ECREA WEEKLY digest ARTICLES

School of Communication and Media, Ulster University, Northern Ireland

Closing date: 29 August 2021

General areas: Communication theory and applied communication (particularly organisational/strategic and interpersonal communication)

Job Purpose:

Communication programmes in the School of Communication and Media cover a breadth of pure and applied disciplines in communication. The postholder will be expected to contribute across these programmes at both undergraduate and postgraduate level; to provide an outstanding student experience; to undertake administrative duties related to undergraduate and postgraduate programmes.

Further details and application at:

https://www.ulster.ac.uk/about/jobs

University of Stirling

Full time, Open ended

The closing date for applications is midnight on Sunday 29 August 2021

Interviews are expected to take place week commencing 06 September 2021

For the purposes of sponsorship, this is a postdoctoral role under SOC code 2311

The University of Stirling recognises that a diverse workforce benefits and enriches the work, learning and research experiences of the entire campus and greater community. We are committed to removing barriers and welcome applications from those who would contribute to further diversification of our staff and ensure that equality, diversity and inclusion is woven into the substance of the role. We strongly encourage applications from people from diverse backgrounds including gender, identity, race, age, class, and ethnicity.

The Post

Communications, Media & Culture (CMC) wishes to appoint a suitably qualified and experienced candidate at Lecturer Grade 8 with specialist interests in Digital Media to expand the Division’s teaching, research and knowledge exchange activities.

The successful candidate will be an excellent communicator who is able to effectively teach, motivate and mentor undergraduates and postgraduates. They will make a contribution to the strategic direction of CMC through research, teaching and impact activities, including short-course opportunities. The successful candidate will contribute to the delivery of modules on the MSc in Digital Media and Communications and BA Hons in Digital Media. Applicants with specialist knowledge, skills or interests in one or more of the following areas are invited to apply:

• Digital design
• Creative digital practice
• Animation and visualisation
• Interactive media
• Digital user experience and user design
• Digital brand communications

The postholder will be researcher who has expertise in design and visual communications for digital media, user and audience experiences or creative digital practice, evidenced by published research and recognition among research users and / or industry. They will have a growing research profile in digital media and will engage effectively with external stakeholders to pursue opportunities for collaboration, income generation and enhancing CMC’s regional, national, and international profile.

Informal enquiries can be made to Dr William Dinan, Head of the Division of Communications, Media & Culture: william.dinan1@stir.ac.uk

Description of Duties

• Engage in individual and collaborative research, which aligns to the strategic direction of the University, establish a distinctive programme of research and disseminate results through regular publication in high impact journals, books and conference proceedings and undertake knowledge exchange activities
• Identify appropriate sources of funding for research, consultancy, and impact generating activity; prepare research proposals for funding bodies; project manage research activities, and manage grants awarded
• Supervise and mentor research students and staff as required, providing direction, support and guidance
• Design, deliver, assess and evaluate a range of teaching and learning, supervision and assessment activities across undergraduate and postgraduate programmes including online/digital programmes, where required
• Contribute to curriculum review and enhancement, in a manner that supports a research-led approach to student learning and enhances student experience and employability
• Participate in the Faculty’s local, national and international impact and engagement activities as required e.g. delivering teaching & CPD, contributing to joint programmes and recruitment of students. This is likely to require occasional short periods of international travel
• Participate in, and develop, networks and collaborations both internally and externally to the Division/Faculty/University
• Participate in the administrative processes of the Division/Faculty/University including committee membership, quality assurance procedures and recruitment and admission of students
• Engage in continuing professional development activities as appropriate.
• Any other duties, commensurate with the grade of the post

Essential Criteria

Qualifications

• PhD in relevant discipline or equivalent professional experience

Knowledge, Skills & Experience

• Established track record of high quality published research in Digital Media and Communications Studies
• A record of involvement in applications for external funding for research and/or knowledge transfer/exchange projects
• Experience of supervising dissertation projects across the range of undergraduate/ postgraduate and of supervising doctoral students
• Experience of providing high quality teaching, including teaching innovation, across a range of programmes at undergraduate and postgraduate level preferably including online/digital/international programmes
• Experience of designing and delivering course modules, developing effective learning environments, and approaches to enhance the student experience
• Evidence of successful co-ordination, support, supervision, management and/or mentoring of others
• Evidence of engaging in and developing external networks

Desirable Criteria

Qualification

• Higher Education teaching qualification or equivalent e.g. PGCert and/or holding an Associate Fellow of the Higher Education Academy (HEA) and be working towards Fellowship

Knowledge, Skills & Experience

• Evidence of collaborative research and interdisciplinary work with non-academic partners across the creative and digital industries
• Demonstrates a thorough understanding of effective approaches to teaching and learning support as a key contribution to high quality student learning
• Evidence of programme innovation and development
• Evidence or knowledge to support international and impact generating activities

• Evidence or knowledge of the Higher Education context and regulatory framework
• Experience of designing and delivering CPD and training across creative and digital industries
• Evidence of successful incorporation of subject research within design and delivery of learning activities and programme development as part of an integrated approach to academic practice
• Able to demonstrate a commitment to advancing equality, diversity and inclusion. This might include - but is not limited to - evidence of work to advance gender equality, positive mental health, disability equality, anti-racism or tackling gender-based violence

Behaviours and Competencies

The role holder will be required to evidence that they can meet the qualities associated with the following behavioural competencies, as detailed within the AUA Competency Framework.

1. Managing self and personal skills - Being aware of your own behaviour and mindful of how it impacts on others, enhancing personal skills to adapt professional practice accordingly
2. Delivering excellent service - Providing the best quality service to external and internal clients. Building genuine and open long-term relationships in order to drive up service standards.
3. Finding solutions - Taking a holistic view and working enthusiastically to analyse problems and to develop workable solutions. Identifying opportunities for innovation.
4. Embracing change - Being open to and engaging with new ideas and ways of working. Adjusting to unfamiliar situations, shifting demands and changing roles.
5. Using resources effectively - Identifying and making the most productive use of resources including people, time, information, networks and budgets.
6. Engaging with the wider context - Enhancing your contribution to the organisation through an understanding of the bigger picture and showing commitment to organisational values.
7. Developing self and others - Showing commitment to own ongoing professional development. Supporting and encouraging others to develop their professional knowledge, skills and behaviours to enable them to reach their full potential.
8. Working together - Working collaboratively with others in order to achieve objectives. Recognising and valuing the different contributions people bring to this process.
9. Achieving Results - Consistently meeting agreed objectives and success criteria. Taking personal responsibility for getting things done.

About Us

The Division of Communications, Media and Culture (CMC) at Stirling is an internationally renowned centre for research and teaching. Ranked top in Scotland for Journalism (NSS 2020), the Division consistently draws high ratings for its teaching across digital media, production and journalism at all levels. Our students frequently win awards at major national competitions and many go on to become successful practitioners, entrepreneurs and executives in the media, creative and communications industries globally.

CMC research expertise spans the humanities, social sciences and management. We have long been recognised for our research in screen studies, media and cultural policy and in recent years our research has increasingly focused on digital communications and technologies. Our expansion strategy has seen the arrival of a group of talented new colleagues with diverse interests including data journalism and analytics, the creative economy, design, animation, interactive media, sound and digital publishing. The Division now offers a wide choice of options in taught postgraduate and undergraduate programmes, and in doctoral research, spanning digital media, creative industries and cultural policy, political and promotional communications.

CMC is committed to supporting and promoting equality and diversity and to being an inclusive workplace. We believe this can be achieved through attracting, developing, and retaining a diverse range of staff from different backgrounds. In supporting our employees to achieve a balance between their work and their personal lives, we will also consider proposals for flexible working or job share arrangements.

The University

The University of Stirling is a leading UK teaching and research-intensive university, created by Royal Charter in 1967. Since its foundation, the University has embraced its role as an innovative, intellectual and cultural institution with a pioneering spirit and a passion for excellence in all that it does.

In 2016, the University launched its current Strategic Plan https://www.stir.ac.uk/about/our-vision/our-strategy/ (2016-2021), with targets to: be one of the top 25 universities in the UK; increase income by £50 million; enhance its research profile by 100 per cent; and ensure internationalisation is at the heart of everything it does.

With three-quarters of its research ranked world-leading and internationally-excellent (Research Excellence Framework 2014), the University’s groundbreaking, interdisciplinary research makes a difference to society and has a positive impact on communities worldwide. Stirling’s research is making a positive impact on people’s health, education and wellbeing, with key strengths across our research themes of: Cultures, Communities and Society; Global Security and Resilience; and Living Well. The University collaborates with international governments and policymakers, businesses, industry, and charitable organisations, to tackle and provide solutions to some of the toughest global societal challenges.

For more information on working at Stirling, please visit https://www.stir.ac.uk/about/work-at-stirling/.

The University offers great benefits such as generous annual leave and membership of the Universities Superannuation Scheme. Additionally staff can benefit from a reduced membership rate at the University's excellent Sport Centre facilities.

A full list of FAQs can be found here, we recommend you read these before making your application.

Please ensure that you check your email account junk folder as your email provider may flag emails sent to you as suspected spam.

Terms and conditions of this post can be found here.

After the closing date, this job advert will no longer be available on the University of Stirling website therefore please keep a copy for your records.

Special issue of the Journal Consumption, Markets and Culture

Deadline: October 1, 2021

Guest editors:

• Arindam Das, Alliance School of Business, Alliance University, India, arindam.das@alliance.edu.in
• Himadri Roy Chaudhuri, Xavier School of Management, XLRI, India, himadri@xlri.ac.in
• Lee Edwards, The London School of Economics and Political Science, England, L.edwards2@lse.ac.uk

COVID-19 was a black swan for which the market and its actors across the globe were not prepared. Such a crisis of global proportion is not unique in world history, but crises tend to take up the character of suddenness because their reverberances get lost in the absence of public or collective memory. The lack of collective/public/cultural/social memory (Casey, 2004) around a crisis contributes to our failure to handle current and future crises. This special issue attempts to move beyond the collective apathy and insularity that is usually hurled at the history of global crises by tracing the impact of contemporary global crises on markets, consumption, and culture, as perceived through the varied practices of communication through which they are constructed and understood. We acknowledge that, during modern global crises, communication practices about organizations, consumers, the relationships they have, and the markets they inhabit, are fraught with discursive power imbalances. This issue critically focuses on the way power imbalances and resistance discourses shape varied perspectives of communication during global crises and how they play an integral role in helping us reimagine market-culture-consumption intersection both during, and beyond the crisis itself.

The volatility, uncertainty, complexity, and ambiguity (VUCA) of a world—turned upside down by raging global crises such as economic meltdowns (The International Debt Crisis of 1982, Asian Crisis of 1997-2001, Economic Recession of 2007-2009), the Gulf War, the tsunami of 2004, the 9/11 attack, and the COVID-19 pandemic—call for a radical re-imagining of what constitutes markets, consumers and consumption, and what it means to communicate in such redefined settings. Alongside these crises, ongoing global issues such as global warming, world hunger, terrorism, and refugee/migration flow exert a constant influence on the ways in which consumers relate to markets, make demands of organizations as social and cultural actors, rather than only economic agents, and accept or challenge consumption culture. For example, the current COVID-19 situation compels a re-interpretation of the markets as “political sites of contestation where various stakeholder groups compete for resources—economic, political, and symbolic” (Mumby, 2016). To stabilize the VUCA effect of the global crisis and control the individual idiosyncratic responses to the same, markets, generally, have taken recourse to the Tannenbaumian conceptualization of “control” (Tannenbaum, 1968, 3). However, any such control in a post-Fordist liquid modern world (Bauman, 2000)— one where the markets have to move away from solid structures to virtual online processes, employees have evolved to knowledge workers from industrial laborers, and the economy has moved beyond stability to become a gig-economy—is conditioned by ideologically-designed communication structures (Mumby, 2015, 22-23). The COVID-19 that has reified a Baumanian liquid market system has no less promulgated the hegemonic structures of control through communication, market redefinition, and consumption. Yet, there are also evidence of counter-discourses and practices that resist and subvert the hegemonic narratives of a market during the crisis.

This special issue intends to deflect through a “terministic screen” (Burke, 1966) beyond the surface-level realities of business communication around markets and consumers, during a global crisis, to examine the ideological impact of such communication. For example, communication researchers focused on COVID-19 have highlighted aspects of computer-mediated communication (CMC) in a flipped normal condition (viz. working online from home [Larson, et al., 2020; Raišienė, et al. 2020; Valet, 2020], marketing communication’s huge shift to the digital and social media platforms [Balis, 2020; Mheidly and Fares 2020; Taylor, 2020a; Taylor, 2020b], and insistence on AI and digitally mediated communication replacing face-to-face communication [Marr, 2020; Sivasubramanian, 2020]). There have also been unquestioning assumptions of the ‘positive/effective vibes’ of a strategized crisis/risk communication of an organization [Argenti 2020; Holtom et al. 2020; Honigmann et al. 2020]. However, this call for papers, instead, suggests examining the more hegemonic communication practices of powerful market actors during global crises and exploring the disruptive, resistive counter-communications by marginalized and coerced consumers/actors that highlight the inequalities and power dynamics produced through such communication.

An example of such communication practice, within a market structure and conditioned by a dominant patriarchal culture, is state-sponsored PR or public policies that ignore the gendered impact of COVID-19, treat women laborers as disposable or unwanted receivers of communication, and ignore the work-life balance and psychosomatic well-being of these subaltern market actors (European Network of Migrant Women 2020, Lewis, 2020). The concerns are far graver if women belong to the subaltern sections of refugees, asylum seekers, geriatric population, and service providers of precarious trade (European Network of Migrant Women 2020). On the other end of the spectrum, we have a more disruptive example where the CEO and President of Boston Pride, Linda DeMarco, negotiated the otherwise hegemonic scopes of computer-mediated communication to host a Zoom Pride Party with online dance parties, digital drag shows, and online pride networking (Tavares, 2020).

We invite theoretical and empirical submissions that engage in the opportunity to critically reimagine markets, consumers, consumption, and culture, through the lens of communication during moments of global crises. Topics of interest include, but are not limited to, the following:

• How do corporate narratives (Moisander and Eriksson, 2006), organizational storytelling (Gabriel, 1991), and organizational nostalgias (Gabriel, 1993) communicate the moment of the global crisis to consumers and markets?
• How does a global crisis facilitate the emergence of new, ubiquitous market icons (viz. symbol of twin-towers post 9/11 attack or that of “99.9% effective” hand sanitizers [Kim, 2016], especially during COVID-19) that challenge the consumer-agency of consumption-reimagination or market-narration?
• To what extent do consumer-centric risk messages during any modern global crisis calm panic (Bove and Benoit, 2020), or act as a homogenizing force, expecting a standardized response from all?
• How does market/consumption-mediated communication during a global crisis intensify or alleviate inequality vectors such as race, ethnicity, gender, and disability, over time?
• Does market/consumption-mediated communication during global crises accentuate or undermine a “consumer society” that has already become “a kind of mundane and everyday micro-dystopia” (Fitchett in Bradshaw et al., 2020)?
• Can the logic of hegemony towards marginal groups, as evident in sustainability communication by capitalist corporates, be better deconstructed during a global crisis (viz. crisis of global warming) to unleash a subaltern view of ethics and communication (viz. the “Stop Adani” protest in Australia by the Wangan and Jagalingou people)? When, where, and how do global crises generate a resistive space for subalterns to speak back to the hegemonic market/consumption narratives?
• How do “marketing images” (not) communicate “missing persons” (Gopaldas et al. 2018) during a global crisis (viz. the geriatric population, the differently-abled, the Dalits/subalterns, migrant laborers, refugees, Indigenous population, sex-workers, and other such vulnerable populations of the nation-state)?
• What role do ethics play in market/consumption-mediated communication during a global crisis (viz. while re-strategizing health communication for the economically, geographically, or racially vulnerable population during a pandemic)?
• How does the state-sponsored communication of public policy erase the voices of subaltern market actors during a global crisis (viz. the concerns of the disposable, vulnerable inter-state migrant laborers in India during COVID-19)?
• Is computer-mediated communication that drives and supports markets or consumer culture during modern global crises an extension of the logic of digital capitalism and a trope of surveillance mechanism?
• How does mosomobilization in the digital age co-produce cyber protest (Odou et al., 2017) at moments of global crisis (viz. cyberactivism and peace movement post 9/11 [Carty and Onyett, 2006])?
• How do social media platforms communicate/influence consumer behavior (individual or collective) during global crises (Naeem, 2021)?
• Does the postmodern market communicate a higher or lower degree of “liquidity” (Bardhi and Eckhardt, 2017) and/or “rhetrickery” (Takhar and Pemberton, 2018) during a global crisis?
• How does market/consumption-mediated communication facilitate the (re)distribution of risk and risk management between organizations and consumers, and how does ethics pay into this dynamic (Ravenelle, 2020)?
• Can market/consumption-mediated communication contribute to collective dialogues about the psychological impacts of global crises?

Closing Date for Submissions: 01 October 2021

Submission Instructions:

Please select this special issue when submitting your paper to ScholarOne. Please ensure that your article is formatted and referenced according to the journal style guidelines. Complete papers should be no longer than 8,000 words (including references and acknowledgements). For this special issue, we wish to prioritise original research articles only.

The special issue editor will review all submitted articles before they are sent for peer review, and may request additional revisions before peer review takes place. Accepted articles will be accordingly rolled out in online version.

Once finalised, the publication of the special issue will fit into the journal’s production schedule; we expect the final special issue to be ready towards the end of 2022.

For further clarification/information about the special issue please feel free to contact any of the special issue editors.

I am pleased to invite you to the next in the series of IPRA Thought Leadership webinars. The webinar SMS: the most effective way to communicate a message will be presented by Alain Grossbard, Board Member of RMIT University Academic Board, RMIT University,Australia on Thursday 9 September 2021 at 12.00 GMT/UCT (13.00 British Summer Time).

What is the webinar content?

With the power of mobile phones to communicate, only 20 percent of businesses use text to promptly communicate a message, whether it is an urgent matter, or an update, or a direction when there is an issue or problem to be managed. Yet, 83 percent of users would like to receive information via SMS. Why are communicators not steering in this direction?

The webinar will be followed by an interactive Q&A session.

How to join

Register here at Airmeet.

A reminder will be sent 1 hour before the event.

Background to IPRA

IPRA, the International Public Relations Association, was established in 1955, and is the leading global network for PR professionals in their personal capacity. IPRA aims to advance trusted communication and the ethical practice of public relations. We do this through networking, our code of conduct and intellectual leadership of the profession. IPRA is the organiser of public relations' annual global competition, the Golden World Awards for Excellence (GWA). IPRA's services enable PR professionals to collaborate and be recognised. Members create content via our Thought Leadership essays, social media and our consultative status with the United Nations. GWA winners demonstrate PR excellence. IPRA welcomes all those who share our aims and who wish to be part of the IPRA worldwide fellowship. For more see www.ipra.org.

Background to the Alain Grossbard

Alain Grossbard is a global authority in SMS (short message service). He has extensive experience as a Chairman, MD, GM in communications for numerous Australian and overseas companies. Alain is now lecturing in public relations and marketing at RMIT University, Australia. He is an IPRA Board member.

Contact

International Public Relations Association Secretariat

United Kingdom

secgen@ipra.orgTelephone +44 1634 818308

Special Issue in Digital Creativity

Deadline for abstracts: October 4, 2021

The past few years have seen a rapid increase in the number and variety of technologies embedded in and passing through home environments. Researchers increasingly recognize the distinct nature of the home as a site of research. The past four decades have seen a significant shift in the technology environment from the “media home” (Spigel, 2001) to the “smart home” (Woods, 2021). We have seen significant additions to the abundant digital ecology of the home, increasing the number of digital access-points and available services, and intensifying the data-circulation in connected homes. The home is a site of mundane, private, usually hidden but highly significant everyday practices (Pink et al. 2017). Yet it is also increasingly becoming a part of national healthcare infrastructures through the deployment of welfare technologies, and energy policy through smart meters. During the “global lockdown” caused by the Coronavirus Disease-19 (COVID-19) pandemic, technologies took a prominent role as the home transformed itself into a site in which activities such as learning, parenting, work, entertainment, and remote medical care intermingled.

The increasing complexity of the digital infrastructures and the experiences, spaces, visions of the home in a current era of connected homes and connected living pose particular challenges for conducting research in such an environment. This also calls for methodological innovations that shape how we see the home as a research site and how we engage with it.

For this special issue, we invite contributions that make a strong methodological contribution by highlighting the innovations and challenges of conducting research on technology in home environments. Papers could, for example:

• Explore cross-disciplinary methodological approaches in a project related to the connected home.
• Develop an innovative methodological framework or research design to address a specific research challenge concerning the technologically connected home.
• Apply new and emergent forms and sources of digital data from the connected home.
• Describe and evaluate research tools and techniques.

Submissions may cover issues such as:

• Participatory and co-design approaches to research related to the home
• Novel ways of capturing, visualizing and analyzing digital infrastructures and data connected to the home
• Multisensory and multimodal approaches to studying technologies in the home
• Narrative methods for researching and designing in the home
• Negotiating relationships between researchers, research participants, and technologies in the home
• Ethical dilemmas related to methods for studying technology in the home
• Interventions as a research method to study technological practices in the home
• Probing and elicitation techniques for uncovering practices with technology in the home

Submissions Requirements: Submission to this special issue is a two-stage process. Authors interested in contributing are invited to submit an extended abstract (500 words) for review. Please email abstracts directly to the editors listed below. Authors whose abstracts are accepted will then be invited to submit a full paper (up to 7000 words). Full papers will be double-blind peer-reviewed for acceptance into the special issue.

Upon acceptance of the abstract, you will be sent further authors’ guidelines based on the Digital Creativity guidelines (Instructions for Authors) at https://www.tandf.co.uk/journals/NDCR. Note that acceptance of abstract alone does not imply acceptance for publication in the journal. The extended abstract should include the following information: 1) Name of author(s) with email addresses and affiliation, if applicable 2) Title of the paper 3) Body of the abstract 4) Preliminary bibliography 5) Author(s)’s short bio(s)

Guest Editors: Henry Mainsah, Emma Slade, Dag Slettemeås, Dale Southerton, and Ardis Storm-Mathisen

Important Dates

Abstracts due (via email): October 4, 2021

Submission method: Please send abstracts as PDFs (and any questions) to Henry Mainsah, henryma@oslomet.no, as well as to the editors of Digital Creativity, dcsubmit@gmail.com.

References

Pink, S. Leder-Mackley, K. Morosanu, R. Mitchell, V. & Bhamra, T. (2017) Making homes: ethnography and design. Oxford: Bloomsbury.

Spigel, L. (2001). Media homes: then and now. International Journal of Cultural Studies, 4(4): 385-411.

Woods, H. S. (2021): Smart homes: domestic futurity as Infrastructure. Cultural Studies, DOI: 10.1080/09502386.2021.1895254

November 17-19, 2021

Online conference

Submission Deadline: August 29, 2021

We are delighted to invite proposals from academic researchers to be presented at the I International Symposium of Cinema and Film Analysis; organized by the CNPq research group CineArte – Cinema, Film Analysis, and Intellectual Experience.

The event will be held online from 17-19 November 2021, and our goal is to deepen and broaden the exchange between research works centered on film analysis by gathering different perspectives, observing the outcomes when selecting different theoretical approaches and methodologies, and seeing how film language can be intertwined with numerous fields of study.

We are interested in the moving image studies, sound, film analysis definitions, case studies, changes throughout the time, and debates centered beyond movies, such as the interchange between other fields of study within the Arts and Human Sciences.

The Symposium is a result of an interdisciplinary exchange between researchers who investigate the relationship between cinema, audiovisual, by selecting film analysis as a methodology within different usages and contexts. Structured as a subject between 1960 and 1970, film analysis divides and reconstitutes meanings within audiovisual products. Between the twentieth and the twenty-first century, we can identify different branches of it: François Jost and André Gaudreault's narratology, David Bordwell and Kristin Thompson's narrative and style analyses, Jacques Aumont's immanent perspective, Laura Mulvey's feminist film theory that investigated the male gaze through the psychoanalysis and also her counter cinema proposal, Eisenstein's montage, the interchange between art history and style, formal aesthetics, social and historical perspectives, allegories, among others. Considering the ongoing and broad debates within film analysis, we invite proposals within four different approaches. Possible topics might include (but are not limited to):

1. Film theory, case studies, and film analysis. Theoretical studies questioning the concepts and the kind of analysis. These papers may be drawn from canonic film theories and also other fields of study. Film analysis as a tool to investigate specific audiovisual products.

2. Intersections between audiovisual and other arts. Different epistemologies and approaches emerged from the intersection between films and other art forms, concepts, and audiovisual objects created in the space between the edge of cinema and other arts. Methodological challenges to instigate possible debates between the avant-garde films, modern films and flux cinema, and their connection with paintings, photography, and theater. Conceptual interactions between theory and art history.

3. Female gaze and feminism. Feminist film studies, female authorship, films and gender, feminism and modernity, female star system.

4. The politics, the engagement, and the criticism: film analysis and its interfaces. Theoretical contributions developed by eminent critics, critical studies and resistance as the foreground of interpretative constructions and historical contexts, the critics' tasks such as creating theories that relate the movies to the society, film analysis' usage of the critical studies tools, investigation centering the politics; including urban conflicts, socio-environmental problems, minority group issues, or other perspectives about the country.

More information is available on GP CineArte – Cinema, Film Analysis and Intellectual Experience https://linktr.ee/…ica

Guideline for submission

Please, send a 400-word abstract to cinemaeanalisefilmica@gmail.com, including title, name, institution, a short bio (80 words max.), and a short bibliography (5 references max.) by August 29, 2021.

The proposal must be sent as a ".doc" file, Arial, size 12, 1,5 line spacing (“.pdf” submissions will not be accepted). We will accept original proposals in Portuguese, English, Spanish, and French.

Applicants can submit them individually or with a co-author. Each author can submit only one abstract for a 20-minute presentation. The event is free of charge.

Organizing team:

Fábio Raddi Uchôa – UAM

Hanna Henck Dias Esperança – USP

Margarida Maria Adamatti – UFSCar

Mariana Dias Antonio – UFPR

Pedro Plaza Pinto – UFPR

Vanessa de Cassia Witzki Colatusso – UFPR

Virgínia Jangrossi – UFSCar

Scientific Committee

Albert Elduque – Universidad Pompeu Fabra

Arthur Autran Franco de Sá Neto – UFSCar

Cristian Borges – USP

Eduardo Victorio Morettin – USP

Laura Cánepa – UAM Luiz Antonio Mousinho Magalhães – UFPB

Jamer Guterres de Mello – UAM

Julierme Sebastião Morais Souza – UEG

Marga Carnicé Mur – Escuela Superior de Cine y Audiovisuales de Cataluña

Margarida Maria Adamatti – UFSCar

Pedro Plaza Pinto – UFPR Ramayana Lira de Sousa – UNISUL

Rogério Ferraraz – UAM

Rosane Kaminski – UFPR

Suzana Reck Miranda - UFSCar

Jessica Roberts and Adam Maksl

According to the Freedom of the Press Foundation, American journalists came under physical attack in 88 distinct incidents in 2017 and 2018 across the United States, with incidents ranging from assault at the hands of far-right protestors and police officers to outright murder.

This authoritative annotated document collection surveys and explains efforts to censor, intimidate, suppress—and reform and improve—news organizations and journalism in America, from the newspapers of colonial times to the social media that saturates the present day.

This primary source collection will help readers to understand how the press has been vilified (usually by powerful political or corporate interests) over the course of American history, with a special focus on current events and how these efforts to censor or influence news coverage often flout First Amendment protections concerning freedom of the press. Selected documents highlight efforts to intimidate, silence, condemn, marginalize, and otherwise undercut the credibility and influence of American journalism from the colonial era through the Trump presidency.

Most of the featured documents focus on efforts borne out of self-interested attempts to shape or conceal news for political or economic gain or personal fame, but coverage also includes instances in which press actions, attitudes, or priorities deserved censure. All told, the collection will be a valuable resource for understanding the importance of a free press to American life (and the constitutional basis for preserving such), the motivations (both selfish and altruistic) of critics of American journalism from the earliest days of the Republic to today, and the impact of all of the above on American society.

Features

• More than 65 essential and illuminating primary documents provide key insights into American news media and freedom of the press
• Primary source selections span the history of American news coverage, from the nation's earliest days to today's Twitter-driven media landscape
• Informative, authoritative, and balanced introductory notes for each primary source help readers to understand the context in which they were created
• A Reader's Guide to Related Documents and sidebars connecting readers with additional information on the topic 

Raquel V. Benítez Rojas

In Production 101, noted researcher, producer, entertainment executive and PhD candidate at Universidad Complutense de Madrid , Raquel V. Benítez Rojas provides a clear, concise and practical summary of the fundamentals of film, television and multimedia production. Topics covered in the book include:

• Copyright and moral rights
• Legal organization of a production company
• Submission forms
• Option, purchase and writing agreements
• Assignment and waiver of rights
• Non-disclosure and non-circumvention agreements
• Teasers and test samples
• Co-productions
• Canadian content regulations
• Budgets and schedules
• Insurance
• Distribution
• Rights acquisition
• Merchandising

The numerous sample agreements and documents included in the book serve as useful templates for students and professionals alike.

“… this handy book by industry veteran Raquel Benitez Rojas is … a fantastic addition to the genre of how-to books dealing with live action and animated filmmaking. What makes her take on the business different from others is her practical knowledge of the inner workings of the industry, because she herself has directed and produced content for TV, digital media, and theatrical releases. She reviews all the various steps of a project, from the earliest stages of development, through financing, clearing rights, hiring writers and artists, production, signing co-pro deals, and taking advantage of global tax credits, all the way to licensing, merchandising, distribution and residuals.” —Ramin Zahed, Editor, Animation Magazine

Publisher ‏ : ‎ Centennial College Press (Oct. 7 2020)

Language ‏ : ‎ English

Paperback ‏ : ‎ 198 pages

ISBN-10 ‏ : ‎ 0919852785

ISBN-13 ‏ : ‎ 978-0919852785

Item weight ‏ : ‎ 408 g

Dimensions ‏ : ‎ 20.32 x 1.14 x 25.4 cm

The Center for Advanced Internet Studies (CAIS), Bochum, Germany

Are you studying the social, political, economic, media-related or cultural effects of digitalization? Do you want to concentrate exclusively on a project and are interested in interdisciplinary exchange?

The Center for Advanced Internet Studies (CAIS) in Bochum, Germany, supports innovative projects that deal with the social opportunities and challenges of the digital transformation. Experts from academia and practice can apply for fellowships and working groups.

The funding program is open to experts of all career stages, to all disciplines and areas of investigation, as well as to pure research and to projects that are more applied in orientation.

The funding program is continuous. Apply now for fellowships and working groups starting from April 2022.

Please follow the two-step application process:

Send an abstract of your project (max. 300 words) with letterhead and information on the desired time of implementation as a PDF to application@cais.nrw by 31 August 2021.

Submit the full proposal by 30 September 2021 via the application form on our website.

For more information go to: www.cais.nrw/en/callforapplications/.

If you have any questions, please contact esther.laufer@cais.nrw.

An Anthem Press Series

Anthem Studies in Emerging Media and Society invites scholarly enquiries into how transformations and continuities in the digitalised media landscape might (or might not) shape the way we live in, connect with and act for society at large. The series welcomes fresh empirical, interpretative and critical approaches to the diffusion and socio-political impact of emerging media forms, platforms, channels and devices. A major, but not exclusive, focus is on new developments that can influence democratic processes and their lifeblood, the quality of news and information.

Series Editor

An Nguyen – Bournemouth University, UK

Editorial Board

Stuart Allan – Cardiff University, UK

Axel Bruns – Queensland University of Technology, Australia

Kayt Davies – Curtin University, Australia

Andrew Duffy – Nanyang University of Technology, Singapore

Dan Jackson – Bournemouth University, UK

Nikki (Usher) Layser – George Washington University, USA

Angela Lee – University of Texas at Dallas, USA

Simon Lindgren – Umeå University, Sweden

Wiebke Loosen – University of Hamburg, Germany

Henrik Ornebring – Karlstad University, Sweden

Angela Phillips – Goldsmiths, University of London, UK

Julie Posetti – Oxford University, UK

Jane Singer – City University, London, UK

Einar Thorsen – Bournemouth University, UK

Tim Vos – Michigan State University, USA

Hong Vu – University of Kansas, USA

Amy Schmitz Weiss – San Diego State University, USA

Oscar Westlund – Oslo Metropolitan University, Norway

PROPOSALS

We welcome submissions of proposals for challenging and original works from emerging and established scholars that meet the criteria of our series. We make prompt editorial decisions. Our titles are published in print and e-book editions and are subject to peer review by recognized authorities in the field. Should you wish to send in a proposal for a monograph, edited collection, handbook or companion, reference or course book, please contact us at: proposal@anthempress.com.

Strongly international and interdisciplinary in focus, Anthem Press is a leading independent academic and trade publisher in established and emerging Social Sciences, Business and Humanities fields of study. Headquartered in London (UK) with sales and distribution outlets in the USA, UK, Australia and India, Anthem Press is an imprint of Wimbledon Publishing Company.