ECREA WEEKLY digest ARTICLES

Dear colleagues

I wanted to bring to your attention two recent publications from the Digital Futures for Children centre:

1. 'Assessing the impact of using EdTech on children's learning: A scoping review of meta-analyses' (by Kruakae Pothong, Kim Ringmar Sylwander, Sonia Livingstone, and Sandra El Gemayel) 

Open access link: https://researchonline.lse.ac.uk/id/eprint/140402/

We conducted a scoping review of meta-studies assessing the impact of using EdTech on children's learning. This review considers 56 meta-analyses, encompassing findings from 2,111 studies, involving many thousands of children worldwide. The evidence shows that gains from EdTech are realised in very particular contexts and conditions of implementation. Thus, we find that learning effects depend on how and by whom technology is deployed and used, rather than on an EdTech technology in isolation. EdTech produces its strongest effects when embedded in active, collaborative and contextually grounded pedagogical approaches. When findings are disaggregated by children with different needs, ages and abilities, the measured impact varies greatly, and the evidence is the weakest for the most vulnerable children.

2. Our anthology 'Children's rights under pressure in a digital world' (edited by Kim R Sylwander, Gazal Shekhawat and Sonia Livingstone) 

Open access link:  https://www.digital-futures-for-children.net/our-work/rights-under-pressure

The DFC's first anthology showcases work presented at the ICA 2026 pre-conference in Cape Town, South Africa. Spanning continents, the anthology's papers are organised around five themes: participation, regulation, family, commercial interests, and new technology. We invite readers to engage with the papers and seek conversation and collaboration with our anthology collaborators across the world. 

You can learn more about the DFC's work here: https://www.digital-futures-for-children.net/our-work 

All the very best, Sonia

Mediální studia/Media Studies 

Deadline: September 15, 2026

Mediální studia / Media Studies calls for the submission of audio/visual essays for its first edition of 2027. As part of the journal’s innovation strategy, peer-reviewed audio/visual essays will complement the journal’s already-existing written text articles. The aim of this expansion is to strengthen academic multimodality, validate academic work that transcends hegemonic forms of academic knowledge sharing and benefit from the abilities that auditive and visual modes of communication create.

Authors are invited to submit their A/V essays (and contextualising statements) for peer review before 15 September 2026, to the journal’s submission site at https://ms.vedeckecasopisy.cz/.

The genre of the academic A/V essay refers to formal and structured pieces of work with a clear narrative that creatively deploy audio/visual modes of communication. Subgenres include audiovisual essays, film essays, video essays, and sound essays. This implies that the A/V Section also (warmly) welcomes essays that are sound-based only.

The focus on academic A/V essays implies that the contributions themselves need to contain the characteristics of academic publications, for instance, in their vocabulary, in their attention to theory and methodology, and in the rigorous and systematic nature of their analysis. At the same time, the A/V Section will welcome contributions with hybrid affiliations to different fields, for instance, by articulating artistic and academic approaches, including A/V essays that integrates elements from literature, theatre, and dance. The A/V Section also strongly prefers contributions that creatively deploy the use of the audio/visual mode (avoiding A/V work with only academic lecturing). Finally, A/V essays can be in any language, but when languages other than English are used, English-friendly measures are required.

The A/V section has no thematic a prioris, as the usage of the audio/visual mode of communication renders it relevant. At the same time, A/V essays that deal with communication-related themes are particularly welcome. The target audience of the A/V Section thus remains an academically informed audience, which implies that the A/V Section will not publish contributions which are primarily aimed at reaching (larger) audiences outside academia, as part of a science communication strategy.

Mediální studia / Media Studies is an established academic journal that recently celebrated its 20th anniversary. Financed by the Institute of Communication Studies and Journalism, at Charles University’s Faculty of Social Sciences, the journal is diamond open access, and, in other words, does not charge publication fees and makes its publications freely available. The journal’s main editor-in-chief is Kateřina Turková, and the A/V Section’s editor-in-chief is Nico Carpentier. The A/V Section is affiliated with the Multimodal Communication Research (MCR) of the International Association for Media and Communication Research (IAMCR).

For questions, please contact Nico Carpentier at medialnistudia.avessays@fsv.cuni.cz.

More information can be found at the links below:

The journal website: https://medialnistudia.fsv.cuni.cz/en/

The A/V Section webpage: https://medialnistudia.fsv.cuni.cz/en/avessays/

The journal’s submission website: https://ms.vedeckecasopisy.cz/

The detailed A/V essays submission guidelines: https://medialnistudia.fsv.cuni.cz/en/detailed-av-submission-guidelines/

A/V essays submission deadline: September 15, 2026

MIA

Media International Australia (MIA) – https://journals.sagepub.com/home/mia – calls for Expressions of Interest for the position of Junior Associate Editor.

Expressions are invited from early career scholars based in Australia and Aotearoa/New Zealand, ideally who are members of the Australian and Aotearoa/New Zealand Communication Association (AANZCA), or eligible to be. The Junior Associate Editor role is a voluntary position for a two-year term, commencing November 2026, and offers a key opportunity to help shape the intellectual direction of media and communication publishing in this region whilst, at the same time, developing the editor’s skills in journal management.

Founded by Professor Henry Mayer, MIA has now entered its fourth decade of publication. Supported by AANZCA (https://aanzca.org/), it has built an enviable track record as a key journal in Australasia for research and commentary focussed on media, telecommunications, and cultural industries, policies and practices. It now attracts submissions from across the globe.

About the role

After 3 years under the leadership of EIC Professor Crystal Abidin, MIA’s Editor in Chief (EIC) is now Dr Kylie J. Stevenson. The Junior Associate Editor will support Dr Stevenson’s leadership of the journal and undertake everyday editorial activities alongside Senior Associate Editor Dr Andy (Xinyu) Zhao, Book editor Dr Aljosha Karim Schapals, and Editorial Administrative Assistant Ashleigh Dharmawardhana. The expected work commitment is for around 4 hours per week and attendance at 4-8 meetings per year. As noted above, MIA editorial roles are voluntary and unpaid. The successful applicant will be provided with mentoring by the MIA Editorial and Executive teams.

It is anticipated that the Junior Associate Editor will be an early career researcher from the Australasia region (maximum 3 year post award of PhD) or, in exceptional circumstances, a late-stage (final year) doctoral candidate. The required skills (selection criteria) for the role are:

• High standard of academic English
  
• Ability to utilise online technical platforms
  
• Responsiveness to emails
  
• Attention to detail
  
• Ability to work successfully in a team
  
• Previous experience of academic publishing or editing preferred, but not essential
  

Activities may include:

• Working effectively with MIA editorial team, including the Editor-in-Chief, Senior
  
• Associate Editor, Book Reviews Editor, Editorial Assistant, MIA Executive team, and MIA
  
• Editorial Advisors.
  
• Assisting editors with the day-to-day running of the journal, including:
  
• Allocating papers to peer reviewers and monitoring progress;
  
• Regular consultation with Executive team and AANZCA Executive in meetings and at Annual General Meetings.

Submitting your application

• Brief CV, 1-3 pages
  
• Cover Letter - 2 page maximum, outlining how you fulfil the selection criteria and why you would like to edit MIA. You should also explain how you will help maintain and/or grow MIA’s reputation and reach, and ensure the journal’s content continues to be inclusive, interdisciplinary and internationally relevant.

Applications (and queries) should be addressed to the MIA Editor in Chief, Dr Kylie J. Stevenson or MIA Senior Editor Dr Andy Zhao at mediaintaus@outlook.com.

Closing date for EOIs is COB Friday 2 October 2026.

University of Bern

At the Institute of Communication and Media Studies (icmb) of the University of Bern, a position is available as a Post-doc (100%) in political communication

The position will be available from January 15th, 2027 (or by appointment) for an initial period of three years. It is intended to serve the purpose of scientific qualification.

Tasks:

- (potential) collaboration in an SNF-sponsored cross-national research project about how the lack of social recognition influences political information usage and effects. This project draws on the role of social identity and identity threats for political information behavior.

- development and implementation of own research ideas

- teaching of courses and supervision of BA and MA theses

- contribution to the general tasks of the institute

Requirements:

- above-average PhD in communication science, a related social science discipline or psychology

(applicants who are close to the completion of their PhD will also be considered)

- strong interest in political communication

- very good skills in quantitative (e.g., surveys & experiments, statistical analysis) and/or qualitative (e.g., interviews, thematic / discourse analysis) methods of empirical social science

- willingness to present research at (inter-)national conferences and to publish in top journals

- ability to work in a team

- proficiency in English; German is an advantage (French is a plus)

We offer: An attractive working environment awaits you at the Institute of Communication and Media Studies at the University of Bern: a collegial team, cooperation and exchange, as well as the freedom to develop your own ideas. Employment adheres to the regulations of the Canton of Berne.

Applications (letter of motivation including research interests / ideas, CV (incl. list of publications), certificates, two core publications and a recommendation letter) should be mailed as a PDF file by October 6th, 2026 to Prof. Dr. Silke Adam (silke.adam@unibe.ch). The talks will take place on October 20th / 21st. For further information, please contact Prof. Dr. Silke Adam

Edited by: Catherine Bouko and Nataliia Laba

The book Six Critical Lenses on AI-generated Images offers six critical, interdisciplinary approaches to AI-generated images. It invites the reader to (re-)imagine relationships between artefacts and media, authorship and agency, creativity and commodification, representation, and visual style. Across the chapters, the book examines three realities of AI images, from sociotechnical fabrics, through semiotic interfaces, to representations and aesthetics.

Drawing on media studies, philosophy of technology, multimodality studies, critical AI studies, and visual communication studies, the book pursues the following interconnected topics:

(1) addressing pataphysical and sociomaterial engagements with AI image making,

(2) theorizing distributed and probabilistic forms of agency through the concept of vector agency,

(3) analysing interfaces and affordances of visual generative AI via multimodal walkthroughs,

(4) conceptualising prompting as a cultural practice that reshapes agency,

(5) mapping representational patterns and emerging visual genres in AI-generated imagery,

(6) interrogating how visual AI styles are co-produced by machines, users, and generative platform politics.

These six critical lenses offer complementary perspectives to understanding the complex ecosystem surrounding AI image production.

Six Critical Lenses on AI-Generated Images is intended for scholars, graduate students, and practitioners working with visual generative AI in both analytical and creative contexts. Ultimately, the book calls for a reflexive and responsible engagement with increasingly AI-mediated visual culture.

 Link to the book: https://www.taylorfrancis.com/books/oa-edit/10.1201/9781003740261/six-critical-lenses-ai-generated-images-nataliia-laba-catherine-bouko

November 5-6, 2026

University of Beira Interior, Covilhã, Portugal 

Deadline: September 1, 2026

https://televisaoenovosmeios.ubi.pt/

Democracy is increasingly challenged by political polarization, disinformation, populist communication, declining trust in institutions, and the rapid transformation of the media ecosystem. Television now coexists with digital platforms, streaming services, social media, and algorithmically curated information environments that profoundly shape political debate and public opinion.

The International Conference Television and New Media invites scholars, researchers and media professionals to reflect on the role of television and audiovisual media in contemporary democratic societies. Under the theme “Democracy in Times of Anger”, the conference seeks to explore how television and new media contribute to the construction, mediation, amplification or resistance of democratic and non-democratic discourses.

We welcome theoretical, empirical and comparative contributions from communication and media studies, political communication, journalism, propaganda, political science, cultural studies and related fields.

SUGGESTED TOPICS INCLUDE

• Television and democratic resilience
  
• Television and political communication
  
• Populism, polarization and media
  
• Television, propaganda and non-democratic discourses
  
• Disinformation, misinformation and fact-checking
  
• Television news and public trust
  
• Public service media and democracy
  
• Authoritarian narratives in audiovisual media
  
• Electoral campaigns and political advertising
  
• Journalism, editorial independence and democratic accountability
  
• Artificial intelligence, algorithms and political communication
  
• Television and social media ecosystems
  
• Platformisation of television
  
• Streaming platforms and the transformation of the public sphere
  
• Digital participation and civic engagement
  
• Hate speech, online extremism and media regulation
  
• Media literacy and democratic citizenship
  
• Visual communication and political persuasion
  
• Comparative perspectives on media systems and democracy
  
• Media regulation and freedom of expression
  
• Television audiences and democratic culture
  

SUBMISSION GUIDELINES

Researchers are invited to submit original abstracts of up to 500 words, clearly outlining the research question, theoretical framework, methodology and main findings or expected contribution.

Submissions should be written in English and subjected to: https://forms.gle/sNGAvrceNQSHTDUB7

The Television and New Media Conference is accepting proposals for in-person and remote presentations.

IMPORTANT DATES

• Call for Papers: 15 June 2026
  
• Submission deadline: 1 September 2026
  
• Notification of acceptance: 30 September 2026
  
• Conference: 5–6 November 2026
  

We look forward to welcoming researchers from around the world to the University of Beira Interior for two days of discussion on the future of television, audiovisual media and democracy.

PUBLICATION

All accepted papers will have the possibility of having their work published in a book, edited by Editora de Livros LabCom. The book will be open access and free of charge.

REGISTRATION

• €50: PhD holders
  
• €25: Students
  
• Free: UBI/LabCom members

SPEAKERS

ELKE WEISSMANN, Edge Hill University, United Kingdom

Elke’s research and teaching interests primarily lie in the area of television. This includes high-end drama, an area where she has specific expertise on transnational television with past collaborative work with Jonathan Bignell and another with Trisha Dunleavy. She is also interested in soap opera and public service television.

She also worked on a project on sustainability, local community and community-led television which is a collaboration between Edge Hill University, the University of Liverpool, Love Wavertree CIC and the British Academy. She is now taking this research forward to understand how the television industries tell stories about climate adaptation.

SCIENTIFIC COMMITTEE

• Sónia de Sá
  
• Francisco Merino
  
• Ana Catarina Pereira
  
• Branco Di Fátima
  
• Carla Cerqueira
  
• Eduardo Paz Barroso
  
• Evandro Oliveira
  
• Gil Baptista Ferreira
  
• Gisela Gonçalves
  
• Hélder Gonçalves
  
• Hélder Prior
  
• Inês Amaral
  
• João Canavilhas
  
• João Carlos Correia
  
• José Antonio Pereira
  
• José Ricardo Carvalheiro
  
• Paulo Serra
  

December 10-11, 2026

LabCom, Portugal

Deadline: September 30, 2026

LabCom – Communication Laboratory of the University of Beira Interior (Portugal) is organising the II International Seminar Public Sphere in the Age of Algorithms, under the theme “AI in the Age of Algorithms.” The event will take place on 10 and 11 December 2026, entirely online.

The Call for Papers is open until 30 September 2026 and welcomes contributions addressing the following thematic areas:

• AI, populism and authoritarian leadership
  
• Algorithmic literacy and digital citizenship
  
• AI and new networked social movements
  
• AI, the public sphere and the crisis of deliberation
  
• Surveillance, control and predictive policing
  
• AI, political polarisation and online radicalisation
  
• AI regulation and platform governance
  
• AI, political microtargeting and electoral communication
  
• AI and new forms of agenda-setting and gatekeeping
  
• Conspiracy theories and algorithmic recommendation
  
• Hate speech, symbolic violence and digital harassment
  
• Deepfakes, disinformation and data authenticity
  
• Algorithmic transparency, auditing and accountability
  
• AI ethics, algorithmic discrimination and human rights
  
• Feminist, anti-racist, environmental and labour movements
  

CONFIRMED SPEAKERS

This year's edition will feature a group of renowned national and international experts, including Fenwick McKelvey (Concordia University, Canada), Louise Amoore (Durham University, United Kingdom), Angel Carrasco-Campos (University of Valladolid, Spain), Gil Baptista Ferreira (Polytechnic Institute of Coimbra), José Luís Garcia (ICS – University of Lisbon) and Rita Figueiras (Portuguese Catholic University).

For further information: https://labcom.ubi.pt/epea/

April 21-22, 2027

Thessaloniki, Greece

Deadline:  January 5, 2027

Organized by Laboratory for the Study of Greek Cinema and Television (LSGCT) School of Film, Aristotle University of Thessaloniki

Keynote Speaker: Vrasidas Karalis, Professor of Byzantine and Modern Greek Studies, University of Sydney

Call for Papers

On the occasion of the sixtieth anniversary of the military coup of 21 April 1967, the international conference Images in the Years of the Dictatorship, Sixty Years Later seeks to undertake a critical reassessment of the relationship between the military dictatorship and Greek cinema during the period 1967–1974.

Despite the substantial scholarship that has developed around cinematic developments during the years of the dictatorship, many aspects of film production, distribution, and exhibition during the period remain either insufficiently studied or confined within established interpretive frameworks. The sixtieth anniversary offers an opportunity for a broader reconsideration of the ways in which the cinematic culture of the seven-year dictatorship has been approached in academic research: from censorship and propaganda to commercial cinema, aesthetic transformations, the operation of the film industry, and forms of political expression.

The conference proposes a re-evaluation of Greek cinema during the dictatorship beyond simplistic binaries—such as commercial/political, resistance/compliance, or art/industry—and seeks to explore the contradictions, continuities, and transformations of the period through new historiographical, theoretical, and archival approaches. 

At the same time, the conference welcomes approaches that draw upon public history, oral history, and digital methods of research, documentation, and curation of film culture, highlighting new ways of accessing, interpreting, and disseminating the cinematic heritage of the period.

Particular emphasis will be placed on:

• revisiting established narratives of cinema during the dictatorship;
  
• studying neglected genres and filmmakers;
  
• making use of archival sources;
  
• reconsidering the relationship between aesthetic form, censorship, and the ideological function of the image.
  

The conference aims to bring into dialogue film historians and film scholars, researchers of visual culture, archival institutions, doctoral researchers, and practitioners around the following thematic areas, which are indicative rather than exhaustive.

No payment from the participants will be required

Conference Themes

Censorship and Institutional Control

• Mechanisms of censorship in Greek cinema
  
• Self-censorship and strategies of adaptation
  
• The dictatorship's cultural policy towards cinema
  
• State institutions, committees, and administrative practices of control
  

Commercial Cinema and Popular Entertainment

• Comedy, musicals, and melodrama during the dictatorship
  
• Social, historical, and war dramas of the period
  
• Film production and distribution under the junta
  
• The star system and the public image of actors
  
• Representations of gender in genre cinema
  
• The relationship between commercial cinema and ideology
  
• Reconsidering Old Greek Cinema from the perspective of the present

New Greek Cinema

• Aesthetic ruptures and the new cinematic language of New Greek Cinema
  
• Political implication and allegory
  
• The Thessaloniki International Film Festival as a site of confrontation and renewal
  
• Revisiting historiographical narratives of New Greek Cinema and its relationship to the dictatorship 
  

Production, Distribution, and Exhibition Culture

• Figures of film production: the people behind the camera
  
• Film journals, the press, and film criticism during the period
  
• Movie theatres during the years of the dictatorship
  
• Film distribution and exhibition during the dictatorship
  
• Film posters, advertising, and marketing
  
• Cinema audiences and cinephilia during the period

Documentary, Newsreels, and State Propaganda

• Official newsreels of the dictatorship
  
• Military celebrations, parades, and national ceremonies in the moving image
  
• Tourist and promotional films of the period
  
• The aesthetics of propaganda and its international influences
  

The conference also welcomes proposals dealing with: 

• comparative approaches to other dictatorships;
  
• international cinematic influences;
  
• new methodological and historiographical approaches to the period 1967–1974;
  
• public and oral history approaches to Greek cinema during the period;
  
• digital methods for the documentation, curation, and presentation of film archives and cinematic works from the period 1967–1974.

Participation Formats

The conference welcomes:

• individual papers of 20 minutes;
  
• panel proposals consisting of 3–4 participants;
  
• presentations of archival or research projects;
  
• practice-based approaches related to the moving image and film restoration.

Submission Guidelines

• Prospective participants are invited to submit:
  
• title of the paper;
  
• an abstract of 200–300 words;
  
• a short biographical note (up to 150 words);
  
• contact details.
  

  Submissions should be sent to emekt@film.auth.gr

Conference languages: Greek and English.

Important Dates

• Abstract submission deadline: 5 January 2027
  
• Notification of acceptance: 30 January 2027
  
• Conference programme announcement: March 2027
  
• Conference dates: 21–22 April 2027

Scientific Committee

Christina Adamou, Professor, Aristotle University of Thessaloniki

Maria Chalkou, Associate Professor, Ionian University

Christos Chrysanthopoulos, Special Scientific Staff, Institute of Historical Research / National Hellenic Research Foundation

Betty Kaklamanidou, Professor, Aristotle University of Thessaloniki 

Elli Lemonidou, Professor, University of Patras

Paraskevas Mouratidis, Special Laboratory Teaching Staff, Aristotle University of Thessaloniki

Eleftheria Thanouli, Professor, Aristotle University of Thessaloniki

Yannis Tzioumakis, Professor, University of Liverpool

Elpida Vogli, Professor, Democritus University of Thrace

Christos Xenos, Special Teaching Staff, Aristotle University of Thessaloniki

Organizing Committee

Eleftheria Thanouli, Professor, Aristotle University of Thessaloniki

Director, Laboratory for the Study of Greek Cinema and Television (LSGCT)

Christos Xenos, Special Teaching Staff, Aristotle University of Thessaloniki

Paraskevas Mouratidis, Special Laboratory Teaching Staff, Aristotle University of Thessaloniki

Akis Laskaris, Undergraduate Student, Aristotle University of Thessaloniki

Eva Statheropoulou, Undergraduate Student, Aristotle University of Thessaloniki 

You can find the full text of the CFP online at:  https://emekt.film.auth.gr/international-conference-images-in-the-years-of-the-dictatorship-sixty-years-later/

Deadline: November 2, 2026

Published by IGI Global, edited by Fabiana Battisti, Marco Bruno, Raffaele Lombardi

The book offers a systematic and comparative analysis of the press office as a structural actor in contemporary journalism, recognising it as an active site for news production, agenda-setting and narrative management. The topics covered are wide-ranging: the redefinition of the concept of news within press office culture and media relations; relations between sources and journalists; pressure from platforms and algorithmic logic; artificial intelligence in communication workflows; country-specific studies and sector-specific studies (public institutions, cultural organisations, the third sector, international NGOs, businesses); professional training and entry into the field, including the dimensions of gender, class, disability and social capital in recruitment processes.

Both theoretical contributions and empirical research, case studies, longitudinal and comparative perspectives are welcome.

Deadlines and procedures:

• Chapter proposals (800–1,000 words maximum): 16 October 2026
  

Notification of outcome: 2 November 2026

• Full chapters (7,000–10,000 words, including references): 1 January 2027
  

Double-blind peer review. No submission or acceptance fees.

Submissions via eEditorial Discovery (link to the full text of the call): https://www.igi-global.com/publish/call-for-papers/call-details/10229

Deadline: November 1, 2026

Edited by: Lewis Rarm (Victoria University of Wellington) and Federico Selvini (IULM University)

Since the early 2000s, wearable cameras have become increasingly prominent consumer recording technologies. Their development and commercial rise—driven in particular by GoPro, founded by Nick Woodman in 2002—were initially associated with extreme and action sports. These devices enabled athletes to record their own performances from a first-person perspective, even in remote and often inaccessible environments, without the assistance of a professional camera crew.

To meet these demands, wearable cameras were designed with a distinctive set of technical features: their reduced size and weight allow them to be mounted directly on the user’s body; their construction makes them resistant to impacts and adverse weather conditions; their high degree of automation minimises the need for continuous manual operation; and their fixed-focus, wide-angle lenses capture an extensive field of view.

Although they originated within a recreational context, the use of wearable cameras soon expanded beyond the boundaries of leisure and action-sports culture. They are now employed across a wide range of practices: soldiers and combatants use them to record their experiences in theatres of war; terrorist organisations and extremist actors incorporate the resulting footage into propaganda materials; and police forces have adopted body-worn cameras as evidentiary and accountability tools intended to document potentially controversial encounters.

Across contexts of armed conflict, terrorism, and policing, the technical and visual affordances of these devices have proved particularly effective in documenting violence through an embodied gaze. Wearable camera footage has consequently become central to the ways in which violence and potentially violent encounters are recorded, framed, circulated, authenticated, and contested.

Drawing on questions of witnessing, testimony, and violence, Body-Worn Cameras and the Visual Politics of Violence: Embodied Witnessing eschews the idea that wearable cameras are neutral recording instruments and instead examines how they constitute a specific form of mediation. The footage they produce occupies an inherently ambiguous position: it may document acts of conflict and harm, generate forms of evidence and testimony, and contribute to public memory, but it may also reproduce and recirculate those acts, position viewers within the visual perspective of those who carry them out, or be mobilised for propagandistic, operational, and institutional purposes. Why are these technologies so frequently employed in such contexts? What forms of witnessing do they produce? How do they reshape the positions of witness, victim, perpetrator, and spectator?

Over the past fifteen years, a growing number of studies have addressed wearable cameras. Much of this scholarship, however, remains fragmented or centred on individual case studies. A more substantial body of research has developed around police body-worn cameras, but it has generally focused on issues related to privacy or on their legal, judicial, and operational effectiveness. Far less attention has been paid to the broader cultural and political implications of producing images through a camera physically attached to the body. Such images possess distinctive aesthetic, perceptual, and sensory characteristics that derive not only from their contexts of use but also from the technical and functional properties of the recording devices themselves.

The volume seeks to address this gap by bringing into dialogue scholars working across media studies and visual culture studies. It approaches wearable cameras as “machines of vision,” combining attention to media technologies, practices, and circulation with analyses of visuality, aesthetics, spectatorship, and representation. In doing so, it aims to develop critical perspectives on how wearable camera footage mediates violent events and experiences and reshapes established notions of witnessing and testimony.

The volume will be organised into three sections. Prospective contributors are invited to submit proposals addressing one of the following areas:

1. Wearable Cameras in Conflict and Political Violence
   

This section examines images produced by wearable cameras in contexts of armed conflict and political violence. It traces the growing adoption of these devices during the Global War on Terror and their widespread presence in contemporary conventional and asymmetric warfare, terrorist attacks, and extremist violence. It considers the recording of armed conflict and political violence by direct participants to be a relatively recent yet increasingly established media practice, focusing on the visual forms generated by the encounter between the recording body, the technical apparatus, and the spatial, political, and symbolic terrain in which violence takes place. Contributions may address footage produced by a range of state and non-state actors, its aesthetic and technological characteristics, and the ways in which it constructs and circulates forms of vision, testimony, evidence, propaganda, memory, and spectatorship.

2. Police Body-Worn Cameras and Visual Power

This section examines the images produced by police body-worn cameras and the contested visual cultures through which police encounters are made visible and such images acquire meaning and authority. It situates these images within a longer history of struggles over the visibility of policing, including recordings made by bystanders, citizens, and activists, while examining how the use of body-worn cameras reconfigures who produces such images, who controls their circulation, and how they come to function as evidence. Contributions may examine how the embodied and seemingly immediate perspective of body-worn cameras contributes to the construction of police footage as an objective record, and how institutional control over its production, selection, interpretation, and circulation shapes what becomes visible, intelligible, and contestable. The section welcomes analyses of the aesthetic and technological characteristics of these images; their relationship to surveillance, state violence, racialised policing, and institutional power; and their use across legal, journalistic, documentary, and digital media contexts.

3. Embodiment and Witnessing: Pleasure and Resistance

This section considers the implications, effects, and affects of body-worn camera footage, which often depicts spectacular violence while eliciting both joy and dread in audiences. Contributions may examine the affective excesses of these images and the conditions under which footage of violent scenes provokes voyeuristic pleasure. The section also asks what might be salvaged from the violent entanglements within which body-worn cameras are deployed and their footage is produced and circulated. Can the pleasure generated by these images be rescued or redirected? Can body-worn camera footage offer possibilities for resistance or a line of escape from the regimes of power within which it is produced and circulated? Submissions may address the affective capacities of body-worn camera images, their mobilisation as forms of critique or resistance, or the relationship between these two dimensions.

Submission Guidelines

Prospective contributors are invited to submit an abstract of 300-500 words, accompanied by a short biographical note of approximately 100 words and 3-5 keywords, by Sunday, 1 November 2026, via this form: https://forms.gle/nM6afJWMcqgpyM3f6

Notifications of acceptance will be sent by Thursday, 10 December 2026.

Authors whose proposals are accepted will be required to submit their full chapters by Wednesday, 30 June 2027.

Chapters should be between 7,000 and 8,000 words in length, including notes and bibliography, and may include a maximum of three images. Authors are responsible for obtaining all necessary permissions and reproduction rights for any copyrighted or third-party material included in their chapters. 

All chapters will be subject to double-blind peer review.

The volume will be published in English in 2028 by Routledge as part of the Routledge Research in Cultural and Media Studies series. 

For any enquiries, please contact lewis.rarm@vuw.ac.nz and federico.selvini@iulm.it