ECREA WEEKLY digest ARTICLES

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

University of Brighton

The University of Brighton, through the South Coast Doctoral Training Partnership (SCDTP), offers ESRC-funded studentships in a range of social science areas and disciplines. These studentships comprise institutional projects and an open call in which we invite highly motivated applicants to suggest their own projects. The University of Brighton has a strong commitment to cutting-edge research and community engagement and there is a particular focus on trans- and interdisciplinary research. As an ESRC-funded student, you will join a vibrant group of PhD students who meet regularly to discuss their projects. You will be working with academics who have developed cutting edge approaches to research and will gain experience of how to influence policy and practice through academic research.

Centres of Research and Enterprise Excellence

• Centre for Transforming Sexuality & Gender
• Centre of Resilience for Social Justice
• Centre for Memory, Narrative and Histories
• Centre for Applied Philosophy, Politics and Ethics
• Centre for Spatial, Environmental & Cultural Politics
• Centre for Change, Entrepreneurship & Innovation Management (CENTRIM)
• Centre for Digital Media Cultures

Funding

SCDTP studentships cover the cost of programme fees and provide an annual stipend (UKRI rates). SCDTP students will also have access to a Research Training Support Grant for activities such as carrying out fieldwork within the UK, purchasing essential equipment and attending conferences. See the SCDTP funding page for details.

How to apply

Visit the University of Brighton website for full details and to submit your application. You can contact a project lead or potential supervisor directly. You can also email us if you have any questions.

DEADLINE FOR APPLICATIONS: Monday 04 January 2021

Interviews: 25 January – 05 February 2021

Applications from both Home and non-UK residents can be accepted.

Studentship Projects for October 2021

• Employee ethnicity as a risk factor for exploitative labour practices in the UK adult social care industry

Project lead: Anne Daguerre

• How social policy can inform green social prescribing as an instrument for social justice and inclusion

Project lead: Matt Adams

• The impact of migrant remittances on promoting small and medium-sized enterprises in home countries

Project lead: Eugenia Markova

• Improving community partnerships in local policy through enhanced participation for marginalised groups

Project lead: Phil Haynes

• Policy implications and design characteristics of smart, urban, digital ecosystems from a justice perspective

Project lead: Maria Sourbati

Studentship open call for October 2021

See our SCDTP open call and explore the range of supervisors interested in supporting applications in their research areas

University website

For more information, please visit our University of Brighton PhD programmes page or contact Phil Haynes at or Fiona Sutton.

www.massmediaculture.com

Your voices as subject matter experts on these issues are missing in the global stream of conversations. These and other questions and concerns elevate the power of the era in which we now live—The Turing Galaxy—the age of the networked computer.

Greetings, I trust you are well. I’m writing you because I am seeking a community of like minded co-curators and cocreators who are also change agents and are willing to share expertise and counsel. Together we will offer thought leadership and resolution to these and other questions concerning the Media and Culture industries.

My startup, www.massmediaculture.com, an Internet Protocol TV network, WebPortal and Advertising Medium is the forum to be operationalized. Based on my 20 years of experience directing public health communication science initiatives, we’ve developed a science-informed theory, framework and business model to offer solutions to the era’s consequential challenges and opportunities.

I’d like to know who in the MEDIA INDUSTRIES AND CULTURAL PRODUCTION SECTION is interested in joining me to help operationalize the platform. We aim to apply the powerful pedagogical approach where students and teachers produce work and learning together with the MassMediaCulture team including other private and public sector associates. The environment I seek is one where the professor is more of a mentor or coach helping students achieve the learning goal using real world examples in the classroom.

We will discuss next steps such as developing a concept paper; creating a global Cultural Big Data Research initiative; and operationalizing an Internet Protocol TV Network an interactive Webportal focused exclusively on all that matters in the Mass Media and Culture industries.

June 24-26, 2021

Online

Deadline: March 31, 2021

The Centre for Communication and Media Research (based at the Institute of Communication Studies in Lille) is pleased to announce its inaugural annual conference entitled “The Network Society: Re-evaluation and Applications of a Concept” set to take place on the 24th , 25th and the 26th of June, 2021.

Please submit your abstracts, in English or French, of no longer than 300 words as well as a short biographical note to Dr Mehdi Ghassemi (mehdi.ghassemi@istc.fr ) and Dr Camila Pérez Lagos (c.perez-lagos@ucolaval.net).

Deadline for abstract submission: March 31st , 2021. Post-conference paper submissions will be considered for publication. Announcements regarding this will follow.

https://www.istc.fr/…ch/

The Centre for Communication and Media Research (based at the Institute of Communication Studies in Lille) is pleased to announce its inaugural annual conference entitled “The Network Society : Re-evaluation and Applications of a Concept” set to take place on the 24th, 25th and the 26th of June, 2021.

2021 marks the 25th anniversary of the publication of the first volume of Manuel Castells’ trilogy The Information Age that charts the social, economic and cultural transitions from industrial to network societies. The advent of the network as the dominant form of social structure, according to Castells, brings about a “new social morphology” that substantially modifies “the processes of production,

experience, power, and culture” where a “global information economy” and a “culture of real virtuality” underlie every aspect of human life. (Castells, 1996, 1998). Since then, Castells’ ground-breaking body of work has inspired many scholars to use The Network Society as both a powerful metaphor as well as a nuanced model for understanding the social, the cultural, and the political aspects of the digital age.

Our aim is to address not only the relevance and contemporary applications of the concept of the Network Society as it has been elaborated by Castells, but also to engage with its limits as an explanatory framework and to examine the ways in which other scholars have built upon Castells’ theory of The Network Society.

We are pleased to announce that the plenary talk will be given by Professor Manuel Castells himself. We hope that this will encourage colleagues from around the world to contribute to the discussions around The Network Society. We therefore invite scholars from diverse disciplinary backgrounds to present papers related to any aspect of the conference theme.

Possible topics may include, but are not limited to :

• Contemporary applications of the concept of The Network Society
• Communication power, politics and networked activism
• Networked spatiality and temporality (“space of flows and timeless time”)
• Cultures of real virtuality (especially in the context of the Covid 19 pandemic)
• Network perspectives on the media
• Networked communication
• Cultural representations of the network society

Submission guidelines

Please submit your abstracts, in English or French, of no longer than 300 words as well as a short biographical note to Dr Mehdi Ghassemi (mehdi.ghassemi@istc.fr) and Dr Camila Pérez Lagos (c.perez-lagos@ucolaval.net).

Deadline for abstract submission : March 31st, 2021

The conference will be held online using the platform Livestorm.

Post-conference paper submissions will be considered for publication. Announcements regarding this will follow.

Scientific committee

• Christine Barats, Université Paris Descartes – CERLIS
• Clément Mabi, Université de Technologie de Compiègne – EPIN
• Daniel Barredo Ibañez, Universidad del Rosario, Colombie.
• Emmanuel Marty, Université Grenoble Alpes – GRESEC
• Fernando Oliveira Paulino, Universidade de Brasília - UNB/Brasil
• France Aubin, Université du Québec à Trois-Rivières - CRICIS
• Julien Péquignot, Université de Franche-Comté – CIMEOS
• Nikos Smyrnaios, Université Paul Sabatier, Toulouse – LERASS
• Tiphaine Zetlaoui, Université Catholique de Lille
• Tourya Guaaybess, Université de Lorraine – CREM
• Van Gorp Baldwin, Institute for Media Studies - KU Leuven
• Zineb Majdouli, Université Catholique de Lille
• Mehdi Ghassemi, Institute of Communication Studies (ISTC) – CCMR
• Camila Pérez Lagos, Université Catholique de l’Ouest (Laval – France) – CHUS-CIM.

On December 15th several ECREA members took part in the official launching of the book Research Traditions in Dialogue: Communication Studies in Latin America and Europe. This is one of the most remarkable outcomes of the long established collaboration between ECREA and ALAIC, the Latin American Association of Communication Researchers. The alliance set back in 2010 turned into an active joint task force between both associations between 2012 and 2018, with a constant presence in international conference, organized by ECREA, ALAIC or IAMCR.

This book is published in open access both in English and Spanish, and it presents a stimulating method based on the dialogue between European and Latin American experts discussing on six of the main research traditions in our field: functionalism, critical theory, cultural studies, alternativism, postcolonialism and feminism.

For the open access book in English, click here: https://www.alaic.org/site/wp-content/uploads/2020/12/Research-Traditions-in-Dialogue.pdf

Para la versión digital en español del libro, pulse aquí: https://www.alaic.org/site/wp-content/uploads/2020/12/Tradiciones-de-Investigacion-en-Dialogo-capa-3.pdf

Edited by: Fernando Oliveira Paulino, Gabriel Kaplún, Miguel Vicente Mariño and Leonardo Custódio

Editorial Team:

Fernando Oliveira Paulino, César Bolaño y Gabriel Kaplún (ALAIC)

Miguel Vicente Mariño, Leonardo Custódio y Nico Carpentier (ECREA)

A book published by: Media XXI (www.mediaxxi.com)

The book "Research Traditions in Dialogue: Communication Studies in Latin America and Europe" reflects on the following questions: What are the possibilities to establish bridges, comparisons and connections between/among Communication Studies in Europe and Latin America? How can we describe, and put into perspective, the research in these two regions? How are they connected, in particular ways, to functionalism, critical thinkings, culturalist currents, alternative reflexions, postcolonial studies and feminist perspectives about the Communication?

These are important issues that are relevant to Communication scholars and students – This new book aims to stimulate the debate on the roles of these research traditions, and on the similarities and differences in the two regions. In dealing with these questions, the book aims to connect Communication studies in Latin America and Europe through dialogues that involved important researchers who accepted the challenge of working together.

They are: Nico Carpentier, Miguel Vicente Mariño, Leonardo Custódio, Juana Gallego Ayala, Maria João Silveirinha Cláudia Lago, Mara Coelho de Souza Lago, Monica Martinez, Tanius Karam Cárdenas, Antonio Castillo Esparcia, Alejandro Álvarez-Nobell, Pedro Russi, Ruth de Frutos, Javier Torres Molina, César Bolaño, Leonarda García-Jiménez, Manuel Hernández Pérez, Filipa Subtil, Marta Rizo, Alejandro Barranquero, Emiliano Treré, Lázaro Bacallao, Sarah Anne Ganter, Félix Ortega and Erick Torrico Villanueva.

Digital versions of the book “Research Traditions in Dialogue: Communication Studies in Latin America and Europe” are available through the links above. The publication is the result of a collaboration between the Asociación Latinoamericana de Investigadores de la Comunicación (ALAIC) and the European Communication Research and Education Association (ECREA), supported by the International Association for Media and Communication Research (IAMCR).

Deadline for submission of abstracts: January 29, 2021

Proposals are invited for contributions to an edited collection titled The Sex Scene, the first book to be published as part of Edinburgh University Press’s new “Screening Sex” book series.

Screening Sex: The Sex Scene is intended to serve as a primer for the series. Taking the “sex scene” as a critical starting point for the series, the book will be a critical exploration of the significance of the depiction of sex on screen and in sexual cultures. This volume seeks a range of essays that will collectively consider histories and controversies (screen, legal, censorial, critical), industrial contexts and labour (writing, directing, performing and editing), the mise-en-scène of the sex scene (content, aesthetics, representation) and temporality and approach (in genres, form and style).

We are working with a purposefully wide remit to encourage a diverse collection of essays from a diverse range of writers and are keen to encourage a broad interpretation of “sex scene” – it could apply as much to a specific scene in a film as to a geographical scene or place in time.

PROPOSAL SUBMISSION:

Chapters proposals should be submitted as a 300-400 word abstract to the editors Darren Kerr and Dr Donna Peberdy (screeningsex@gmail.com) by Friday 29 January 2021, using the subject line “The Sex Scene proposal”. Please include a proposed title and author bio (150 words). Acceptance notices will be sent out in February 2021. Completed chapters (5,000-6,000 words) will then be due Friday 3rd December 2021. Please feel free to email with any queries prior to the submission of abstracts.

A NOTE ON THE SCREENING SEX BOOK SERIES:

The series’ scope and approach encourages a broad range of critical, contextual and cultural methodologies relating to sex on screen, drawing on cross-disciplinary and inter-disciplinary research as well as encouraging intersectional observations and approaches. There will be a range of critical approaches covered across the series that will often be determined by theme proposed by the author/s. Approaches to queer theory, feminism and psychoanalysis will sit alongside genre studies, cultural studies and the social sciences. Besides analytical considerations of representational strategies, the series will also give space to examine the scope and change seen in industry practice, spanning production techniques, changing modes of exhibition and new strategies of distribution. The central argument throughout the series will be to address the importance of confronting, examining, challenging and re-framing social and cultural perceptions of sex in a meaningful and engaging way. While the series will include consideration of western, canonical, mainstream cinema, key features expected of the series will be to also account for non-western film cultures as well as marginal, alternative, underground, low-budget and independent films from a diverse range of voices, histories and material cultures beyond those that have been historically dominant. We are particularly keen to include previously unexplored/underexplored case studies. For more information see https://screeningsex.com/bookseries/ or contact Darren and Donna for more details.

SERIES EDITORS

DARREN KERR

darren.kerr@solent.ac.uk

Darren Kerr is Associate Professor of Sexual Cultures and Head of The School of Film and Television at Solent University, Southampton, UK. He has written on topics ranging from sexual perversion, celebrity auto-erotic asphyxiation and literature to film adaptations of sexual politics. Darren’s publications included Hard to Swallow: Hard-core Pornography on Screen (Wallflower) and Tainted Love: Screening Sexual Perversions (I.B. Tauris). He is series editor for EUP’s Screening Sex book series, co-director of screeningsex.com and a member of Routledge’s Porn Studies editorial board.

DONNA PEBERDY

donna.peberdy@solent.ac.uk

Dr Donna Peberdy is Senior Lecturer in film and television at Solent University, Southampton UK. She is the author of Masculinity and Film Performance: Male Angst in Contemporary American Cinema (Palgrave Macmillan) and co-editor of Tainted Love: Screening Sexual Perversion (I.B. Tauris). She is co-director of screeningsex.com and series co-editor of the Screening Sex book series (Edinburgh University Press). Her research on screen performance and the politics of identity has been published in the journals Celebrity Studies, Transnational Cinemas, The New Review of Film and Television, Men & Masculinities and edited collections American Television in the Trump Era (ed. Karen McNally), Acting (eds. Claudia Springer and Julie Levinson), A Companion to Film Noir (eds. Andrew Spicer and Helen Hanson), Film Dialogue (ed. Jeff Jaeckle) and Millennial Masculinity (ed. Timothy Shary).

Special Issue of Convergence: The International Journal of Research into New Media Technologies

Deadline for abstracts: March 7, 2021

Expected date of publication: April 2022

Guest editors: Daniela van Geenen (University of Siegen), Dr. Karin van Es (Utrecht University) and Dr. Jonathan Gray (King’s College London)

The criticism of knowledge technologies has a long tradition in science and technology studies (STS), feminist studies and media studies approaches often addressing the ways in which technologies frame epistemic processes in scientific and technical settings (e.g. Latour, 1987; Latour and Woolgar, 1979; Haraway, 1988 and 1997; Chun, 2011; Galloway, 2012; Manovich, 2013). Knowledge technologies are not just the preserve of natural scientists and engineers, but also present in a wide variety of everyday and professional settings – including social and cultural research, in particular, in critical approaches to ‘Big Data’ and algorithmic systems. Importantly, these tools frame how we approach our objects and sites of study; they are not neutral, but active mediators impacting the ways knowledge is produced and disseminated.

This special issue explores the contemporary relevance of the notion of ‘critical technical practice’ (Agre, 1997a) to digital research in the humanities and social sciences including internet studies, critical data studies (e.g. Iliadis and Russo, 2016), critical algorithm studies (Gillespie and Seaver, 2016), and software studies (e.g. Rieder, 2020). Philip Agre (1997a and b) coined the notion of critical technical practice (CTP) in his work on artificial intelligence, proposing the challenge of having ‘one foot planted in the craft work of design and the other foot planted in the reflexive work of critique’ (Agre, 1997b: p. 155). The issue aims to bring together, advance, and reflect on recent work on the relevance of critical technical practice(s) for scholarship, pedagogy, and public engagement around digital devices and computational tools in the context of social and cultural research. It takes up recent calls advocating the relevance of such approaches to tool development, research, and education in cultural and social studies in order to approach digital media as both objects and instruments of investigation (e.g. Dieter, 2014; Gray, Bounegru, Milan, and Ciuccarelli, 2016; Gray and Bounegru, forthcoming; Rieder & Röhle, 2012 and 2017; Van Es, Wieringa, Schäfer, 2018; Van Geenen, 2018 and 2020).

The editors welcome contributions from a range of disciplinary perspectives that explore questions such as:

• How can researchers organise critical inquiry with and about such digital tools, methods, and data collections?
• How can devices such as network graphs, spreadsheets, scrapers, APIs, machine-learning tools, and code libraries be repurposed in cultural and social research, with a critical sensibility towards their genealogies and sociocultural lives?
• How can methods be taken as sites of experimentation around the composition of collective life, between research and other areas of practice (e.g. activism, education, journalism, or policy)?

Deadline abstracts: 7 March 2021

Please send a 500-word abstract and a 100-word bio to the guest editors: daniela.vgeenen@unisiegen.de, k.f.vanes@uu.nl and jonathan.gray@kcl.ac.uk

Authors of accepted abstracts will be invited to send full contributions by 2 August 2021.

University of Brighton

The School of Media, University of Brighton is inviting applications for AHRC-funded technē Doctoral studentships for October 2021 entry.

We are looking for motivated and engaged individuals to study across our research strengths in Media & Communications, Arts and Humanities. Applicants will be educated to Masters level or equivalent and meet AHRC eligibility criteria for funding.

Your application will go through a two-stage process, being considered first by the University of Brighton Doctoral College.

AHRC-funded technē Studentships

Technē is a Doctoral Training Partnership funded by the Arts and Humanities Research Council (AHRC), aiming to create a new model for collaborative research skills training for research students across nine higher education institutions in London and the South East (Royal Holloway; Brunel University; University of Brighton; Kingston University; Loughborough University, London; Roehampton University; University of Surrey; University of the Arts London; and University of Westminster). Technē’s vision is to produce scholars who are highly motivated and prepared for academic, public or professional life.

Fully-funded studentships (stipends and fee waivers) will be awarded by technē to the best students put forward by its member universities. Successful applicants will benefit from a rich and diverse training programme with a focus on interdisciplinarity career development both in and beyond higher education and they will be able to draw on supervisory expertise from across the partnership. The technē training programme is enhanced by input and placement opportunities provided by 13 partner organisations, including the Barbican, Natural History Museum, Museum of London, BFI and the Science Museum.

The School of Media and Centres for Research Excellence

The University of Brighton’s School of Media fosters a thriving community of theorists and practitioners working on the development of new knowledge around media cultures, technologies and practices. Our research encompasses a broad range of media forms, from television and film to digital media, videogames, VR and AR and it focuses on different stages of media production, representation, distribution and reception. More specific areas include innovative research on the media and: identity politics (e.g. gender and sexuality); power and resistance (e.g. activism, democracy); memory and history; sustainability and environmentalism, among others

Research is supported through specialist centres and groups. Doctoral supervisors are active in research in the Centre for Digital Media Cultures, the Centre for Spatial, Environmental and Cultural Politics, the Centre for Transforming Sexuality and Gender and the Centre for Memory, Narrative and Histories. Additional Research & Enterprise Groups that provide further opportunities for networking, collaboration and support are the ones on Screen Studies, Photography in Practice; Photography in Theory, Creative Sound & Music and Cultural Informatics.

The City of Brighton and Hove gives our PhD students access to one of the UK’s most lively media economies. We foster research that takes advantage of these relationships with a history of community engagement and industry-based research projects.

For more information about the School research culture, please visit the School of Media research website.

For more information about the scheme, please visit the Technē website.

For more details and how to apply, please visit the relevant University page on Funding Opportunities and Studentships.

Important dates:

University of Brighton deadline: Monday 4 January 2021.

Interviews: Week beginning 20 January 2021

For further information please contact the Postgraduate Research Coordinator Aris Mousoutzanis

Coventry University

Coventry University's School of Media and Performing Arts, Faculty of Arts and Humanities is inviting applications, from interested 'hackademics' , for the post of Assistant Professor of Journalism. The deadline is 8th January 2021.

The successful candidate for this ‘senior lecturer’ level role is expected to contribute to both undergraduate and postgraduate journalism curricula, especially “within the frameworks of contemporary journalistic practice - and have a good knowledge of media law or have experience in television, online journalism/public relations, editing (e.g. Adobe Premiere) and/or be familiar with TV studio operations. This post will cover an array of specialisms in emerging forms of network media.”

For details, please see:

1. Jobs.ac link:

https://www.jobs.ac.uk/…ism

2. Coventry university jobs portal route ( https://www.coventry.ac.uk/…ty/ )

> ‘find current vacancies’ tab > search ‘journalism’ on keywords search window.

As indicated in the ad, those interested may contact Deputy Head of School Paul Smith for informal discussion.