\n

                          Academia.edu:<\/p>\n\n\n\n

                          https:\/\/ubbcluj.academia.edu\/NicoletaSalcudean<\/a><\/p>\n\n\n\n

                          CV LONG<\/a><\/strong><\/p>\n\n\n\n

                          CV SHORT<\/a><\/strong> <\/p>\n\n\n\n

                          CNATDCU STANDARD FULFILMENT<\/a><\/mark><\/strong><\/p>\n\n\n\n

                          \n\n\n\n
                          \"\"<\/figure>
                          \n

                          Ileana Nicoleta S\u0103lcudean<\/strong> has held a Ph.D. in Sociology since 2012, with a thesis entitled \"Cultural Policies and Identity Constructions in the European Context,\" and since 2019, a habilitation certificate in the field of doctoral studies in Cinematography and Media, with a thesis entitled \"Film and Creative Industries.\" Her areas of interest include cultural studies, sociology of culture, and creative industries.<\/p>\n\n\n\n

                          Since 2014, she has been an Ambassador for CreArt at the Fundaci\u00f3n Municipal de Cultura, Ayuntamiento de Valladolid (ES). She is a member of the European Network Association (since January 2018) and the Ekphrasis Research Center (since 2016), as well as an Associate Member of the Center for Applied Philosophy, Faculty of History and Philosophy, UBB (since 2015). She served as the director of the Continuing Education and Lifelong Learning Center at UBB (2012-2014). She has been awarded the UEFISCDI Prize for Research Results in 2017. She has received numerous grants and research stays (Wheaton College; Venice Biennale; University of Valencia; Otto-von-Guericke University Magdeburg; Institute of Higher European Studies in The Hague; Sidney Sussex College; Cambridge University, Cambridge, etc.). She has managed projects or been part of national and international project teams (POCU, STARUBB, AFCN, UEFISCDI, POS-DRU, Inside Europe). She has participated as a guest, trainer, expert, or evaluator in important international conferences, teaching mobilities, and exchange of experiences.<\/p>\n\n\n\n

                          SYLLABUS \u2013 FILM AND SOCIETY<\/strong><\/a><\/p>\n<\/div><\/div>\n\n\n\n

                          \n\n\n\n

                          Recommended research topics for admission <\/h2>\n\n\n\n
                          \n\n\n\n\n

                          I. Film genres (Themes, (super)heroes, politics and ideology, transformations in script structure, influences, identity and context).<\/p>\n\n\n\n

                          II. Film sociology (Film representations\/ Society. Social roles. Identities. Social structures. Interactions\/ Social semiotics\/ Influence of new technologies).<\/p>\n\n\n\n

                          III. Creative industries (Cultural policies and identity construction\/ Creative management\/ Organizational aesthetics\/ The creative city\/ Country branding\/ Film festivals).<\/p>\n\n\n\n

                          IV. Creative Writing in the Audiovisual (Communication Intentionality\/ Creative Writing\/ Creative Reading\/ Creative Writing for Online\/ Intertextuality\/ Visual Content Marketing).<\/p>\n\n\n\n\n\n

                          Film genres<\/p>\n\n\n\n

                            \n
                          1. Gehring, D. Wes, Parody as Film Genre: \u201dnever give up a saga even break\u201d<\/em>, Greenwood Press, USA, 1999.<\/li>\n\n\n\n
                          2. Grant, Barry Keith Grant, Film genre: from iconography to ideology<\/em>, UK, Wallflower Press: 2007.<\/li>\n\n\n\n
                          3. Jung, Berenike, Narrating Violence in Post 9\/12 Action Cinema. Terrorist Narratives, Cinematic Narration and Referentiality<\/em>, VS Verlag f\u00fcr Sozialwisenschaften, 2010.<\/li>\n\n\n\n
                          4. Tasker, Yvonne, Action and Adventure Cinema<\/em>, Routledge, London-New York, 2004.<\/li>\n\n\n\n
                          5. Cameron, Keih (ed.), Humour and History<\/em>, Intellect Books, Oxford, 1993.<\/li>\n\n\n\n
                          6. Hokenson, Jan Walsh, The Idea of Comedy: History, Theory, Critique<\/em>, Rosemont Publishing and Printing Corp., USA, 2006.<\/li>\n\n\n\n
                          7. Martin, A. Rod, The Psychology of Humor: An Integrative Approach<\/em>, Elsevier Academic Press, London\/ Ontario 2010.<\/li>\n<\/ol>\n\n\n\n

                            Film sociology<\/p>\n\n\n\n

                              \n
                            1. Chelcea, L., \u201dA face familiarul exotic \u015fi exoticul familiar: o hart\u0103 a cercet\u0103rii antropologice din Rom\u00e2nia\/ Making Exotic Familiar and Familiar Exotic: A Map of Anthropological Research in Romania\u201d, Sociologie Rom\u00e2neasc\u0103<\/em>, 7<\/em>(3), 2009, pp. 13-19.<\/li>\n\n\n\n
                            2. Cresswell, Tim; Dixon, Deborah (eds.), Engaging Film. Geographies of Mobility and Identity<\/em>, Rowman and Littlefield Publishers, USA, 2002.<\/li>\n\n\n\n
                            3. De la Fuente, Eduardo, \u201dThe `New Sociology of Art\u2019: Putting Art Back into Social Science Approaches to the Arts\u201d, Cultural Sociology, <\/em>vol. 1, nr. 3, 2007.<\/li>\n\n\n\n
                            4. Fuery, Kelly, New Media, Culture and Image<\/em>, Palgrave Macmillan, USA, 2009.<\/li>\n\n\n\n
                            5. Halliday, M.A.K., Language as a Social Semiotic<\/em>, Edward Arnold, London, 1978.<\/li>\n\n\n\n
                            6. Joyce, Rosemary A. \u201dArcheology of the Body\u201d, Anual Review of Anthropology, 34, 2005.<\/li>\n\n\n\n
                            7. Sutherland, Jean-Anne; Feltey, Kathryn, Cinematic Sociology: Social Life in Film<\/em>, Pine Forge Press, 2010.<\/li>\n\n\n\n
                            8. Vaetisi, \u0218erban, Noile teorii etnografice \u0219i conceptul de descriere a culturii<\/em>, Efes, Cluj-Napoca, 2008.<\/li>\n\n\n\n
                            9. Vallejo, Aida; Peirano, Maria Paz (eds.), Film Festivals and Anthropology<\/em>, Cambridge SP, 2017.<\/li>\n<\/ol>\n\n\n\n

                              Creative industries<\/p>\n\n\n\n

                                \n
                              1. Caves, R.E., Creative Industries: Contracts between Arts and Coomerce<\/em>, Harvard University Press, USA, 2002.<\/li>\n\n\n\n
                              2. Flew, Terry,  The Creative Industries: Culture and Policy<\/em>, SAGE, London, 2012.<\/li>\n\n\n\n
                              3. Fryatt, Anthony; Kemp, Roger, \u201cMotel: Reflections on a Film Production\/interior Design Collaboration.\u201d TEXT<\/em>, 2011.<\/li>\n\n\n\n
                              4. Golding, P., Murdock, G., Culture, Communications and Political Economy<\/em>, in Curran J. and  Gurevitch M. (eds.), Arnold, London,  2000.<\/li>\n\n\n\n
                              5. Hesmondhalgh, D., Pratt, A. C., \u201dCultural Industries and Cultural Policy\u201d,  International Journal of Cultural Policy<\/em>, 11\/ 1, 2005.<\/li>\n\n\n\n
                              6. Lostritto, Carl, \u201cRendering Representational Atmosphere Appropriating Formalisms Around Invisible Objects in Film.\u201d Architectural Design<\/em>, vol. 92, no. 2, 2022, pp. 90\u201395.<\/li>\n\n\n\n
                              7. O\u2019Connor, J., Wynne, D. (eds.), From the Margins to the Centre: Cultural Production and Consumption in the Post-Industrial City, <\/em>Ashgate, Aldershot, 1996.<\/li>\n\n\n\n
                              8. Smith-Shank, Deborah L., (ed.), Semiotics and Visual Culture: Sights, Signs, and Significance<\/em>, National Art Education Association, Reston, VA, 2004.<\/li>\n\n\n\n
                              9. S\u0103lcudean, Ileana-Nicoleta, Politicile culturale: \u00eentre Bucure\u0219ti \u0219i Bruxelles<\/em>, Cluj-Napoca: Risoprint, 2016.<\/li>\n<\/ol>\n\n\n\n

                                Creative Writing in the Audiovisual<\/p>\n\n\n\n

                                  \n
                                1. Dawson, Paul, Creative Writing and the New Humanities<\/em>, Routledge, London\/ New York, 2005.<\/li>\n\n\n\n
                                2. Donnelly, Dianne, Establishing Creative Writing Studies as an Academic Discipline<\/em>, Library of Congress, UK, 2012.<\/li>\n\n\n\n
                                3. May, Steve, Doing Creative Writing<\/em>, Routledge, USA, 2007.<\/li>\n\n\n\n
                                4. McGurl, Mark, The Program Era: Postwar Fiction and the Rise of Creative Writing<\/em> , Harvard University Press, USA, 2009.<\/li>\n\n\n\n
                                5. Jenkings, Henry; Ford, Sam; Green, Jashua, Spreadable Media, <\/em>New York University Press, 2013.<\/li>\n\n\n\n
                                6. Richardson, John; Gorbman, Claudia \u0219i Vernallis, Carol, The Oxford Handbook of Audiovisual Aethetics<\/em>, Oxford University Press, 2013.<\/li>\n\n\n\n
                                7. S\u0103lcudean Ileana-Nicoleta, St\u0103nescu Emma-Teodora, Manual de Scriere Creativ\u0103<\/em>, Presa Universitar\u0103 Clujean\u0103, Cluj-Napoca, 2014.<\/li>\n<\/ol>\n\n","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"","edit_language":"en","footnotes":""},"class_list":["post-203","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/203","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/comments?post=203"}],"version-history":[{"count":7,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/203\/revisions"}],"predecessor-version":[{"id":714,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/203\/revisions\/714"}],"wp:attachment":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/media?parent=203"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}