ECREA WEEKLY digest ARTICLES

Fabian Holt

For decades, millions of music fans have gathered every summer in parks and fields to hear their favorite bands at festivals such as Lollapalooza, Coachella, and Glastonbury. How did these and countless other festivals across the globe evolve into glamorous pop culture events, and how are they changing our relationship to music, leisure, and public culture? In Everyone Loves Live Music, Fabian Holt looks beyond the marketing hype to show how festivals and other institutions of musical performance have evolved in recent decades, as sites that were once meaningful sources of community and culture are increasingly subsumed by corporate giants.

Examining a diverse range of cases across Europe and the United States, Holt upends commonly-held ideas of live music and introduces a pioneering theory of performance institutions. He explores the fascinating history of the club and the festival in San Francisco and New York, as well as a number of European cities. This book also explores the social forces shaping live music as small, independent venues become corporatized and as festivals transform to promote mainstream Anglophone culture and its consumerist trappings. The book further provides insight into the broader relationship between culture and community in the twenty-first century. An engaging read for fans, industry professionals, and scholars alike, Everyone Loves Live Music reveals how our contemporary enthusiasm for live music is more fraught than we would like to think.

https://press.uchicago.edu/ucp/books/book/chicago/E/bo61910974.html

February 5 - July 2, 2021

Online

Deadline: January 15, 2021

On behalf of the Crisis Communication Section management team:

Because it was not realistic to plan & host a live Crisis Communication conference in 2021, the Crisis Communication Section is offering two different avenues for presentation of research in 2021:

- Live Panel Sessions (two-hours each) on the first Friday of each month from 5 February – 2 July

- Live/pre-Recorded Presentations (up to 20 minutes each) posted on our website https://ecreacrisis.com/

All Live Sessions are Free to Attend.

Theme for Crisis2021: Risk & Crisis Communication & the ‘New Normal’.

As the world responds to 2020 and all of the new challenges it has posed, risk and crisis communication researchers, students, and practitioners have the opportunity to explore issues of work environments, politics, social justice, disasters, ‘ordinary’ crises, learning and teaching, well-being, social responsibility, and technology to name just a few areas connected to the tumultuous year we have all experienced. We are calling for abstracts that look forward from Covid-19 to the future across industries and even for reflective discussions about the role of risk and crisis communication.

You can submit an individual abstract or a panel proposal – send an MSWord document OR pdf attachment to: audra.lawson@leedsbeckett.ac.uk

More details available at: https://ecreacrisis.com/call-for-participation-crisis2021/

Deadline for Submission for Live Presentations: 15 January, 2021.

First live panel session: "COVID-19: Learnings and Consequences for International Crisis Communication Research and Practice"

Date: Feb 5 2020 (Friday), 4-6 p.m. CET (10-12 a.m. EST)

The first session will be chaired by Dr. Florian Meissner, Heinrich Heine University Düsseldorf, and endorsed by IPRA –the International Public Relations Association www.ipra.org.

The keynotes will address the following questions:

1) What have we learned from our observations of crisis communication during the pandemic by governments, organizations, health experts, media, and stakeholders around the world?

2) What are the consequences crisis researchers and practitioners need to draw from this pandemic? What is—or should be—on the research agenda for the next years?

Kristiania University College

Kristiania University College provides research and education in the areas of management, organisation, marketing, communication, computer science, health science, innovation and arts. With over 14,500 students and a large educational programme in Oslo, Bergen and online, Kristiania University College is Norway's largest independent broad-based college. Kristiania University College's mission is to contribute to Norway's social and economic development through a problem-driven and applied knowledge development and dissemination, in close cooperation with working life. In order to carry out this task in the most effective way possible, Kristiania University College aims to become Norway's first independent university.

About the Department of Communication, Leadership and Marketing

The school consists of the Department of Communication, Department of Management and Organisation, and the Department of Marketing. The school has an active academic environment within education, research and dissemination, and it leads the college's academic work in the development of an interdisciplinary PhD in Communication and Leadership. The school is an attractive workplace with a generous environment that is supportive and performance-enhancing. The studies we offer are closely related to practice and give our students a good insight into the working life that they will encounter after completing their studies.

The advertised position is affiliated with the Department of Communication. The department currently consists of approximately 20 employees and 500 students. We offer a master's degree in strategic communication and a bachelor degrees in journalism, in creative marketing communications and in PR and communication. A new bachelor's degree programme in communication and political science will also be launched soon. Online studies are also offered.

About the position

We have a 100% position vacant as associate professor of communication at the Department of Communication. The position is intended for teaching in the programmes offered in the department, research activities. The succesful canddate will contribute to strengthening the academic environment related to the planned PhD programme. Ideally, the position should be filled as soon as possible, but this is negotiable to some extent.

Tasks

• Plan and carry out teaching, where the subject is communicated in a Norwegian and international context
• Supervision and examination
• Maintain dialogue and networking with relevant parts of working life
• Research and development work
• Meetings with academic staff and academic management

The teaching at Kristiania University College requires that the person hired speaks a Scandinavian language, and can also teach in English.

The person appointed must be prepared for organizational and work changes. Changes in tasks may be relevant due to the future development of study programmes at the school.

Applicant requirements

Norwegian doctorate in the relevant field of study or equivalent foreign doctorate or competence at the corresponding level, documented by scientific work of the same scope and quality

The applicant must have research and teaching expertise in one or more of the following academic areas in communication:

• strategic communication
• organisational communication
• crisis communication
• digital methods / "computational social science"
• Experience from supervision, teaching and/or programme management at the college and university level
• Experience from participation in research projects and experience with participation in national and international research networks
• Experience in obtaining externally funded research projects

Applicants must be able to document pedagogic and didactic competence related to higher education and the development of teaching and supervision. If you do not meet the competence requirement, you must complete the college's course for basic pedagogical competence (15 credits) within a period of two years from accession. The course is offered by the college.

The candidate will be assessed in relation to the Regulations for employment and promotion in teaching and research positions pursuant to the University and College Act.

If there are no applicants who are eligible for permanent appointment as associate professor, an applicant may be added for a temporary period of up to three years if the expert committee finds that he or she has the prerequisites to obtain the necessary qualifications within that time. A new expert assessment will be carried out by the end of this period.

Furthermore, it is emphasised that you have

• Relevant experience from communication work
• The ability to build and maintain networks, regionally, nationally and internationally
• Good cooperation skills and the willingness to contribute to a constructive working environment, while being independent and reliable
• Good communication skills, both orally and in writing. The languages of work and teaching is Norwegian (or another scandinavian language) and English
• High working capacity and motivated to develop new knowledge in collaboration with others

Emphasis is placed on personal suitability for the position.

Applicants shall submit their application electronically to our application portal with the necessary information about education and practice, including the following content:

• Application text clearly setting out the motivation for the position and the applicant's educational platform
• CV with full details of education, practice and other professional activities
• List of scientific works and/or development projects. The documentation shall contain a full overview of scientific activity or other activity of significance for the position. Applicants can deliver up to 15 scientific works/publications
• Plan for future research
• Diplomas and certificates, including link to the diploma portal (vitnemalsportalen.no)

Qualified applicants must be prepared to hold a trial teaching session/lecture

We offer:

• An exciting job at a high-performance college
• A pleasant and stimulating working environment
• Great premises in central Oslo
• Good opportunities for professional development
• Corporate sports teams and private gym
• Salary to be agreed

The workforce shall as far as possible reflect the diversity of the population. We encourage all eligible candidates to apply. 

Application deadline: 8th of January 2021

Are you wondering what it's like to work with us or do you have other questions about the position?Contact Professor Anders Olof Larsson, tel.+47 47 96 87 80, AndersOlof.Larsson@kristiania.no

Only applications submitted via our application portal will be considered.

An evaluation will be conducted of relevant candidates. 

Read more here: https://www.kristiania.no/en/about-kristiania/vacant-positions/?rmpage=job&rmjob=142&rmlang=UK

University of Fribourg (Switzerland)

The Faculty of Management, Economics and Social Sciences of the University of Fribourg (Switzerland) invites applications for the full-time position of Professor (tenured) in Communication Studies. The professorship is with the Department of Communication and Media Research DCM and comes with one fully funded PhD position. The appointment begins in early 2022.

The position requires a specialization in individual (micro-level) issues of communication and media research from a social scientific perspective. This includes but is not limited to research fields like media exposure, media use and media effects and/or audience studies and/or media and online communication content. Moreover, candidates should be able to contribute to teaching in other areas on the Bachelor level, for instance journalism research or media economics and media management.

Finally, they should also take the digital transformation of communication and media into account in their current and/or future research and teaching activities.

Candidates must have completed a Ph.D. in communication studies or a closely related discipline (with proven experience in media and communication). They need a strong publication record (including peerreviewed articles in international journals) as well as positively evaluated teaching experience in the required specialization. Experience in acquiring competitive third-party research grants is desirable.

Moreover, candidates should have some international academic experience and sound skills in (quantitative and/or qualitative) social scientific research methods.

The teaching load is 6-7 hours per week and includes courses in the French-language Bachelor program “Sciences de la communication et des medias” as well as in the bilingual French/English Master program “Business Communication”. The position thus requires proficiency in French and English. Administrative languages at the University of Fribourg are German and French. A passive knowledge of German is expected in the medium term.

The salary is competitive. The University of Fribourg provides equal opportunities for women and men and aims at achieving gender balance.

Candidates should send their complete application in a single PDF file that includes

• a cover letter describing their motivation and qualification for the position;
• a CV including lists of publications, presentations, teaching experience, research grants, and academic service;
• teaching evaluations;
• a one-page statement on research interests;
• a one-page statement on teaching philosophy;
• a one-page statement on institutional work/academic service at previous institutions;
• the names of three professional references;
• three papers recently published, forthcoming or under revision

to the dean’s office (decanat-ses@unifr.ch) and to Ms. Nadège Rives (nadege.rives@unifr.ch), administration secretary at the DCM, until 1st of March 2021.

Authors: John Hartley, Indrek Ibrus, Maarja Ojamaa

It is only since global media and digital communications became accessible to ordinary populations – with Telstar, jumbo jets, the pc and mobile devices – that humans have been able to experience their own world as planetary in extent. What does it mean to be one species on one planet, rather than a patchwork of scattered, combative and mutually untranslatable cultures? One of the most original and prescient thinkers to tackle cultural globalisation was Juri Lotman (1922-93). On the Digital Semiosphere shows how his general model of the semiosphere provides a unique and compelling key to the dynamics and functions of today's globalised digital media systems and, in turn, their interactions and impact on planetary systems.

Developing their own reworked and updated model of Lotman's evolutionary and dynamic approach to the semiosphere or cultural universe, the authors offer a unique account of the world-scale mechanisms that shape media, meanings, creativity and change – both productive and destructive. In so doing, they re-examine the relations among the contributing sciences and disciplines that have emerged to explain these phenomena, seeking to close the gap between biosciences and humanities in an integrated 'cultural science' approach.

Purchase here: https://www.bloomsbury.com/uk/on-the-digital-semiosphere-9781501369223/?fbclid=IwAR0o5LSDdhk5L6sLcRT6qEHo8qvtGuShDCl-dKFJ5a-x8rx-tRsssg7MBrc

Special Forum of Communication, Culture & Critique (Vol. 15, No. 3, September 2022)

Contribution Deadline: June 1, 2021

Contribution Length: 1000-2000 words inclusive of all notes and references

Editors: Jamie J. ZHAO (Xi’an Jiaotong-Liverpool University) and Eve NG (Ohio U)

In the past decade, TV representations of female masculinity have proliferated and diversified worldwide. Notable examples include the white lesbian landowner Anne Lister in the historical drama Gentleman Jack (BBC/HBO, UK/USA, 2019-), the African American lesbian Denise in the web series Master of None (Netflix, USA, 2015-2017), the tomboyish participants of the girl group elimination shows Youth With You 2 (iQiyi, China, 2020) and Sisters Who Make Waves (Mango TV, China, 2020), the cross-dressing female protagonist raised as a boy in the drama Bromance (SETTV, Taiwan, 2015-2016), the butch lesbian beauty contest segment, “That’s My Tomboy,” in the Philippine daytime variety show It’s Showtime (ABS-CBN, Philippines, 2009-), and the Taiwanese-American K-pop girl band member, Amber Liu who has been famous for her gender-nonconforming persona and homosocial-natured group singing and dancing performances on Asian TV in the early 2010s.

Along with this surge in masculine female TV culture, there has been a growing body of scholarship on media and public imaginaries of female masculinity in different geo-locales since the late 1990s. J. Jack Halberstam (1998) famously noted that “far from being an imitation of maleness,” female masculinity is one of many “alternative masculinities” that manifests a continuum of various masculine traits and identities embodied or enacted by cis-females, such as tomboyism and butchness, the definitions and calibration of which are often socioculturally and racially modelled (p. 1). Moreover, the culturally specific understandings and imaginaries of female masculinity have been important threads in world gender studies and global queering theory, as research by Helen Leung (2002), Audrey Yue (2008), Todd A. Henry (2020), and others has discussed.

With a specific focus on global TV cultures in the 2010s, we intend this Forum of Communication, Culture & Critique to initiate a productive transnational, cross-cultural conversation about the variety of ways in which female masculinity has been imagined, idealized, troubled, deconstructed, and remodified on contemporary TV, and the relation of these representations to the sociocultural contexts from which they emerge. We aim to explore the following questions:

• How are TV images of female masculinity constructed through negotiation with local, transregional, and global media and public discourses?
• How and why can TV imaginaries of female masculinity in certain sociocultural contexts be linked to, or decoupled from, female heterosexuality/homosexuality?
• In what ways can ethnicity, class, and geopolitics complicate TV representations of female masculinity?

Entries dedicated to non-Anglo-American cultures from a de-Western-centric perspective are especially welcomed.

Potential forum entry topics may include but are not limited to:

• Gender-nonconforming or trans female celebrities on TV
• TV representations of masculine female athletes, warriors, spies, soldiers, or other forms of “heroic,” “aggressive,” or “rebellious” masculinity in women
• The ways in which gender non-conformity and class in women intersect in TV representations
• The intersectionality of female masculinity and non-Caucasian, non-Anglophone-speaking identities on TV
• Cross-dressing female characters and/or drag king culture on TV
• Televisual imaginaries of heterosexual-identified, masculine women
• TV framing of gendered differences and subjectivities of masculine and feminine women/lesbians

Submission Instructions:

The Forum section of the Journal of Communication, Culture & Critique aims to publish short, commentary pieces exploring contemporary issues in communication, media, and cultural studies for an international readership.

Please submit the full entry (1000-2000 words, including notes and references), in Word format, following the 6th APA style, as well as a short bio (max. 75 words, including current status, contact email, and affiliation), by June 1st, 2021 to the co-editors of this Forum section at jingjamiezhao@gmail.com and nge@ohio.edu.

Notifications of acceptance will be sent out by August 1st, 2021. If you have any further questions, please do not hesitate to contact the co-editors at the above two email addresses.

NOTE: Accepted Forum submissions will be published in the same Communication, Culture & Critique issue as the related special issue topic of “Centering Women on Post-2010 Chinese TV.” There is a separate CFP for those full-length papers.

Special Issue Editors:

Jamie J. Zhao is a global queer media scholar and currently Assistant Professor of Communications at the Sino-UK collaborative institution, Xi’an Jiaotong-Liverpool University. She holds a PhD in Gender Studies from the Chinese University of Hong Kong and another PhD in Film and TV Studies from the University of Warwick. Her research explores East Asian media and public discourses on female gender and sexuality in a globalist age. Her academic writings can be found in a number of journals and edited volumes, such as the journals Feminist Media Studies, Celebrity Studies, Continuum, Critical Asian Studies, and Transformative Works and Cultures, and the anthologies Global Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and

Queer (LGBTQ) History (Charles Scribner’s Sons, 2019) and Love Stories in China (Routledge, 2019). She also coedited the anthology, Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan (HKUP, 2017).

Eve Ng is an associate professor in the School of Media Arts and Studies and the Women’s, Gender, and Sexuality Studies program at Ohio University. Her research includes work on cultural production and viewer engagement around LGBTQ media, social media and participatory practices, and LGBTQ advocacy, and has appeared in Communication, Culture & Critique, Development and Change, Feminist Media Studies, Journal of Film and Video, New Review of Film and Television Studies, Popular Communication, Television and New Media, Transformative Works and Culture, and the Routledge Companion to Media and Human Rights (2017).

International Journal of Communication

Deadline: February 15, 2021

The International Journal of Communication will publish a Forum timed to appear with the 120-year anniversary of Paul Lazarsfeld’s birth, in August 2021. We are inviting contributions of 1500- to 3000-word essays that reflect on the late sociologist’s legacy for communication research and for empirical social research more broadly.

Topics may include, but are not limited to:

• Lazarsfeld and the institutionalization of social science research
• Lazarsfeld’s media research program, beyond the best-known studies of opinion leaders and personal influence
• Under-explored aspects of Lazarsfeld’s intellectual history
• Lazarsfeld as historian of empirical research methods
• The reception of Lazarsfeld’s research programs and methodological contributions around the world, including his native Europe
• Questions of credit and division of labor in Lazarsfeld-directed research projects
• Histories of lesser-known and uncompleted projects and proposals
• Lazarsfeld’s place in the remembered history of media and communication research

We aim to publish 4 to 5 open access essays in late summer 2021. Potential contributors should write to the Forum editors (Hynek Jeřábek and Jeff Pooley) with a 150- to 200-word abstract, by February 15, 2021. The deadline for completed drafts (1500 to 3000 words) is April 15, 2021.

Timeline

• February 15: Abstract (150 to 200 words) of proposed contribution
• April 15: Completed drafts (1500 to 3000 words)
• August: Forum publication in International Journal of Communication

Forum Editors

Hynek Jeřábek (Charles University) - hynek.jerabek@fsv.cuni.cz

Jeff Pooley (Muhlenberg College) - pooley@muhlenberg.edu

Special Issue of Communication, Culture & Critique (Vol. 15, No. 3, September 2022) Call for Papers

Paper Abstract Deadline (500 words): March 1, 2021

Complete Manuscript Deadline (6000-7000 words): August 1st, 2021

Editors: Jamie J. ZHAO (Xi’an Jiaotong-Liverpool University) and Eve NG (Ohio U)

Since the beginning of China’s self-modernizing process and the birth of Chinese feminist movements in the first decade of 20th century, women’s bodies and desires have frequently been marshaled in service of male-dominated nationalistic and (post-)socialist discourses of China and Chineseness. The ideological-political mobilization of female gender, sexuality, and subjectivity has considerably transformed and complicated contemporary Chinese televisual representations of women. In the 21st century, Chinese cyberspace, along with its flourishing creative and media industries, has witnessed an unexpected “boom in women-oriented literature and culture” (Sun & Yang, 2019, p. 28). Notably, the rise of local media and literature produced by and/or for women, along with flows of feminist and LGBTQ movements within and beyond China in the new millennium, first nurtured the cyber literature genre of “matriarchal fiction.” Such fiction is often “set in a society ruled by women … [and] describes a woman’s ascent to power in the public arena, or her success at establishing and heading a happy domicile including one or more male sexual partners” (Feng, 2013, p. 85). This matriarchal narrative maneuver later led to the widely popular “big heroine dramas” of Chinese TV in the past decade, the narratives of which focus on the life trajectories, professional obstacles, familial relationships, and romantic lives of female protagonists living in either the contemporary era or a temporally and spatially remote world (Sun & Yang, 2019, pp. 26-28). At the same time, a growing number of reality shows, talk TV shows, dating programs, and lifestyle shows in the post-2010 years have addressed themes related to women’s socio-cultural roles in both professional and private milieus, such as parenting skills, same-sex friendships and homosociality, and marital-familial issues in contemporary China characterized by cosmopolitanism, post-feminism, digitization, (post-)globalization, and deterritorialization.

Situated within this intriguing context, this special issue of Communication, Culture & Critique explores images, imaginaries, and performances of women that have dominated the post-2010 Chinese televisual screen. Seeing televisual spaces as a locally, transculturally, and globally mediated ground for the subject formation of “Woman” during this digital, globalist age, the issue aims to consider the following questions:

• How have emerging TV genres, formats, aesthetics, temporalities, and platforms contributed to the “doing”/construction and “undoing”/deconstruction of womanhood in the contemporary Chinese-speaking context?
• In what ways have female gender and sexual subjectivities been in constant negotiation, if not entanglement, with the mainstream hetero-patriarchal, authoritarian, ethno-nationalistic cultures that remain prevalent in the televisual space and industry of post-2010 China?
• How does research on the women-centered TV culture in the past decade open up new analytical possibilities for interrogating existing understandings of China, Chineseness, and Chinese media and popular communication in general?

This call invites proposals concerning critical, interdisciplinary research dedicated to explorations of the mutually implicative relation between womanhood and television in post-2010 China. We conceptualize “China” in a critically expansive way, one that exceeds Mandarin-speaking, Han-Chinese culture. Thus, we especially welcome topics concerning Chinese TV representations of non-Chinese, and/or non-Mandarin-speaking, and/or non-Han women. We are also interested in representations of cross-cultural or transnational familial-marital relationships relating to women’s roles as daughters, mothers, and wives; non-heteronormative women; or male-to-female (MTF) or female-to-male (FTM) transgender and cross-dressing personas and performances. Thus, we seek studies of women’s TV culture from a decolonial, de-Euro-American-centric, and de-Han-centric perspective. The goal is to unveil the intricacies, possibilities, and controversies of identity and agency within a largely authoritarian, patriarchal party-state, thereby helping to establish new theoretical and methodological frameworks at the intersection of Chinese TV studies, China studies, and Chinese gender, feminist, and queer studies.

Potential topics examining TV in China may include but are not limited to:

• Portrayals of female friendship and sisterhood
• Narratives of middle- or high-class women’s professional and familial struggles
• The framing of female singledom and marital strife on reality TV and dating shows
• Historical and xianxia (“immortal hero”) dramas featuring female protagonists (such as “big heroine dramas”)
• Imaginaries of young women’s and schoolgirls’ gendered life experiences and romantic relationships (including childhood traumas, parent–child relationships, and female homoeroticism and homosociality)
• Representations of women who are ethnic and cultural minorities in the Chinese and Sinophone worlds (such as Tibetan, Uyghur, Taiwanese aboriginal, or foreign-born ethnic-Chinese women)
• The intersection of womanhood, ethnicity/race, nationality, and class on TV (such as images of Thai lesbian stars, Taiwanese and Hong Kong female celebrities, Euro-American Caucasian women, or Southeast Asian female migrant workers)
• Transgender and cross-dressing women on TV (including those appearing in music and operatic performances on TV and impersonation shows, and TV images of transgender subjects and bodies)
• The production, distribution, and consumption of online TV programs related to women’s self-representation and self-making, facilitated by the growing popularity of China’s cyber communicative platforms and digital media
• Representations and censorship of feminist voices and cultures
• China’s transcultural, transnational adaptation and appropriation of women-centered televisual genres, formats, and aesthetics (such as soap operas and gossip TV, which are traditionally considered feminine and appeal to predominantly female audiences)

Submission Instructions:

Please submit a 500-word abstract as well as a short (2-page) CV by March 1st, 2021 to the co-editors of the special issue at jingjamiezhao@gmail.com and nge@ohio.edu.

Authors whose abstracts are selected will be notified by April 1st, 2021 and asked to submit complete manuscripts (6000-7000 words, including notes and references), in Word format, following the 6th APA style, by August 1st, 2021.

Acceptance of the abstracts does not guarantee publication of the papers, which will be subject to double-blind peer review. If you have any further questions, please do not hesitate to contact the co-editors at the above two email addresses.

NOTE: Accepted full-length paper contributions will be published in the same Communication, Culture & Critique issue as a Forum section on the related topic of “Global TV Images of Female Masculinity in the 2010s.” The Forum, which seeks shorter essays, has a separate CFP.

Special Issue Editors:

Jamie J. Zhao is a global queer media scholar and currently Assistant Professor of Communications at the Sino-UK collaborative institution, Xi’an Jiaotong-Liverpool University. She holds a PhD in Gender Studies from the Chinese University of Hong Kong and another PhD in Film and TV Studies from the University of Warwick. Her research explores East Asian media and public discourses on female gender and sexuality in a globalist age. Her academic writings can be found in a number of journals and edited volumes, such as the journals Feminist Media Studies, Celebrity Studies, Continuum, Critical Asian Studies, and Transformative Works and Cultures, and the anthologies Global Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer (LGBTQ) History (Charles Scribner’s Sons, 2019) and Love Stories in China (Routledge, 2019). She also coedited the anthology, Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan (HKUP, 2017).

Eve Ng is an associate professor in the School of Media Arts and Studies and the Women’s, Gender, and Sexuality Studies program at Ohio University. Her research includes work on cultural production and viewer engagement around LGBTQ media, social media and participatory practices, and LGBTQ advocacy, and has appeared in Communication, Culture & Critique, Development and Change, Feminist Media Studies, Journal of Film and Video, New Review of Film and Television Studies, Popular Communication, Television and New Media, Transformative Works and Culture, and the Routledge Companion to Media and Human Rights (2017).

Intercultural and interdisciplinary approaches to understand social impact and license to operate of media business around the globe

Eds. Franzisca Weder, Lars Rademacher, René Schmidpeter

Wiesbaden: Springer Gabler 2021

Management-series

“Corporate Social Responsibility”:

http://www.springer.com/series/11764?detailsPage=titles

Focus

Corporate Social Responsibility (CSR) is an established management focus of todays’ corporates and organizations of various kind, scope and size. This is supported by the book series on CSR by Springer Gabler, in which the planned volume is embedded in.

The social impact (SI) on the society and the key publics for which they function is lately debated in various fields of (mostly strategic) communication research (Rasche et al., 2018; Morsing 2018, Diehl et al., 2017; Allen 2006; Heath, 2018; Johnston et al., 2018; Saffer, 2019). Alongside, the idea that organizations need the permission, the license to operate (SLO) (Hurst & Ihlen, 2018), challenges all kind of business, but media corporations in particular. Unlike CSR initiatives in other industry sectors, CSR and Sustainability communication practices and related research in the media industry is still underdeveloped. This may be

- Firstly, due to the fact that until recently the media industry has not been challenged to introduce sustainable and responsible business models anyway.

- Secondly, the watchdog-role that media play in observing traditional businesses and politics has provided a general legitimacy for a long time.

- And thirdly, the debate about the media’s public value has covered questions about responsibilities towards the society and related impact so far.

However, in an era where fake news is constantly spread and algorithms co-decide the media agenda, the question about the impact on the public sphere, the public value of media products and the license to operate are becoming prevalent with a new normative framework of sustainability. In this book we will bridge the “former” debate on public value with the current debate about social impact and the social license to operate in the media industry. In the focus is the double nature of producing economic and cultural goods at the same time (Bracker et al., 2017; Karmasin & Bichler, 2017) which leads to the assumption that media companies have a double responsibility for the way they present reality (in their products) and with this controlling and criticizing economic and political developments and raising ethical concerns in the public debate on the one hand (SOCIAL IMPACT), and for their own activities as a CSR & Media Management 2 corporation on the other hand (LICENSE TO OPERATE).

The guiding question for contributions to this volume is the following: How do media corporations deal with their twin responsibility of holding society responsible and being responsible themselves? A second set of questions guides the inputs from various theoretical as well as cultural perspectives:

• What exactly do media outlets perceive as their responsibilities?
• Do media companies expend resources for CSR and, if so, what kind of resources and to what extent?
• What kind of resources (e.g., reputation, image, publicity) do media companies gain from Social Impact orientation and related CSR activities?
• How is responsibility allocated and taken along the media production process?
• What about the dimensions of responsibility like environmental responsibility, but as well gender, diversity and inclusion?
• What about the differences and overlaps between individual responsibility and morality and organizational ethics?

• Is there a difference between the walk and talk of media firms regarding their CSR practices?
• And, if so, what is the reason for this gap?
• What are elements of a sustainable business model when it comes to media outlets?
• What is the “social impact” of a media corporation?
• Which role do theories of engagement journalism and engagement communication play here?

We are seeking for global perspectives on the issue that will stimulate a conversation about innovative approaches in an industry where a stronger focus on sustainability as normative framework to discuss the public value is increasingly converging with economic goals. The European perspective with a historically strong role of public broadcasting should be contrasted with an Oceanian as well as US-perspective. Furthermore, there is a specific outlook to the challenges of cross-border management.

We are interested in “easy to read” contributions written in German and English from academics (on all levels) and practitioners in the areas of

We are interested in “easy to read” contributions written in German and English from academics (on all levels) and practitioners in the areas of

• CSR & CSR Communication
• Management/Media Management
• Communication Scholars,
• Business Scholars in related areas,

Schedule

• Submission of abstracts (250 w) and ideas 30.12.2020 -> send to f.weder@uq.edu.au
• Individual feedback of the editors 30.01.2020
• Submission of chapter 31.03.2021
• Feedback/corrections 15.05.2021
• Finalization Q3 2021

Evandro Oliveira: oliveira.evandro@gmail.com

COMPARATIVE CINEMA 17 (Fall 2021)

Deadline: April 30, 2021

https://www.raco.cat/index.php/Comparativecinema/announcement/view/88

The analysis of colour as a key component of cinema has particularly animated film studies scholarship in recent years, with interest in colour encompassing among other dimensions its connections with aesthetics, affect, history and politics. Research in this area has ranged across more than a century of the medium’s existence: from the manifold possibilities of colour in the silent era in Sarah Street and Joshua Yumibe’s 'Chromatic Modernity: Color, Cinema, and Media of the 1920s' (2019), to the most recent digital developments as captured in Carolyn Kane’s 'Chromatic Algorithms: Synthetic Color, Computer Art and Aesthetics after Code' (2014), colour is a property of the film image that has remained a constant even as it has undergone dramatic changes over time.

While colour has been mined by a number of scholars for its specific national, industrial and technological potentials, the 17th issue of 'Comparative Cinema' invites contributors to approach colour for its comparative possibilities, broadly conceived. The perspective of comparison encourages contemplation at the level of close analysis, but also gestures towards larger cultural-historical questions. Sergei Eisenstein (1957) once argued that specific hues do not have absolute correspondences with isolated values or meanings, but that the significance of a particular colour is relational, ‘dependent only upon the general system of imagery’ in a given film. But beyond the systemic relations of colours within a film, the importance of colour as an element on screen might also be viewed in comparison with colour outside of cinema altogether, in other media or in terms of the sundry ideological uses to which it has been put.

This issue of 'Comparative Cinema' will be devoted specifically to the uses, effects and experiences of colour with respect to comparative film analysis. Topics may include, but are by no means limited to:

• Colour and its absence: there has been a rise of late in the ‘colorization’ of black and white films, including Peter Jackson’s 'They Shall Not Grow Old' (2018). But a number of recent accessible works of art cinema – 'Roma' (Alfonso Cuarón, 2017), 'Ida' (Paweł Pawlikowski, 2013) – have explored the absence of colour altogether. How do particular films, filmmakers, or cinematographers present colour in relation to black and white? How are certain historical ‘transitions’ from black and white to colour conceived?
• Colour and race: cinema has a vexed history of depicting people of colour, both owing to forms of systemic social and industrial exclusion, and to the racist structuring of film technologies in the reproduction of particular skin tones. What part has film colour played in this history? How have both black and white and polychromatic colour palettes constructed racial difference on screen?
• Colour and ‘reality’: in order to exert some control over the colours of the profilmic world, Michelangelo Antonioni famously painted grass, trees, buildings and roads in 'Red Desert' (1964) and 'Blow-Up' (1967). What can such examples tell us about the ambitions of colour cinema in portraying the world? How do colours on film compare with the colours of ‘reality’? What is the relationship between ‘natural colour’ and the colours of nature? How might colour be analysed in documentary filmmaking?
• Colour and nation: the historical development of colour film has varied widely in the different national film industries across the globe. How might the use of colour be tracked across different nation states? How has colour contributed to the exoticisation of certain territories throughout the history of cinema? How might relationships between global ‘centres’ and ‘peripheries’ be reconceived through the lens of colour film technologies?
• Colour and time: with the aid of such invaluable resources as Barbara Flueckiger’s Timeline of Historical Film Colors (filmcolors.org), there are many possibilities for the examination of colour over time. How do the early colourisation techniques associated with silent cinema – tinting, toning, handpainting – compare with the digital colour grading process today? How does colour in particular film prints change over time, due to vinegar syndrome, bleeding and other issues connected with the material degradation of analogue film?

'Comparative Cinema' invites the submission of complete articles addressing colour from a comparative perspective, which must be between 5500 and 7000 words long, including footnotes. Articles (in MS Word) and any accompanying images must be sent through the RACO platform, available on the journal website.

In addition to articles that respond to this particular topic, 'Comparative Cinema' is also accepting submissions for ‘Rear Window,’ a miscellaneous section of the journal that will include articles focusing on other aspects of cinema by using a comparative methodology. Please indicate in your submission if you wish to be considered for this section of the journal.

Timeline for Issue 17:

Deadline for submission of complete articles: 30/4/2021

Peer review: 30/4/2021-30/6/2021

Final copy deadline: 31/7/2021

Publication: Fall 2021

Contact: comparativecinema@upf.edu