ECREA WEEKLY digest ARTICLES

January 20-21, 2022

Stadscampus, Prinsstraat 13, Antwerp

Deadline: September 15, 2021

Two-day international film studies conference organized by the Research Centre for Visual Poetics at the University of Antwerp

Confirmed Keynote Speakers

• Marco Grosoli (Habib University, Karachi)
• Richard Suchenski (Bard College, New York)

The ‘return’ to Romanticism in the recent consideration of modernist cinemas (see Richard Suchenski, Projections of Memory: Romanticism, Modernism, and the Aesthetics of Film; Daniel Morgan, Late Godard and the Possibilities of Cinema) can be taken as a way to frame the apparent contradictions in the work of a number of key figures: the revolutionary cinema of Jean-Luc Godard seems at odds with the seeming reactionism of a sanctification of natural beauty in his ‘late’ works. The strict materialism of Jean-Marie Straub and Danièle Huillet, in its turn, gave way to reflections on the necessity of myth and utopian ideals in the politicization of art. And although the cinema of Marguerite Duras is characterized by a destructive negativity, her films exhibit a minute attention to material presence. We believe that the same contradictions that characterize these works can be found in the films of a number of contemporary filmmakers - Chantal Akerman, Abbas Kiarostami, Hong Sang-soo, Wang Bing, Lav Diaz, Albert Serra etc. - allowing us to align them with the project of aesthetic modernism. It is our contention (one we share with Nancy, Lacoue-Labarthe, Rancière, J.M. Schaeffer and others) that this project can indeed best be approached by considering its romantic undercurrent.

Focal points

We invite papers that address these romantic legacies according to these three axes or focal points: totality, infinity, negativity.

These correspond to what we feel to be three key genealogical lines in the history of modern cinema:

• reductive aesthetics and negativity;
• revelationist aesthetics and mysticism;
• the aspiration towards totality and the persistence of myth.
• We encourage contributions that take an interdisciplinary and genealogical approach to film aesthetics.

Topics

Proposals may address but are not limited to the following:

• The cinema and aesthetics of Jean-Luc Godard, Marguerite Duras, Jean-Marie Straub and Danièle Huillet, Werner Schroeter, Jacques Rivette, Chantal Akerman, Eric Rohmer, Abbas Kiarostami, Wang Bing, Lav Diaz, Hong Sang-Soo, Albert Serra (non-exhaustive list).
• The contemporaneity of contradictions: materialist and idealist, reactionary and revolutionary, Catholic and Marxist, realist and modernist, pessimism and utopia; fragmentation and totality, mystic solemnity and playful irony, and so on. In which ways do these contradictions underlie contemporary film aesthetics in spite of their apparent theoretical inconsistency?
• Parallel developments: the entwinement of film aesthetics with art criticism, philosophy, literature and other artistic disciplines. We welcome papers that take this shared heritage and the transitions between these disciplines as their starting point to reassess the aesthetics of contemporary cinema.
• Genealogies: How did key ideas such as infinity, totality, negativity, and so on, enter the aesthetics of cinema? We are looking forward to new insights into the history of these ideas as they might advance unexpected ways of reading, seeing and understanding contemporary film aesthetics.
• Aesthetics and Politics; Politics and Aesthetics: Both the socio-political background of cinematic practices and politically engaged aesthetics - as well as the often paradoxical relation between the two - require our attention. How do these aesthetics make visible the covert persistence or revival of seemingly marginalized conceptions of art, which, upon their reinscription in contemporary contexts, give way to new interpretations of the aims and utopian claims that characterized them?

Proposal submissions

Proposals for paper presentations can be sent to poeticinsurrections.conference@uantwerp.be by the 15th of September 2021. Please also include a 300 word abstract and a short bio.

September 20, 2021

Deadline: September 3, 2021

The recent growing popularity of TikTok has transformed the cultures and practices of social movements online worldwide. Despite several concerns towards the app, regarding weak security (Chae, 2020; Dziedzic, 2020), moral panics incited by malicious content on TikTok (Purwaningsih, 2018) and some countries’ (temporary) ban on the platform (e.g. Indonesia, Pakistan, India), TikTok has rapidly grown as the “hottest app of 2020” in the world (Brigham, 2020). Its functionality (e.g. short-video, voiceover, meme template, background music, duet, hashtag) and unique genres (e.g. dance, comedy, social media challenge) have expanded existing social media cultures and enabled users to engage with other users, social issues, and even misinformation and online toxicity with ease and fun.

As part of such cultural moves, TikTok users establish their vernacular cultures and find their meaningful use of the platform by leading or participating in various types of movements for global awareness, social change, and civic politics. This includes Young TikTok users’ climate activism (Hautea et al., 2021); Growing anti-racist movements, such as the continuation of “Black Lives Matter” on TikTok (Janfaza, 2020; Richardson, 2020); and emerging hashtag streams like #StopAsianHate in response to increasing violence against Asians in the pandemic (Hanson, 2021).

The affordances of TikTok provide room for creativity with music and filters powered by AI technologies, which facilitates the formulation of identity politics and cultures. Recent examples include Young Indian women’s lip-syncing to Bollywood songs against the caste system (Subramanian, 2021); LGBTQI+ users’ use of various filters to advocate for diversity (Simpson & Semaan, 2021); Young users’ meme cultures (Zeng & Abidin, 2021) as consciousness building work (Anderson & Keehn, 2020; Literat & Kligler-Vilenchik, 2019); Older generations’ collaboration with younger generations (Hood, 2020). However, social movements on TikTok are not always specifically targeted towards social justice, but may often also advocate for specific beliefs that mirror global politics, such as Anti-vaccine movements and distribution of misinformation (Basch et al., 2021); Far-right movements (Weimann & Masri, 2020).

Focusing on the newly emerging cultures on TikTok, scholars in Media Studies, Communication Studies, Sociology, and Anthropology also have begun to develop “TikTok Studies”, looking for instance at emergent meme cultures on TikTok (Zeng & Abidin, 2021; Zeng et al., 2020; Zulli & Zulli, 2020), TikTokers as new types of internet celebrities (Abidin, 2021), users’ music practices (Kaye et al., 2021), the emergence of new teenage pop culture (De Leyn et al., 2021), online learning on TikTok (Li et al., 2021; Literat, 2021), novel methodologies for TikTok (Schellewald, 2021), and the newly emerging geopolitics around the app (Gray, 2021).

In response to this expansion of scholarship on TikTok and alongside the TikTok Cultures Research Network’s ethos to cultivate diversity and equity in academic scholarship, we will be holding a one-day online Symposium (on Zoom) to showcase emergent research on the potentials, promises, pitfalls, and parameters of such social movements on TikTok. The Symposium seeks to provide a meaningful opportunity to reflect on the evolving cultures and practices around the civic and social movements on TikTok, wherein various actors on the platform across the globe advocate for social justice and specific values, develop grassroots networks and resources, and engage with others. We invite submissions on themes that include, but are not limited to:

• Politics, digital circulation, and/or economies of movements on TikTok
• Online activism, campaigns, and protest on TikTok
• Intersections of sexuality, gender, race, ethnicity, and more on TikTok
• Emerging TikTok practices and communities for advocacy
• Far-right, or alt-right movements on TikTok
• Roles and affordances of the platform technologies in mobilizing movements
• Surveillance of TikTok movements
• Consequences and pitfalls of TikTok movements

HDRs, ECRs (up to 5 years post-PhD + career interruptions), and scholars in/or from the Global South are strongly encouraged to apply. A selection of papers will also be considered for inclusion in a Special Issue tentatively entitled “TikTok and Social Movements” that will be published in a top-ranked peer-reviewed journal in the field of Media Studies, Internet Studies, and Communication Studies.

For consideration in this Symposium, please submit abstracts (up to 250 words) on previously unpublished papers and a short bio (up to 100 words) to TikTok Cultures Research Network (tiktokcultures@gmail.com).

Key Dates:

• 03 September 2021 – Abstracts and biographies due
• 08 September 2021 – Notifications of acceptance
• 20 September 2021 – TikTok and Social Movements Symposium, tentatively 1200–1600hrs, GMT+8

We look forward to receiving your submissions! Please contact TikTok Cultures Research Network (tiktokcultures@gmail.com) with any questions about this event.

This Symposium is the fourth event organized by the TikTok Cultures Research Network, an Asia Pacific-based Network dedicated to understanding and developing qualitative and cultural approaches to studying the impact of TikTok on society, founded by A/Prof Crystal Abidin and supported by a network of Founding Members in October 2020. This event is supported by the Centre for Culture and Technology, and financed by Strategic Investment funding from the Faculty of Humanities at Curtin University.

TikTok and Social Movements team,

Dr Jin Lee, A/Prof Crystal Abidin, and Dr Bondy Kaye

University of Groningen

Apply here: https://www.rug.nl/about-ug/work-with-us/job-opportunities/?details=00347-02S0008M6P

Job description

The successful candidate will provide leadership to develop and grow the chair group’s research agenda and educational programs. The position consists of three major task components: research, teaching and management.

• Research

The research task of the full professor covers 40% of the appointment. Research in the field of Media Studies is housed in the Groningen Research Institute for the Study of Culture (ICOG) and, within this, in the Centre for Media and Journalism Studies (CMJS) which has been assessed as excellent/world-leading in the last research accreditation. Furthermore, we host the national research school RMeS (Research school Media Studies). The new chair is expected to develop a research agenda on the interface of cultural industries, media and digitalization and attracting research funding as well as knowledge application/valorization. They will also actively participate in the interdisciplinary Jantina Tammes School for Digital Society, Technology and AI at the University of Groningen.

• Teaching

The teaching task covers 60% of the appointment (minus management time). The new chair is expected to lecture in the field of Media Studies and, more specifically, Media and Cultural Industries. The international, English-taught BA programme in Media Studies (https://www.rug.nl/bachelors/media-studies/), containing the second year Cultural Industries profile of 30 EC, focuses on the social and informative functions of media. It is rooted in the humanities but also draws upon methods and paradigms developed in the social sciences. The programme has an annual enrolment of 120 students from all parts of the world. Our five MA programmes (https://www.rug.nl/masters/media-studies/) provide students with cutting-edge knowledge of media and the digital transformations that profoundly change society. In addition, the department offers minor and pre-master programmes Media Studies and Journalism Studies. Our BA and MA programmes rank first among all Media Studies programmes in the Netherlands in the national student survey.

• Management

The chair is expected to perform management duties within the department of Media Studies and Journalism and, more broadly, within the Faculty of Arts. On the national and international level, the chair will participate in relevant networks.

Qualifications

We are looking for candidates who are internationally recognized in Media and Cultural Industries with a strong interest in processes of digitalization, datafication and platformization.

We encourage you to apply if you have:

• a PhD degree in Media Studies, Communication Studies or a closely related discipline
• an excellent research track record, as evidenced by an outstanding publication record of high-quality books and articles in international peer-reviewed journals
• successfully obtained funding for research projects/submitted excellent grant applications
• a relevant, strategic international network, demonstrated by, for example, participation in internationally renowned conferences and leading roles in editorial boards of academic journals
• extensive experience with teaching, active learning, coordination, independent supervision (of BA/MA students, PhD’s and Postdocs) and administrative tasks in BA/MA degrees programs related to Media Studies and/or Communication Studies
• an innovative view on teaching & teaching methods, including interdisciplinary teaching
• excellent leadership skills and demonstrable organizational competences
• a strong societal network and demonstrable experience with societal impact
• fluency in English (C1 level of the CEFR) and Dutch or willingness to learn the Dutch language within two years (to at least C1 level of the CEFR – for reading and listening).

And you are:

• an internationally recognized expert in Media Studies and/or Communication Studies who studies the field from a broad and interdisciplinary perspective
• communicating a clear vision of academic education and research, transcending your own discipline
• able to supervise, mentor and encourage the relatively young, dynamic team of staff members
• capable of and willing to create and strengthen collaborations between the department, the Research Institute, the Faculty and the broader research field and society
• acting as a representative of the programs to students and a broader audience, with a strong societal network and demonstrable experience with societal impact; capable of translating research and teaching to a general audience
• representing the field through his/her contacts with other universities in the Netherlands
• expected to acquire external research funding
• contributing to the organization of the department, cluster and faculty, for example by participating in committees and working groups in the fields of teaching, research and management
• a team player with good communication skills
• willing to fulfill the requirements for the University Teaching Qualification and academic leadership courses with the ability to reflect on your leadership skills and style.

Familiarity with the Dutch educational system is considered an asset.

Special Instructions to Applicants:

The Faculty is considering only those applicants who are ready to move to Groningen and live in the near environment of Groningen within a period of two years.

Organisation

University of Groningen

Since its foundation in 1614, the University of Groningen has established an international reputation as a dynamic and innovative university offering high quality teaching and research. Its 36,000 students are encouraged to develop their own individual talents through challenging study and career paths. The University of Groningen is an international center of knowledge: it belongs to the best research universities in Europe, and is allied with prestigious partner universities and networks worldwide. For additional information (https://www.rug.nl/(...)k-with-us/new-staff/). The University of Groningen has a strong commitment to the principles and practices of diversity and inclusion throughout the University community and welcomes candidates who enhance that diversity.

Faculty of Arts

The Faculty of Arts is building on a longstanding tradition of four centuries. Its mission is to be an ambitious top-ranking faculty in terms of both education and high-quality research, with a strong international orientation, firmly rooted in the North of the Netherlands. The faculty creates and shares knowledge through outstanding education and high-quality research, benefitting to society. With more than 5,500 students, the faculty is heavily involved in educating students, both Dutch and international.

Media Studies

Media Studies in Groningen is rooted in the humanities domain but also draws upon methods and paradigms developed in the social sciences domain of communication science. It has a specific focus on the informative and social functions of media. With media and mediation at the heart of contemporary culture and life, we study and reflect on media’s impact in a wide variety of environments, whether it is social media, print, websites, radio, television, or search engines. Our degrees aim to provide students with a thorough understanding of the affordances of different platforms and the interplay between them; the political and economic underpinnings of media systems; patterns of use, production and content; and the functions and impact of media in culture and society. Our research and teaching is characterized by a comparative perspective by studying media in their cultural, historical, economic, political and international contexts. We have a focus on cultural industries, digital cultures, journalism studies, audiovisual culture, and politics and global citizenship.

Chair of Media and Cultural Industries

For this Chair the media and cultural industries in all their facets are central, with an emphasis on processes of digitalization, datafication and platformization. Media are central to the cultural industries, also known as the creative industries. Cultural industry scholars are turning their attention to the growing cultural influence of the technology sector. Tensions and collaboration between tech giants and the traditional cultural sector is reshaping these industries and the cultural content they produce. This has implications for cultural creators, for citizens, and for culture. How are citizens impacted and how do policy makers at all levels respond? How do platform politics influence which stories get told and which ones get ignored? What happens when cultural texts are reframed as 'content'? What is at stake when cultural curation is outsourced to algorithms and how does the automation of cultural production affect work and meaning? These questions are central to the new chair of Media and Cultural industries.

A full description of the chair of Media and Cultural Industries can be obtained from the Office of the Faculty of Arts (see below for contact information).

Conditions of employment

The appointment will be at the level of Full Professor with a gross monthly salary depending on qualifications and work experience from € 5,749 up to a maximum of € 8,371 (salary scale H2 of Dutch Universities) for a full-time position. On top of that income, the candidate will receive an 8% holiday allowance and a year-end bonus of 8.3% of your yearly salary. The conditions are in accordance with the Collective Labour Agreement for Dutch Universities (CAO NU).

Date of appointment: February 2022 (or as soon as possible afterwards).

The faculty will facilitate you in obtaining the requested qualifications for teaching and the Dutch language during the first two years of your appointment.

Application

You can submit your application until 24 September 11:59pm / before 25 September 2021 Dutch local time (CET) by means of the application form (click on "Apply" below on the advertisement on the university website).

Applicants should fill in the application form and upload four PDF files:

1. cover letter - outlining your motivation and suitability for the role and demonstrating how you meet the eligibility criteria outlined above.

2. cv - including a list of five self-selected best papers or publications, the complete list of publications and names and contact details of at least three references.

3. statement of research accomplishments and plans + teaching statement (maximum two pages in total). This can be uploaded under ‘extra document’ on the website.

4. an appropriate and characteristic writing sample. This can be uploaded under ‘extra document’ on the website.

A trial lecture is part of the standard procedure. A (personality) assessment may be part of the procedure.

The first round of interviews will be scheduled at the end of October; the second round of interviews is scheduled for the first half of November 2021.

We provide career services for partners of new faculty members moving to Groningen

We are an equal opportunity employer that values diversity. We have adopted an active policy to increase the number of female scientists across all disciplines of the university. Therefore, women are encouraged to apply. Our selection procedure follows the guidelines of the Recruitment code (NVP), https://www.nvp-hrnetwerk.nl/sollicitatiecode/ and European Commission's European Code of Conduct for recruitment of researchers, https://euraxess.ec.europa.eu/jobs/charter/code

Unsolicited marketing is not appreciated.

Information

For information you can contact:

Ms T. Oosterman, + 31 50 3635834, t.e.oosterman@rug.nl

Prof. Anthonya Visser, Ddean of the Faculty of Arts, anthonya.visser@rug.nl

Please do not use the e-mail address(es) above for applications.

May 12-13, 2022

Berlin (Germany)

Deadline: September 20, 2021

A Japanese-German Conference and Edited Volume (2022)

Current debates on artificial intelligence often conflate the realities of AI technologies with the fictional renditions of what they might one day become. They are said to be able to learn, make autonomous decisions or process information much faster than humans, which raises hopes and fears alike. What if these useful technologies will one day develop their own intentions that run contrary to those of humans?

The line between science and fiction is becoming increasingly blurry: what is already a fact, what is still only imagination; and is it even possible to make this clear-cut distinction? Innovation and development goals in the field of AI are inspired by popular culture, such as its portrayal in literature, comics, film or television. At the same time, images of these technologies drive discussions and set particular priorities in politics, business, journalism, religion, civil society, ethics or research. Fictions, potentials and scenarios inform a society about the hopes, risks, solutions and expectations associated with new technologies. But what is more, the discourses on AI, robots and intelligent, even sentient machines are nothing short of a mirror of the human condition: they renew fundamental questions on concepts such as consciousness, free will and autonomy or the ways we humans think, act and feel.

Imaginations about the human and technologies are far from universal, they are culturally specific. This is why a cross-cultural comparison is crucial for better understanding the relationship between AI and the human and how they are mutually constructed by uncovering those aspects that are regarded as natural, normal or given. Focusing on concepts, representations and narratives from different cultures, the conference aims to address two axes of comparison that help us make sense of the diverse realities of artificial intelligence and the ideas of what is human: Science and fiction, East Asia and the West.

Papers are invited on the following topics (among others):

• Which meanings and functions are ascribed to AI technologies and robots?
• How is science informed by popular discursive images of AI?
• Which cultural differences are there concerning the relationship between the natural and the artificial? What are the particular traditions of how to represent the human and its technological surrogates?
• What can the different cultural and conceptual histories tell us about our present and future with artificial intelligence?

Besides papers on these more general topics, we also invite case studies on innovative technologies and their fictional precursors as well as on the social, ethical or political contexts in which they are applied. All contributions are expected to address the comparative perspective on East Asian and Euro-American discourses.

Relevant issues and perspectives for these comparisons include but are not limited to cyberpunk and science-fiction in literature and film, public debates and imaginations of AI, the relation between simulation and reality, materiality, historical and legal accounts, sociotechnical imaginaries and politics.

We welcome contributions from scholars of diverse disciplines, such as cognitive science, computer science, cultural studies, literature and film studies, media and communication studies, psychology, political science, science and technology studies or sociology. Interdisciplinary approaches (e.g., those combining social, cultural and technical perspectives) as well as perspectives from practitioners and developers are particularly encouraged.

Submission process

Extended abstracts of approximately 4,000 to 6,000 characters in length (excl. references) should be submitted no later than 10 February 2021 to ai21@hiig.de

Speakers will be notified by 15 March 2021.

Conference and publication of selected papers in an edited volume

The conference will take place on Thursday 17 and Friday 18 June 2021 in Berlin.

Invitations for the submission of selected full manuscripts sent out in July 2021.

Full manuscripts of between 30.000 to 50.000 characters (excluding references) to be submitted by September 2021.

Comprehensive review returned to authors in December 2021; final papers due in February 2022.

The edited volume will be published in early 2022.

If you have any questions, you can contact the conference organisers via ai21@hiig.de.

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