ECREA WEEKLY digest ARTICLES

April 9-10, 2026

Copenhagen, Denmark

Deadline: December 1, 2025

The research projects Algorithms, Data & Democracy (the ADD-project) and Strategic Communication and Artificial Intelligence (SCAI) are pleased to announce the Controversies of AI society conference to be held at Copenhagen Business School, Denmark, on 9-10 April 2026. We invite contributions across disciplines and hope to see you there.

With the accelerated implementation of algorithmic technologies, now broadly referred to as ‘artificial intelligence’ (AI), across all dimensions of society, it is imperative to consider how technological and societal developments shape each other: What social formations do AI systems invite? How do emerging uses of AI inform further developments across public, private, and third sectors? What social changes emerge out of these new technologies, and how are social dynamics embedded within their infrastructures? How do business models and consumption patterns enable some technological developments (and not others), and what relations of production and consumption are pushed by AI technologies? Can legal frameworks and political agendas influence the operations of the tech industry, and what are the alternatives to established actors, organizational forms, and ways of working? Can such alternatives influence technological developments, and how are public perceptions and collective actions informed by the material conditions of technological innovation, from venture capital through computing power to data centers? How, in short, might we understand the current constellation(s) of technocapitalism? 

To inquire into these issues, and the many that follow from them, please join us for an interdisciplinary conference on the controversies of AI society.

As no one perspective can fully capture the complex interplay between technology (in its various forms) and society (in its various forms), we invite participants to address this broad agenda from within, from outside, and from the intersections of relevant disciplines across the social sciences, humanities, and technical sciences. That is, investigations of the relationships and tensions that constitute AI society, such as, but not limited to:

• Civil society and democratic concerns
  
• Corporate strategies and business models
  
• Data, data sciences, and data practices in society
  
• Digital platforms and algorithmic publics
  
• Educational systems and approaches to learning
  
• Environmental sustainability and planetary crisis
  
• Ethics, (in)equality, and sovereignty in AI society
  
• Political imaginaries and forms of governance
  
• Public administration and state-citizen interactions
  
• Technological innovations and industry developments
  

Current trends and tendencies may be many things – consensual, collaborative, contentious, or even contradictory – but no matter how we see them, or what powers support them, they all help us see a little bit further. They may never fully line up, they may be messy, but this messiness is integral to how they exist in the world. For instance, some might argue that regulation stands in the way of innovation or that the interests of industry actors are always already misaligned with those of civil society. Others might claim that the interests of industry and democracy can be aligned only through policy, and that we need regulation to curb the excesses of unfettered competition. Yet others might claim that real technological innovation grows from grassroots communities, which need to be be politically and economically supported. Three competing narratives that contribute to the discussion, playing their part – along with multiple others – in narrating the messy whole of AI society, controversies and all.

In sum, we see the developments of what might be termed ‘AI society’ as by their very nature debatable and suggest such debates benefit from interdisciplinary perspectives. Consequently, we particularly welcome interdisciplinary contributions, but we also invite participants to shed light on ongoing practical and theoretical controversies from within specific disciplines – and from outside them. We wish for the conference to be an inclusive space for lively and robust debate, not only welcoming controversies but celebrating them.

We accept two forms of contributions: abstract-based presentations and full papers. Please, submit your abstract of no more than 500 words OR your paper of maximum 8000 words (including references) by 1 December 2025. We welcome both technical papers and position papers as well as conceptual, empirical, and methodological contributions. Author guidelines will be posted on this website shortly.

All submissions will undergo peer review, and a decision will be communicated by mid-January. Abstracts will be assessed on an accept/reject basis. Authors of full papers will receive reviewer comments, and those who are invited to participate, will be offered the chance of revising their manuscript towards publication in the conference proceedings. The proceedings be published through AAU OPEN.

Important dates:

• 1 November: Submission platform opens
  
• 1 December: Submission deadline (abstracts and papers)
  
• 19 January: Decisions (and reviews of full papers) sent to authors
  
• 9 March: Revised papers (for publication in the conference proceedings) due in camera ready format (guidelines on formatting to follow)
  
• 9-10 April: Conference

Read more here.

November 11-14, 2025

Lusófona University, Portugal

Deadline: September 26, 2025

The Media Literacy and Civic Cultures Lab – MeLCi Lab (Lusófona University, CICANT) is organising its V Autumn School from 11 to 14 November 2025 in the form of a bootcamp to boost research hands-on skills. 

The MeLCi Lab Autumn School invites applications from PhD students, postdoctoral researchers, and early-career scholars for a four-day intensive online program focused on innovative research methods at the intersection of AI, Communication, and Media Studies.

The School combines practical workshops and keynote lectures, allowing participants to develop hands-on skills with classical and AI-driven methodologies.

In 2025, the school’s AI tracks are specifically designed to meet the needs of media studies and PhD students, post-doctoral researchers, and early-career scholars. Participants will explore case studies and practical examples directly relevant to media analysis, digital journalism, and content curation. The sessions will address unique challenges in media-related research, such as bias in content classification, audience segmentation, and the interpretative complexity of multimedia annotation. Interactive workshops and tailored exercises will enable participants to apply AI tools to media-specific datasets, ensuring immediate applicability and facilitating deeper understanding through experiential learning.

In this sense, contributions for the following tracks (not exclusively) will be considered.

Track 1: AI in Research Practice: Foundations, Methods, and Ethics

1. Foundations of current AI tools → Recent natural language processing (NLP) breakthroughs, particularly through large language models (LLMs) such as GPT-4, Claude, and Gemini, have significantly transformed research methodologies across disciplines. The unprecedented accessibility and effectiveness of zero- and few-shot prompting techniques have led to widespread adoption, sometimes even replacing traditional human coders (Gilardi et al., 2023; Grossmann et al., 2023; Ziems et al., 2024). Yet, these powerful tools introduce critical concerns regarding reproducibility, transparency, and ethical use. Prompt stability and variability in LLM responses—affected by minor prompt adjustments—can challenge the replicability and accountability of research (Barrie et al., 2025). This subtrack equips researchers in communication science with essential knowledge of the theoretical foundations of contemporary AI tools, highlighting methodologies and best practices for their ethical and accountable use.

2. Accountable Literature Search Using AI Tools → AI-powered tools such as SciSpace and Litmaps have radically improved the efficiency and comprehensiveness of literature searches. However, the convenience of these tools requires heightened researchers’ accountability. This subtrack guides participants through strategies to validate AI-generated results, critically assess literature coverage, and maintain transparent documentation practices, ensuring methodological rigour and reliability in AI-assisted literature reviews.

3. AI-Assisted Data Annotation in Research Pipelines → Data annotation is a cornerstone in research pipelines, traditionally relying heavily on human coders. However, AI-based annotation tools are emerging as viable and highly effective alternatives, particularly for large datasets. Barrie et al. (2025) highlight that prompt stability—the consistency of AI-generated annotations across multiple semantically similar prompts—remains a significant challenge. This subtrack introduces participants to AI-driven annotation, focusing on practical approaches to enhancing annotation consistency through frameworks like Prompt Stability Scoring (PSS). Participants will gain hands-on experience in assessing and improving the reliability of AI annotations, integrating responsible AI practices into their research workflows.

Track 2: Communication, Audiences, and Civic Cultures in the Age of AI

1. Civic Cultures and Artificial Intelligence → AI can play a crucial role in how citizens engage with the digital world in contemporary times, and a set of opportunities and challenges emerge from it (Sarafis et al., 2025). This subtrack explores the impact of AI-driven platforms and recommendation algorithms on civic engagement, activism, and media literacy.

2. Digital Citizenship and Media Literacy in an AI-Mediated World → Leveraging AI and overcoming its challenges requires the development of broad and critical skill sets, the definition of which is still fuzzy (Chiu et al., 2024). This subtrack intends to explore critical media literacy skills in the era of misinformation, deepfakes, and algorithmic personalisation.

3. Data Ethics, Equity, and Inclusivity in AI Research → Different biases can emerge from the use of AIs, and the ethical implications of using different tools for knowledge production are still unclear. While AI is frequently represented as either a magical solution or a looming threat, our Autumn School aims to demystify AI, exploring its realistic capabilities, limitations, and responsible use (Ferrara, 2024; Ntoutsi et al., 2020). This subtrack will focus on responsible research practices, equity grants, and inclusive research design for underrepresented communities.

Participants do not require previous experience with AI or data science, as introductory modules will provide a foundational understanding.

The Autumn School will be conducted online and in English.

For inquiries, please contact: melci.lab@ulusofona.pt

Call for proposals deadline

Deadline: 26th September  2025

Notification of Acceptance: 13th October 2025

Registration: 27th October

See details about how to submit a proposal at the bottom of this page.

Format

Online

Dates

11 to 14 November 2025 – V MeLCi Lab Autumn School

TIME (Lisbon time zone)

V MeLCi Lab Autumn School Schedule

Check the website for details. 

How to apply 

Interested participants must send their application (in English) by 26 September 2025, including:

• Updated Curriculum Vitae (máx. 3 pages); 
  
• Candidate’s research statement that includes a description of their doctoral dissertation, research questions and methods (máx. 2 pages);
  
• Motivation letter describing your current perspective on AI, specific concerns or interests regarding AI’s role in media practices, and your preferred track/subtrack(s) máx. 1-2 pages;

Please send your application as a ZIP file to melci.lab@ulusofona.pt with the subject “Application for the V MeLCi Lab Autumn School”.

Target-group

PhD Students

Early Career Researchers (with a PhD obtained in the last five years)

Fee *

Lusófona University, CICANT PhD Students 70 euros

PhD students from other Institutions 100 euros

Others 150 euros

*The best participant will not pay the fee

Keynote Speakers

Joana Gonçalves Sá, Researcher at LIP – Laboratory of Particle Physics and at NOVA-LINCS

Massimo Ragnedda, Associate Professor/Reader in Media and Communication Studies at both Sharjah University (UAE) and Northumbria University, Newcastle (UK)

Mustafa Can Gursesli, Postdoctoral Researcher, Gamification Group, Tampere University

Saul Albert, Lecturer in Social Science (Social Psychology) in Communication and Media at Loughborough University

Simone Natale, Associate Professor in Media Theory and History, University of Turin

Tutors

Carla Cerqueira – Profile | CienciaVitae | ORCID

Carla Sousa – Profile | CienciaVitae | ORCID

Fábio Ribeiro – Profile | CienciaVitae | ORCID

Lúcia Mesquita – Profile | CienciaVitae | ORCID

Pedro Costa – Profile | CienciaVitae | ORCID

Rita Grácio – Profile | CienciaVitae | ORCID

Sofia Caldeira – Profile | CienciaVitae | ORCID

Sónia Lamy – Profile | CienciaVitae | ORCID

Teresa Sofia Castro – Profile | Ciência Vitae | ORCID

Vanessa Rodrigues – Profile | CienciaVitae | ORCID

Organisers

Bruno Saraiva – Profile | CienciaVitae | ORCID

Carla Sousa – Profile | CienciaVitae | ORCID

Lúcia Mesquita – Profile | CienciaVitae | ORCID

Manuel Marques-Pita – Profile | CienciaVitae | ORCID

Maria José Brites – Profile | CienciaVitae | ORCID

Zuil Pirola – Profile | CienciaVitae | ORCID

The International Journal of Communication (SPECIAL SECTION)

Deadline: December 1, 2025

Few technological developments spark more debate today than artificial intelligence. From promises of human advancement to fears of existential risk, AI generates a multitude of visions, conflicts, and societal debates. This “imaginative landscape of AI” goes beyond technical issues, encompassing political struggles, social movements, and ideas about the future of communication and society.

The International Journal of Communication is launching a Special Section on The Imaginative Landscape of AI: Visions, Positions, Conflicts. The editors of this Special Section, Andreas Hepp and Nathan Schneider, invite submissions that empirically explore emerging imaginaries, ideological positions, and conflicts surrounding AI.

Key deadlines:

• Abstracts (500 words) due December 1, 2025
  
• Notification of acceptance by January 1, 2026
  
• Full manuscripts due May 1, 2026
  
• Publication in spring 2027

More information and the submission form can be found here:

View the Call for Papers (PDF):https://comai.space/wp-content/uploads/2025/08/CfP-Imaginative-Landscape-of-AI.pdf

Link to the submission form: https://nc.uni-bremen.de/index.php/apps/forms/s/ctFFdYg5X3XKpeBBjoEQSMGm

Special issue/edited volume

Deadline: November 17, 2025

When does the experience of watching a film truly begin? Could it start long before the movie theatre or the living room, but on a backstreet, a remote field, or a historical site where a local film shoot is taking place? These questions invite us to rethink spectatorship not as something that only happens in front of a screen, but as a lived, spatial, and participatory experience embedded in the making of the movies.

Set-going is a novel concept referring to the practice of visiting filming locations during the principal photography of a movie. This practice opens a rich and overlooked field of interaction between audiences and production cultures. Set-going is not merely a variant of fan studies or media tourism; it is a socially embedded experience transforming how spectatorship, spatial belonging, and film culture are understood. Unlike film tourism or film-induced tourism, which typically involves visits to sound stage studios or iconic shooting locations after a film gains popularity, set-going centres on the live presence of non-professionals during the filmmaking process itself, making it an immediate, participatory, and temporally bound engagement with cinema (Şavk et al., 2025). 

Rooted in the New Cinema History (NCH) paradigm—which emphasises the social and cultural dimensions of cinema through research on audiences, exhibition practices, and the lived experience of film consumption—set-going extends this approach upstream into the production phase. NCH has redirected attention from film texts to the contexts in which films are distributed and viewed, as seen in studies of cinema-going habits, neighbourhood theatres, and audience memories (see Maltby, Biltereyst & Meers, 2011). Rather than focusing solely on how films are consumed, set-going shows that spectatorship begins before exhibition and is co-produced through on-site encounters among publics, places, and industry labour. Set-going thus offers a fresh perspective on how cinematic meaning and participation are shaped not only in the theatre but also on the set.

This perspective resonates with and seeks to extend several key strands of media and cinema scholarship. Studies of production cultures have shown how the backstage dynamics of filmmaking reveal broader industrial reflexivities and critical practices (Caldwell, 2008), while research in spatial media theory has foregrounded the significance of place in the experience and negotiation of media (Jansson & Falkheimer, 2006; Reijnders, 2011). The concept of set-going also builds on work in audience memory and cultural geography that emphasises spectatorship as an embodied, affective, and place-bound activity (Kuhn, 2002). At the same time, it offers a necessary counterpoint to discussions of fan cultures and participatory media (Jenkins, Ford & Green, 2013; Hills, 2002) by focusing on forms of engagement that may be informal, improvised, or locally rooted rather than networked and transnational. By bridging these bodies of work, set-going enables a rethinking of how film cultures are lived, co-produced, and remembered across time and space.

Certain commonalities emerge across film industries and countries where set-going has developed as a component of cinema culture. Foremost among these is the practice of shooting on real locations rather than exclusively in sound stage studios. The partial or complete use of real settings is a key factor enabling local residents to become set-goers. Secondly, these cinema cultures tend to emphasise locality, making set-going a critical practice through which audiences engage with films at a community or regional level. When local identity holds significant cultural and economic value within a film culture, set-going gradually shifts from being tolerated to being a desired phenomenon. Thirdly, cinemas where set-going is prevalent often operate under lower-budget and more pragmatic production modes, rather than adhering strictly to high-end industrial standards. On-location shooting environments typically do not allow for, nor enforce, absolute control, thus making it difficult to prevent the presence of set-goers.  

We invite proposals that explore the concept of set-going across different cinematic traditions, historical periods, and geographic contexts. Submissions from scholars working in areas such as cinema history, fan studies, film tourism, production cultures, media studies, urban history, and cultural geography are especially encouraged.

We welcome abstracts on topics including, but not limited to, the following:

• Historical and contemporary case studies of set-going in various national and regional cinema contexts;
  
• Theoretical engagements with set-going as a form of audience-making, participatory spectatorship, or informal labour;
  
• Explorations of how set-going intersects with class, gender, place, memory, and the politics of access;
  
• Theoretical and cultural connections between set-going, fan studies and film tourism;
  
• Archival or oral history sources that offer insight into everyday interactions at film sets;
  
• Set-going practices in the context of TV productions and platform series;
  
• Set-going as an area of encounter and conflict between film professionals, the public and local authorities;
  
• Transnational comparisons of production visibility and on-location shooting within the context of set-going practices;
  
• Strategic use of set-going activities as part of marketing and publicity. 

Please send your abstracts of 300-500 words along with short bios (max. 100 words for each author) to serkan.savk@ieu.edu.tr  no later than November 17, 2025. These abstracts do not need to follow a rigid format, but are encouraged to include:

• A short and precise description of your proposed subject;
  
• Relevant methodological tools and resources are required for examining the subject;
  
• Current state of the proposed research: Have you already begun working on this topic, or is it something you relate to after reading the call but have not yet started? (This information will not prejudice the evaluation of your abstract);
  
• Tentative research plan (where necessary);
  
• 2-3 key references. 

Based on the number and content of proposals, this publication project will take the form of either a special issue of a reputable journal indexed by Scopus and/or Web of Science or an edited volume by a recognised academic or university publisher. Word count and citation format of the final manuscripts will be decided accordingly. Accepted papers will go through the peer-review process required by the journal/publisher. Please note that editorial acceptance does not guarantee publication. 

Timeline

• Abstract submission:  November 17, 2025
  
• Notification of acceptance:  December 22, 2025
  
• Full paper submission:   July 6, 2026 (peer-review process starts)
  

Scholars who are interested in rethinking where and how cinema is experienced and how such encounters might be written into the broader story of film culture are warmly encouraged to respond. No payment from the autors will be required for this publication. 

Editors

• Serkan Şavk
  

Gulf University for Science and Technology

Izmir University of Economics

https://www.researchgate.net/profile/Serkan-Savk 

• Aydın Çam
  

Çukurova University

https://www.researchgate.net/profile/Aydin-Cam

Works cited

Caldwell, J. T. (2008). Production culture: Industrial reflexivity and critical practice in film and television. Duke University Press.

Hills, M. (2002). Fan cultures. Routledge.

Jansson, A., & Falkheimer, J. (Eds.). (2006). Geographies of communication: The spatial turn in media studies. Nordicom.

Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media: Creating value and meaning in a networked culture. NYU Press.

Kuhn, A. (2002). An everyday magic: Cinema and cultural memory. I.B. Tauris.

Maltby, R., Biltereyst, D., & Meers, P. (Eds.). (2011). Explorations in new cinema history: Approaches and case studies. Wiley-Blackwell. 

Reijnders, S. (2011). Places of the imagination: Media, tourism, culture. Ashgate.

Şavk, S., Çam, A., & Şanlıer, İ. (2025). Set-going chronicles: Rethinking Turkish cinema through the lens of new cinema history. Journal of Cinema and Media Studies, 64(2), 126–147. 

December 10, 2025

MediaCity, University of Salford, Manchester, UK

Deadline: September 28, 2025

Conference Convenors

• Pete Deakin
  
• Rania Kosmidou

Keynote Speaker: Professor Kirsty Fairclough, School of Digital Arts (SODA), MMU 

Call for papers

In the 1970s Anglo-American feminist scholars in a variety of disciplines began to explore the problematic representations of women in Hollywood cinema, issues and concerns over female spectatorship, as well as the history of women’s cinema in Hollywood and beyond. Two seminal works Marjorie Rosen’s 1973 Popcorn Venus: Women, Movies and the American Dream, and Molly Haskell’s 1974 From Reverence to Rape: The Treatment of Women in the Movies, pointed to stereotypical portrayals of women mostly in Hollywood films. The conclusions were epitomised by Molly Haskell when she said, “You’ve come a long way baby … and it’s all been downhill.” Meanwhile in Britain several female scholars developed ideas grounded in psychoanalysis, semiotics and Marxist ideology. Claire Johnston (1973) discussed how cinema can construct a particular view of reality and stereotypical images of women from a semiotic point of view and proposed instead a counter cinema; Laura Mulvey (1975) used psychoanalysis to show how the female character in classical Hollywood cinema is made passive and powerless, is there to-be-looked-at, and proclaimed that there is no place for a female spectator in classical narrative cinema (ideas that she revisited later on). Others were not so pessimistic. Miriam Hansen (1986) demonstrated how the male character on screen can also be the object of desire for a female spectator; Johnston (1975) introduced the concept of masquerade in relation to female spectatorship, a notion explored further by Mary Ann Doane (1982/1991) who discussed masquerade not as cross-dressing, but as a mask of femininity among others. Such accounts raised questions about female spectatorship and the male gaze. They also questioned the female gaze and the male body. 

By end of the millennium, for cultural commentators like Susan Faludi (1999), it was curiously Western masculinity that had apparently reached an apocalyptic state. Its traditional markers – strength, a breadwinner status, social dominance, emotional self-efficacy and regulation – had been pathologised. In the wake of this sociocultural evolution, old jobs were lost; so-called masculine spaces once filled with miners, dockers and engineers were left barren or converted to penthouse homes and middle-management sites for the newly saturating white collar (so went the rhetoric), while the modern western male was increasingly under pressure to conform to commercial cultures of style, celebrity, and consumption. Ros Coward (1999) asked: when looking back on the achievements of feminism, “Is it now holding us back?” Is it demonising men and denying them the right to understanding and equality in a world that is perhaps far harsher for them than ever before? 

Many years later, and in wake of the #MeToo Movement and the current sociopolitical climate that has seen Andrew Tate’s brand of hypermasculinity, misogyny and anti-feminism poll favourably in and beyond the ‘manosphere’, we believe there is an urgent need to re-examine gender in contemporary cinema. From researchers and scholars, from outreach initiatives to practice-based research among others, we welcome a diversity of approaches from a broad variety of perspectives on how film is grappling with contemporary portraits of gender in cinema in and beyond Hollywood.

Topics may include, but are not limited to:

• The status of cinematic masculinity nowadays
  
• The status of cinematic femininity nowadays
  
• Challenging male or female dominance on screen
  
• The female spectator then and now
  
• The female gaze then and now
  
• The male gaze then and now
  
• The male spectator then and now
  
• The more recent appropriation of cinematic texts into the “manosphere” (by individuals such as Andrew Tate) and/or far- and alt-right communities
  
• Gender equality in contemporary cinema
  
• Gender in cinema and identity formation
  
• Gender bending in cinema
  
• Impact of gender stereotypes on screen
  
• The evolution of gender and sexual diversity in cinema
  
• Toxic masculinity as a cinematic theme
  
• Gender and empowerment on screen
  
• Gender and social change on screen
  
• Women’s and/or men’s weaknesses on screen
  
• Women’s and/or men’s strengths on screen
  
• The role of women filmmakers in shaping cinematic discourse
  
• The role of men filmmakers in shaping cinematic discourse

Please submit abstracts for individual papers (max 250 words) with presentation title, up to 5 key words, your full name, affiliation, 50 word biography, and email address to conferencesalford@gmail.com

Submission deadline: 28 September 2025. 

Notification of acceptance of papers: 5 October 2025.

We support the presentation of practice-as-research, with papers and screenings. We also welcome abstracts from early career and postgraduate researchers.

All or a selection of papers will be considered for publication.

No Registration Fee.

November 5th, 2025 at 8pm (CET) - 3pm (Buenos Aires) - 2pm (Ottawa) - 11am (Vancouver)

Online

Registration: https://forms.gle/ux8RFWQvYg6J9PV7A 

With this call, we invite practitioners, academics, and activists who work from and alongside Indigenous communities on digital media, most broadly conceived, to join us for an online workshop to share ideas, insights, and challenges with one another. We are non-Indigenous academics working alongside Quechua and Inuit communities in Argentina and Canada. It is our intention to create a space for forming reciprocal relationships across projects and locations. We would like to bring together people from diverse backgrounds to discuss shared concerns and interests in this field, join our forces, and raise awareness of each others’ work, positions, experiences, and uncertainties.

We believe that the concerns and practices of Indigenous peoples are not well represented in current discussions about the politics of digitization, although these standpoints are needed to understand its role in how people relate to each other and the world. While big tech fastens its grip on more and more areas of everyday life, and “data colonialism” (Mejias and Couldry 2024) and a push toward extractive AI technologies seems to be the sign of the times, this development is arguably not a new experience for many Indigenous peoples around the world who have been dealing with similar corporate colonialist strategies for centuries. Galloway (2012) argues that computers are “ethical machines” that make certain ideologies of objectification, individualization, calculability, and compartmentalization the very basis of everyday economic, social, and political processes. At the same time, Indigenous actors are at the forefront pushing for sovereignty over data and infrastructure to contend with extractivism that encroaches upon both data and land. In this situation, how are these multi-layered digital logics understood by Indigenous actors? How do they engage with digital technologies in the face of their colonizing tendencies? And how do Indigenous peoples leverage them to pursue their own cultural, economic, and political priorities?

In this workshop, we aim to create a space for collective reflection rather than privileging formal presentations. To that end, we are organizing an online meeting structured in two parts. In the first part, participants are invited to select an image as a starting point for a brief (10-minute) story related to their research, experiences, and/or concerns on the topic. This initial segment is intended to set the tone for the encounter and help identify shared issues. In the second part, we will revisit the questions that emerged, engaging in a collective discussion to exchange perspectives, articulate challenges, offer advice, and develop ideas collaboratively. The goal is to establish a set of common concerns that can serve as a basis for further work.

If you are interested in participating, please submit a short (e.g. 300 words) description of your intended story/presentation, a short biography, and a brief description of the themes and questions you would like to discuss with others (if any) before October 5th through this form: https://forms.gle/ux8RFWQvYg6J9PV7A 

We are inviting anyone who would like to be in conversation about themes surrounding Indigenous communities and digital media, including:

• Everyday realities and challenges of digital media in Indigenous communities
  
• Indigenous governance of media infrastructures
  
• Indigenous media-making practices
  
• Land relations and digital media
  
• Digital media in the context of Indigenous media histories
  
• Indigenous and tech temporalities
  
• Online sociality in Indigenous communities
  
• Arts, crafts, and culture in digital spaces
  
• Colonial tendencies of digital technologies in Indigenous communities
  
• Digital media and self-determination/sovereignty
  
• Indigenous online activism
  
• Digital media and Indigenous well-being
  
• Digital sovereignty and infrastructures

Organizers:

Jonathan Spellerberg - University of Groningen j.spellerberg@rug.nl  

Martina Di Tullio - University of Buenos Aires ditulliomartina@gmail.com

December 5-6, 2025

Porto, Portugal

https://videojogos2025.ipmaia.pt/

The call for full papers, short papers, posters, doctoral consortium papers, and games is now open for the 15th International Conference on Videogame Sciences and Arts (Videojogos 2025), organised by IPMaia (Porto) and Sociedade Portuguesa de Ciências dos Videojogos.

All selected papers (short or full) must be submitted in English to be eligible for international publication. The top 40% of research papers—peer-reviewed and evaluated for originality, relevance, and presentation quality—will be published in the annual Springer proceedings volume (Communications in Computer and Information Science – CCIS series).

The conference will be held on the 5th and 6th of  December (2025) in Porto, and more information about keynotes and programme will be available soon.

Nordicom Review (Special Issue)

Deadline: September 15, 2025

Franziska Marquart (University of Copenhagen) and Xénia Farkas (DIGSUM, Umeå Univesity) invite scholars from the fields of media, communication, political science, and related disciplines to submit extended abstracts for a special issue of Nordicom Review. This issue will explore the evolving landscape of visual political communication in the Nordic countries, focusing on comparative aspects, content, and effects of visual politics in Denmark, Finland, Iceland, Norway, and Sweden.  

Editors:

Franziska Marquart (University of Copenhagen) 

Xénia Farkas  (DIGSUM, Umeå University)

Contact:

Franziska Marquart: fm@hum.ku.dk

Xénia Farkas: xenia.farkas@umu.se

Important dates:

• Deadline for extended abstracts: 15 September 2025
  
• Invitation to submit full paper: 3 October 2025
  
• Full paper submission: 9 February 2026
  
• Peer review processing: Spring 2026
  
• Expected publication (Open Access): Early 2027
  

Background and aim

Visuals have always been central to political communication, shaping how political actors convey messages and how audiences interpret political realities (e.g., Graber, 1988; Lanzetta et al., 1985; Masters et al., 1986). Research has long recognised the unique cognitive and emotional power of visual information, acknowledging that images are processed and remembered more efficiently than verbal communication (e.g., Graber, 1996) and can influence political attitudes and behaviours (Grabe & Bucy, 2009). Despite early recognition of its importance, visual political communication has only gained sustained scholarly attention in recent decades (Farkas, 2023; Schill, 2012). 

In addition, the rise of digital media platforms has fundamentally transformed the visual dimension of political discourse (Lilleker, 2019; Marquart, 2023). Political narratives are increasingly constructed and contested through images, memes, videos, and data visualizations. These developments call for research that do not only consider the general content, strategies, and effects of visual political communication, but also account for their broader societal embeddedness and implications for trust, engagement, and democratic resilience.

In the Nordic context, where political systems are marked by high levels of institutional trust, transparency, and democratic participation, visual political communication takes on distinctive characteristics. While the region is often associated with social cohesion and stable governance, it is not immune to political polarisation, populist rhetoric, and digital disinformation. Recent years have seen intensifying debates on immigration, identity, and climate change – all heavily mediated through visual content. At the same time, the widespread use of social media has enabled new forms of political expression by citizens, activists, and alternative media actors.

This special issue invites contributions that explore how visual political communication unfolds across the Nordic countries in this evolving digital landscape, assessing the production, spread, and impact of visual content across a range of contexts – from electoral campaigns and protest movements to policy advocacy and state communication. We are particularly interested in how visual strategies interact with core democratic values in the region, such as openness, inclusivity, and (political and media) trust. We welcome empirical studies, theoretical contributions, and methodological innovations that engage with visual political communication from diverse perspectives. Comparative and longitudinal designs are especially encouraged, as they can illuminate both shared trends and country-specific dynamics shaped by cultural, regulatory, and technological factors. 

Ultimately, the aim is to deepen our understanding of how visuals contribute to the transformation of political communication in the Nordic region and what this means for democracy in a digital age.

Submissions may address, but are not limited to, the following themes:

• Visual strategies in political campaigning: The use of imagery, video, and branding by parties, candidates, and campaign teams during elections and referenda
  
• Visual activism and protest culture: How activists, movements, and civil society actors use visual media to mobilise, resist, and advocate for change
  
• Memes, infographics, and short-form videos: Emerging visual formats on platforms such as TikTok, Instagram, and X, and their role in shaping political discourse
  
• Influencers as political communicators: Exploring how digital influencers shape political discourse through visual content, for example, through agenda-setting, issue advocacy, or political endorsements, particularly in addressing youth audiences
  
• Personalisation and performance: The visual representation of political leaders, including aesthetics of authenticity, relatability, trust, and authority
  
• Disinformation and visual manipulation: The role of images and videos in spreading misleading or false political content, including deepfakes and edited footage
  
• Algorithmic visibility: How platform logics and recommender systems shape the prominence and reach of political visuals
  
• Public service and institutional communication: Visual strategies employed by state institutions and public broadcasters to engage citizens and maintain trust
  
• Crisis communication: Studying the visual strategies employed during political conflicts, economic, environmental, or health crises, and their effectiveness in managing public perception and behaviour
  
• Ethics and accountability: Addressing ethical considerations in the creation and dissemination of political visuals, including issues of consent, manipulation, and the responsibilities of content creators

We welcome submissions employing a wide range of theoretical frameworks and methodological approaches, including (but not limited to) qualitative visual analysis, content analysis, computational methods, discourse analysis, and mixed-method designs. Interdisciplinary perspectives from political science, media and communication studies, sociology, visual culture, and digital humanities are particularly encouraged. 

Procedure

Please send an extended abstract of no more than 750 words to both fm@hum.ku.dk and xenia.farkas@umu.se by 15 September 2025. The abstract should outline the main theme and approach of the intended paper and mention how it fits with the overall theme of the special issue.  

Authors invited to submit a full manuscript (6,000–8,000 words, excl. references) will be notified by e-mail when all abstracts are assessed by the editors. Also, authors who are invited to submit a full paper will be invited to an online seminar where the rationale for the special issue and the steps that follow will be discussed in more detail. All submissions should be original works and must not be under consideration by other publishers. 

 After the initial submission and review process, manuscripts that are accepted for publication must adhere to our guidelines upon final manuscript delivery. You may choose to use our templates to assist you in correctly formatting your manuscript.

Read the full instructions for authors and download a manuscript template

References

Farkas, X. (2023). Visual political communication research: A literature review from 2012 to 2022. Journal of Visual Political Communication, 10(2), 95–126. https://doi.org/https://doi.org/10.1386/jvpc_00027_1

Grabe, M. E., & Bucy, E. P. (2009). Image bite politics: News and the visual framing of elections. Oxford University Press. https://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780195372076.001.0001/acprof-9780195372076 

Graber, D. A. (1988). Processing the news: How people tame the information tide (2nd ed). Longman.

Graber, D. A. (1996). Say it with pictures. The Annals of the American Academy of Political and Social Science, 546, 85–96. https://www.jstor.org/stable/1048172

Lanzetta, J. T., Sullivan, D. G., Masters, R. D., & McHugo, G. J. (1985). Emotional and cognitive responses to televised images of political leaders. In S. Kraus, & R. E. Perloff (Eds.), Mass media and political thought. Sage. 

Lilleker, D. G. (2019). The power of visual political communication: Pictorial politics through the lens of communication psychology. In A. Veneti, D.

Jackson, & D. G. Lilleker (Eds.), Visual political communication (pp. 37–51). Springer.

Marquart, F. (2023). Video killed the Instagram star: The future of political communication is audio-visual. Journal of Visual Political Communication, 10(1), 49–57. https://doi.org/10.1386/jvpc_00024_1 

Masters, R., Sullivan, D., Lanzetta, J., Mchugo, G., & Englis, B. (1986). The facial displays of leaders: Toward an ethology of human politics. Journal of Social and Biological Systems, 9(4), 319–343. https://doi.org/10.1016/S0140-1750(86)90190-9 

Schill, D. (2012). The visual image and the political image: A review of visual communication research in the field of political communication. Review of Communication, 12(2), 118–142. https://doi.org/10.1080/15358593.2011.653504 

About the publisher  

Nordicom is a centre for Nordic media research at the University of Gothenburg, supported by the Nordic Council of Ministers. Nordicom publishes all works under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 (CC BY-NC-ND 4.0) licence, which allows for non-commercial, non-derivative types of reuse and sharing with proper attribution. All works are published Open Access and are available to read free of charge and without requirement for registration. There are no article processing charges (APC), and authors retain copyright.  

Nordicom Review is an international peer reviewed journal devoted to new Nordic media and communication research. In 2023, Nordicom Review recorded a Journal Impact Factor of 2.0, a CiteScore of 2.8, and an H-Index of 23.

Read more about Nordicom Review 

Read our editorial policies 

Visit Creative Commons to learn more about our CC licence 

Read the call for papers here: https://www.nordicom.gu.se/en/latest/news/call-papers-visual-political-communication-nordic-region-strategies-narratives-and

January 6-9, 2026

Lisbon, Portugal

Deadline: September 5, 2025

Jointly organized by the Faculty of Human Sciences (Universidade Católica Portuguesa) and the Center for Media@Risk (Annenberg School for Communication, University of Pennsylvania), the Lisbon Winter School offers an opportunity for doctoral students and early career post-doctoral researchers to strategize around the study of media and courage together with senior scholars in the field. It is held in coordination with the Annenberg Schools of the University of Southern California & University of Pennsylvania, the Chinese University of Hong Kong’s School of Journalism and Communication, the University of Helsinki’s Institute for Social Sciences and Humanities, and The Europaeum.​

Call for Papers

As uncertainty and disruption settle in as central features of contemporary democracies, the media are faced with rewriting the rules by which they are allowed to operate. New limitations are constraining how the media portray a wide range of topics, from wars and international alliances to human rights and knowledge formation, from immigration and social marginalization to the economic and cultural policies implemented by those in power. While in the past, dire threats to the media were mostly associated with authoritarian regimes, the autocratic turn taking place in liberal democracies has forced those involved with media environments to deal with intimidation and punishments once considered taboo in democracies. With the distinction between liberal and illiberal media systems rendered more or less irrelevant by today’s realities, engaging with the media everywhere now requires a kind of strength not typically seen in democratic settings: courage. 

Courage calls for beliefs, values and actions that have not tended to need articulation for those living under democracy, largely because their viability was normalized long ago as part of its default setting. And yet, the capacity today to sustain one’s beliefs, commit to one’s values and act boldly in the face of adversity have become a golden rule for surviving democratic backsliding. Drawing on confidence, persistence, initiative and adaptability, courage can be physical, emotional, moral, social, spiritual and/or intellectual. With institutions central to democracy no longer able to accomplish their mission by following the rules that once governed their actions, courage is needed to persevere in the face of danger, intimidation and uncertainty. Because it involves a choice to confront risks that might otherwise seem unsurmountable, courage is crucial for developing ways of thinking and acting that are better attuned to the cobbled state of today’s institutions. 

Perhaps nowhere is this as much the case as with the media. It takes extraordinary strength for media practitioners, activists and scholars to sustain their previously normalized roles and avoid falling into the traps set by those in power. Being courageous means not accepting what George Orwell defined as the “truth of the leader,” and it comes at a high price, where daring to question official narratives is no longer assured. Not only is the survival of media corporations being put on the line, but all those involved with the media face a myriad of risks and dangers. These circumstances call upon media practitioners, activists and scholars to imagine alternative tools to express dissent. 

In these challenging and dangerous times, the Lisbon Winter School for the Study of Communication proposes to discuss the interconnections between Media and Courage. Courage can be addressed from a wide range of perspectives, understood as an ontological but also as an ethical concept in which one “affirms his own being” (Tillich, 1952: 3). 

While the consequences of challenging those in power may be better-known for those living in dictatorial states, in contemporary times expressing disagreement and dissent also demands courage from many living in democratic settings. So, what lessons are there to be learned from media courage and resistance in non-liberal countries? Which strategies have been used by scholars, filmmakers, photographers, journalists and social activists to denounce malpractices in autocratic regimes? How can such strategies be adopted in countries whose democratic institutions are being challenged? How can the media but also individuals use different platforms to denounce wrongdoings and expand the perspectives being debated in the public arena? How can the media avoid falling into the trap of being used as tools at the service of those who aim to promote fear and hate? How is dissidence being silenced through online and offline shaming, book bans, financial and physical threats? And how can communities support those who show courage to report on issues that challenge the official narratives? We welcome proposals by doctoral students and early career post-doctoral researchers from all over the world to discuss the intertwined relations between media and courage in different geographies and temporalities. The list below illustrates some of topics for possible consideration. Other topics dealing with media and courage are also welcomed: 

-       Courage in news reporting 

-       Witnessing war and tragedy

-       Courage on social media

-       Media activism

-       Denouncing hate speech and aggression against gender, racial and religious minorities

-       Alternative and underground media 

-       Threats and intimidation

-       Opposing anxiety and irrationality

-       Courage and Resistance 

-       Countering disinformation and misinformation 

-       Courage, populism and the media

-       (Self-)censorship

-       Courage and identity formation

-       Algorithms, AI and social trust

-       Expressing courage in the public arena in specific national or regional contexts

-       … 

CONFIRMED KEYNOTES:

Jacques Chevalier, Carleton University

Cherian George, Hong Kong Baptist University

Ejvind Hansen, Danish School of Media & Journalism

Ola Hnatiuk, Ukrainian Research Institute & University of Warsaw

Sarah Jackson, Annenberg School for Communication, University of Pennsylvania 

Patricia Kingori, University of Oxford

Jessica Roberts, Catholic University of Portugal

Catherine A. Sanderson, Amherst College

PAPER PROPOSALS

Proposals should be sent to lisbonwinterschool@ucp.pt no later than 5 September 2025 and include a paper title, extended abstract in English (700 words), name, e-mail address, institutional affiliation and a brief bio (max. 100 words) mentioning ongoing research. Applicants will be informed of the result of their submissions by late September. 

FULL PAPER SUBMISSION 

Presenters will be required to submit full papers (max. 20 pages, 1.5 spacing) by 10 December 2025.  

VENUE

The Lisbon Winter School will take place in the Lisbon campus of Universidade Católica Portuguesa and in several cultural institutions in the city of Lisbon 

ORGANIZERS

Nelson Ribeiro, Catholic University of Portugal 

Barbie Zelizer, Annenberg School for Communication, University of Pennsylvania 

CONVENORS

Sarah Banet-Weiser 

Risto Kunelius

Francis Lee

For more information visit lisbonwinterschool.com

Ethical Space: The International Journal of Communication Ethics

Deadline (for expression of interest): October 15, 2025

Ethical Space: The International Journal of Communication Ethics, welcomes papers on the ethics of generative artificial intelligence and related topics in communication practice. How do we sort the competing claims and concerns made for AI tools, including problems of bias, accuracy and hallucination, concerns over how it changes professional work or even displaces it, questions of transparency, control or ownership of content? How do these stack up against the opportunities that AI affords to make work more efficient, less prone to error or enabling professionals to extend their work? What ethical or regulatory boundary rails need to be put in place or what literacy is needed among both professionals and audiences? Underneath these questions are broader questions around these synthetic media, such as human autonomy or editorial independence and AI’s invisible role in shaping how knowledge is both produced and understood.

Please send us an expression of interest in the first instance. From the expressions, we will invite authors to submit full papers for the editors’ consideration. Acceptance will be on the basis of peer review of the full papers. We are looking for papers in two areas: 

1) critical-theoretical contributions on principles relating to the ethical use of AI in communication. This can include conceptual work on problems and issues, work on codes of ethics or other normative proposals, explorations of underlying ideas, analysis of the political economy of AI or similar approaches. This work may be empirical, but the focus should be on contributing to the analytical toolkit on AI

2) contributions on the use of AI in media and other communication practices. This can include analysis of media practice, case studies of good practice, reflections from practitioners on challenges and opportunities and the like. 

We welcome work by scholars, research students and communication professionals. The deadline for expressions of interest is 15 October 2025. Full papers will be due in March 2026 and publication will be in July 2026.

Expressions of interest should be 250 words and discuss, argument, approach and (where appropriate) the methods used.

Papers in Ethical Space are usually 5000 words, excluding references.

More on the journal at https://ethicalspace.pubpub.org/

Please contact the special issue editors, Donald Matheson and Stephen J.A. Ward, with any questions.

donald.matheson@canterbury.ac.nz

stephen.ward@bellaliant.net