ECREA WEEKLY digest ARTICLES

Queen’s University Belfast

Ref: 20/108274

Arts, English and Languages

The school of Arts, English and Languages seeks to appoint a Lecturer (Education) to teach at undergraduate level covering modules in the Subject Area of Film Studies and Production. The successful candidate will deliver all material on core module Introduction to Film Studies (level 1), and optional modules British Cinema (level 2) and British Film (level 3). It is anticipated that the appointee will cover a first year introductory module and offer subject level expertise for the higher level modules. On appointment, you will design and deliver teaching and assessment activities for three modules within Film Studies including lectures, setting/marking coursework, practice workshops, and fieldwork to undergraduates and postgraduates and will contribute to Area and School administration/outreach activity.

This post is available for a period of six months.

For full job details and criteria please see the Candidate Information link on our website: https://hrwebapp.qub.ac.uk/tlive_webrecruitment/wrd/run/ETREC107GF.open?VACANCY_ID=691522DUSP&WVID=6273090Lgx&LANG=USA____

Fixed term contract posts are available for the stated period in the

first instance but, in particular circumstances, may be renewed or made permanent, subject to availability of funding. 

The University is committed to equality of opportunity and to selection on merit. We welcome applications from all sections of society and particularly from people with a disability. 

ECREA´S 8th European Communication Conference

September 6-9, 2021

University of Minho

We would like to inform you that in consultation with the Local Organising Committee, the ECREA Executive Board has approved new dates for the 8th European Communication Conference: 6-9 September 2021.

The conference was scheduled for 2-5 October 2020 but we had to make the uneasy decision to postpone. The different timelines and strategies of gradual withdrawal of pandemic prevention measures adopted by individual European countries have made it impossible to organise the event according to our standards of academic quality and hospitality.

Planning of the postponed event will protect all the work already done in the creation of the conference's scientific programme. The review process has been concluded and the acceptance of papers and panels remains in place for the postponed conference. Over the next months, the organization department will contact all authors to confirm the approved status of previous submissions. The conference calendar will be revised and new important dates will be announced on the conference website.

We are working to prepare a safe and rewarding conference for all participants. Conferences should be exceptional moments for greater integration into our rich and diverse field for scholars of all ages, groups and research interests.

We are looking forward to seeing you in Braga from the 6th to the 9th of September 2021.

ECREA and the Communication and Society Research Centre of University of Minho are delighted to host the 8th European Communication Conference (ECC). The Conference has chosen the key theme ‘Communication and trust: building safe, sustainable and promising futures. Organisers call for proposals addressing (but not limited to) the main conference theme and relating to ECREA Sections, Networks or Temporary Working Groups.

Conference theme

What futures are we building up? What is the role of media and communication in these processes? Considering the pace of technological change and the way it is reshaping economy and culture, what type of adaptations and commitments are being asked of citizens and to what extent are institutions and policy makers engaged in achieving solutions that are both progressive and sustainable? What type of social, political and cultural futures are media and communication inducing and modelling? What relations exist between them and what are their main normative cornerstones? These are questions of critical interest for the 2020 ECREA conference. Scholars are invited to question the relevance of communication studies in face of societal challenges today and for generations to come.

Acceleration, speed and technological development are present in all dimensions of life, everywhere and at every level. Global forms of culture and global market dynamics are intensely shaping the nature of citizens’ lives and altering the way they think and relate to institutions. Trust is being eroded; some of its building blocks, such as communication for freedom, empowerment, development, and democratization are being reconfigured and gaining multiple and often contradictory meanings. Thereby, creating new inequalities and vulnerabilities in Europe and around the world whilst institutions seem weaker, more ineffective or late in their reactions.

There is a general academic perception that citizens everywhere are now inhabiting spaces of higher suspicion, uncertainty and privacy invasion at different levels of their life, which make them easy prey for different types of power brokers. Many relevant questions in communication studies can be addressed regarding ways in which fear, uncertainty, and social isolation affect citizens according to structuring variables such as race, ethnicity, gender or age.

If citizens are experiencing this general state of ontological insecurity, politicians and institutions appear to hesitate in the face of emergent problems requiring systemic, determined and eventually global scale well-sought answers. Climate change and environment urgencies are obviously requiring new insights from the media and communication field with particular attention to medium and long-term effects of human actions. The proactive actions of citizens and social movements also deserve particular attention.

Scholars are defied to address emerging responsibilities of the media and communication field vis-à-vis new social and environmental asymmetries. The quality of public information is obviously key to this debate. What role should the media play deconstruing technological determinisms and finding paths to increase trust, confidence and safety? How to manage the relationships between the local and the global so that internet giants’ activities do not govern the common symbolic environment? How to improve transparency and the defence of the public interest, and what type of public interest is still possible to identify? By proposing the theme ‘Communication and trust: building safe, sustainable and promising futures’, the conference should provide an opportunity to diagnose, discuss and rethink the role and responsibilities of academics and professionals in the reading of present circumstances and in the anticipation of future challenges.

Please consult our guidelines for submission here: http://www.ecrea2020braga.eu/2019/10/09/http-www-ecrea2020braga-eu-call-for-papers/

Vol. 5 No. 1 (2020): Videogames and Culture: Design, Art and Education

Guest Editors: Filipe Costa Luz and Conceição Costa

EDITORIAL

The present issue of IJFMA results from a peer-review selection of papers from the MILT conference - Media Literacy for Living Together: the future of media and learning in participation, and from a specific call addressing studies in visual culture and games, games and learning and pedagogies of play.

The growing numbers of researchers in contemporary game studies from the fields of Design, Art, Media Studies, Computer Sciences, Psychology, Education and Business, IJFMA open up the discussion to different domains, enabling intertextuality and cross-fertilization in this rhizomatic borders of media and art genres.

Continue reading.

University of East London 

0.8FTE

Location: Docklands Campus

Salary: Starting from £46,487 per annum inclusive of London Weighting pro rata

Post Type:  Part Time

Hours per Week:  28.8

Post Type:  Permanent

Closing Date: Friday 24 July 2020

Interview Date: Wednesday 12 August 2020

Reference: 036A2020

Do you have experience of working in the Media industry and are passionate about passing on your knowledge to students? Are you looking for a challenging role in an environment that is open, vibrant and welcomes new ideas? Then join the University of East London as a Senior Lecturer in Media and you could soon be developing and delivering high quality, innovative and engaging teaching in the Media area. At UEL we know the world of work is changing and that means our students will need to develop critical thinking, emotional intelligence and resilience to realise their potential, which is why we’ve embedded these future-proofed tools at the heart of every one of our degrees. We’re also looking for outstanding teachers who exude a love of teaching, inspire and motivate students and colleagues through their approach and are committed to achieving excellent outcomes for students.

Your challenge? To design, develop and deliver innovative Media teaching across a range of modules and courses at undergraduate level. You’ll also collaborate with colleagues and management on the development of existing and new programmes with the view of continuous improvement.

As well as a degree or equivalent in a related discipline, you’ll have a postgraduate qualification and/or significant professional experience in Media. You will have an understanding of relevant industry production, as well as experience of course development and collaboration with external stakeholders, including industry partners and a successful track record of research and/or consultancy.

We are particularly looking for academics that have experience in one or more of the following areas taught at UEL:

* Employability, enterprise and media industries

* PR, Branding and Campaign Design

* Digital and social media content design, production and post-production skills

* Media and Marketing Communication

Adept at conveying ideas to students from a range of backgrounds, you will also bring a deep commitment to closing the award gap, gender equality, and LGBTQIA awareness/visibility/empowerment. You will also enjoy developing professional relationships with students, colleagues, employers, and outside agencies alike.

At UEL, we aim to attract and retain the best possible staff and offer a working environment at the heart of a dynamic region with excellent transport links. You can look forward to a warm, sincere welcome, genuine camaraderie and mobility in an institution led with passion, visibility and purpose. Your impact, resilience and sense of collegiality will directly contribute to UEL’s future and those of the students whose lives you will touch and change forever. We also offer a great range of benefits including the Teacher’s Pension Scheme, family friendly policies and an on-site nursery and gym at our Docklands Campus.

If you would like an informal discussion about the role please email Dr Rosemary Stott, Head of Media Department, R.Stott@uel.ac.uk.

Further details: https://jobs.uel.ac.uk/vacancy.aspx?ref=036A2020

Email details to a friend: https://jobs.uel.ac.uk/…020

CVs without a completed application form will not be accepted.

At UEL we are committed to working together to build a community which values diversity in both our staff and student populations, is representative and inclusive, enabling all to progress and thrive.

Apply online: https://jobs.uel.ac.uk/…2hM

Membrana

Deadline: July 27, 2020

https://www.membrana.org/call/master-cfp-2020/

Membrana vol 5, no. 2 (The Master) investigates the dynamics of visual domination, visual presence, familiarity and iconicity of images in relation to the figure of the master.

Even before the invention of the camera, the master has always been entwined with its image – in coinage, sculptures, paintings, drawings, and other media – but it seems that photography has both continued and complicated the master-image relation.

As before, a master can stage portraits and public performances to secure domination through a public circulation of its image(s). But photography’s “contribution” to the master-image relation was not merely to enhance the intertwinement of the master with its image. At least since the beginning of the 20th century, it has become apparent that photography can simultaneously capture something else – the unexpected, the unwitting, the excess that eludes control. Moreover, the mass proliferation of image-making in the early 21st century and the changed information and communication ecosystems have made the control of one’s public image a precarious process, dictated to a large extent by an image-generating social apparatus and algorithmic logic.

To a large extent, the age-old dialectic between the master and the servant seems to be flipped on its head – the master being evermore the servant of its own representation, of its most shareable common public visual denominator, be it likable, hated or reviled. Is the master becoming ever more the servant of its own representation? Is this representation being hollowed-out, becoming “merely” an abstract visualisation of power, detached from any of the master’s traits? Have we entered a new era of a master figure without any grandeur or charisma, a master lacking any sign of dignity – a master for which the denomination only holds true in terms of political power, lacking any “grand” visual signs of the historical personas of the past?

What role do photographs play in the creation, strengthening, or subversion of (the images of) the master? Do photographs (un)wittingly legitimize the power, or do they recast power within the wider social network of signs? What is their role in the subject’s compliance with the authority, acceding to the rules of the master? Is domination via visual signs nowadays a necessary condition for social dominance or it is just a side spectacle?

We invite textual and visual contributions that explore the master, domination, and subjugation in the relation to photographs, from contemporary and historical viewpoints, and through (but not limited to) the following perspectives:

– authoritarian figures and photography

– authority, subjugation, domination through photography

– master-slave dialectics and the image

– the master, white supremacy, right-wing nationalism and photography

– the master and author (genius as the master)

– photographer as a master

– power, charisma and figures of the master

– fine-art photography and subversion of figures of the master

– visual propaganda

– social media and figures of the master

– image aesthetics and figures of the master

– photographic presence as it stabilizes or destabilizes domination

– celebrity and banality in constructions of power

– hierarchy, networks, and mastery

– masters made or undone by photography, post-truth and the master

– icons and iconicity in constructions and deconstructions of authority

– the master in relation to photography’s civil contract or democratic promise

– the master and conditions of excess, abundance, or utopian potential

– the master and the optical unconscious

– the master and public spectatorship

– the master in an ecology of images

– master-slave dichotomy, computational technologies and photography

– attracting the master’s attention: photography’s stance in contemporary art practice

Format of contributions

Essays, theoretical papers, overview articles, interviews (approx. 15,000–35,000 characters / 2,200–5,000 words), visuals encouraged.

Short essays, columns (8,000–21,000 characters / 1,200–3,000 words), visuals encouraged.

Photographic projects and artwork: proposals for non-commissioned work or samples of work.

More information about the contributions can be found here. Contributions will be published in the English edition – magazine Membrana (ISSN 2463-8501. eISSN: 2712-4894) and/or in the Slovenian edition – magazine Fotografija (ISSN 1408-3566).

Proposals and deadlines

The deadline for contribution proposals (150-word abstracts and/or visuals) is July 27, 2020. The deadline for the finished contributions from accepted proposals is September 21, 2020. Please send proposals via the online form or contact us directly at editors(at)membrana.org.

About Membrana / Fotografija

Membrana is a contemporary photography journal dedicated to promoting a profound and theoretically grounded understanding of photography. Its aim is to encourage new, bold, and alternative conceptions of photography theory as well as new and bold approaches to photography in general. Positioning itself in the space between scholarly journal and popular publications, it offers an open forum for critical reflection on the medium, presenting both analytical texts and quality visuals. The journal is published biannually in summer and inwinter in English and in Slovenian (under the title Fotografija) by the Ljubljana-based non-profit institute Membrana.

September 1, 2020

RMIT University, Melbourne

Deadline: August 14, 2020

Unless it is 100% safe to return to RMIT, this symposium will be held online. Even if we return to campus, those who aren’t able to present in-person are welcome to join us remotely.

The Screen & Sound Cultures Research Group and the Critical Intimacies Reading Group at RMIT University, Melbourne, Australia, present eco_media II: Fire & Rain

The first eco_media symposium was held at RMIT University in October 2019. Theorists, poets, researchers, filmmakers, recorders, and artists gathered to explore what it means to think and make in a time of climate catastrophe. See a summary of the day, along with the programme, at this page on the Screen & Sound Cultures website.

The second symposium invites a similarly broad range of thinkers and makers to take the conversation further. In particular, we seek theoretical, empirical, philosophical or creative responses to the extreme weather events that have wreaked havoc all over Australia in the last six months: the devastating bushfires that engulfed Australia in late 2019 and early 2020, and the extreme flooding events along the eastern seaboard in late January and early February 2020. Media responses to the COVID-19 pandemic will doubtless be covered by other conferences, journals and institutions. However, we also welcome discussion of how our ideas, understandings, philosophies of climate change – as well as the response to the bushfires and flooding – have been affected by the pandemic.

Academics and postgraduate researchers from humanities, communications, social sciences, media studies, environmental studies, and more, are invited to contribute.

Topics to be covered can include -- but are not limited to:

- analyses/discussion of media representations of these extreme events, or environmental issues in general

- documentary/creative interventions into the climate catastrophe discourse

- social media-based responses to the bushfires, including international

celebrity attention

-new media and environmental justice

-discussion of (or contributions to) media responses (or lack thereof) to the impact of the bushfires/floods on animal life and Indigenous Australians and Country

-how the climate debate – or responses to extreme Australian weather events – has been affected by COVID-19

-the meeting places between the natural and the mediated

-the impacts of media practice/research on the environment

-media materialism (which can incorporate elements of the above)

Presentations have a max duration of 20 mins (you will be timed), but within that 20 mins you can read or present a paper; screen or present work-in-progress; philosophise on the current media/environmental condition; live riff/performance along a theme; or any combo of these.

Selected presentations concerning visual media will be invited for conversion into articles for a special issue of Senses of Cinema planned for publication in 2021.

Please send a 200-word abstract and 50-word bio to eco.media2.rmit@gmail.com by 5pm Friday 14 August.

December 12-19, 2020

Deadline: September 30, 2020

Theme: Global Punk

A virtual, online, global conference spanning eight days is being brought together by the Punk Scholars Network – be a part of it. 

Punk is a truly global phenomenon that manifests in myriad ways in different scenes, political regimes, cultural contexts and individual experiences. Punk is many things to many people and seldom remains static over a lifetime. Increased globalisation, changes in connectivity and technology, and shifts in both capitalism and populism have impacted punk for better and worse. International and intranational punk scenes and connections are growing and finding commonality and conflict through music, education, mutual aid, performance, political activism and human behaviours. The global Coronavirus pandemic has laid bare the differences people face accessing resources and how governments respond. How have, and how will, various local punk scenes respond to this crisis, and what does their response tell us about punk as a global phenomenon?

The current Punk Scholars Network series /Global Punk/ has attempted to capture the spread and variance of punk across the world (Bestley, Dines, Gordon & Guerra 2019, 2020, 2021). Gabriel Kuhn’s (2019) work on Straight Edge punk experiences has been based upon interviews with straight edge punks around the world, exploring different aspects of their experiences, attitudes, and activism. The journal /Punk & Post-Punk/ regularly features contributions from punk scholars in a variety of geographical locations and settings. With these efforts, and others, serving as a base we are seeking to hold an entirely virtual conference that explores, examines and critically engages with punk scholars around the globe. Each PSN region will be responsible for one day over an eight day period and will include some academic papers or panels responding to this call for papers.

Taking global punk seriously as a theme means considering the variety of experiences within local, national and international punk communities.

This conference takes place against the backdrop of increased political authoritarianism and a noticeable rise in racial and religious intolerance across the world more generally, and under the guise of responses to the global pandemic more specifically. We must consider what impact these issues have – good and bad – on punk scenes and individuals. To do this together, we are asking to what extent is punk a helpful means or a hindrance in considering identity and ‘being’ within wider social problems, dynamics, and understandings?

In line with the broad view being taken on the theme of global punk and in keeping with the PSN’s wide ranging academic reach, we are seeking contributions from a range of interdisciplinary areas, including, but not limited to: cultural studies, musicology, ethnography, art and design, humanities, performing arts, and the social sciences. Papers and panels could be on the following themes, (list is by no means exhaustive):

* Globalisation of new media, communications, social networking, internet

* Ethnographic considerations of scene/space and borders

* Political appropriation: re-definitions of ‘anarchism’, ‘ecology’ and anti-authoritarianism

* What role does exogenous and endogenous appropriation have in punk politics, resistance and allegiance around the world?

* In what ways does gender, ethnicity, race, sexuality, disability, class, religious beliefs, and cultural norms shape punk around the world?

* Notion of local/national/international ‘scene’, tribes, counterculture/subculture

* Importation and exportation of punk as a commodity, statement, academic discourse

* Music and the performer: creativity, authorship, identity, problems with definition, crossing musical boundaries.

* Reception: DIY culture, activism.

* Lifestyle: crustpunk, squatter, vegetarianism, animal rights, straight edge etc within different cultural contexts.

* The art of punk: record covers and associated graphic styles.

Punk Scholars Network events and conferences usually mix the conventionally "scholarly" with the more informal or "organic" intellectualism which punks often display. We therefore invite proposals of a non-standard type, including films, performances, Q and As with punks or punk performers and other creative mediums. In other words, you are welcomed and wanted to be a part of this global conference so please don't worry if you've never set foot in a university.

It is intended that this will be an online conference spanning eight days, from December 12^th until December 19^th 2020 inclusive. Each region with a PSN affiliate is responsible for programming one day. The planned schedule is as follows:

Saturday 12^th December: *PSN* *France*

Sunday 13^th December:*PSN* *UK and rest of EU*

Monday 14th December: *PSN* *Australia/**Aotearoa (NZ)*

Tuesday 15th December: *PSN* *Indonesia*

Wednesday 16th December: *PSN* *USA*

Thursday 17th December: *PSN* *Iberia*​

Friday 18th December: *PSN* *EU and UK*

Saturday 19th December: *PSN* *Colombia*

The affiliates will put together a mixed programme for their day based on a mixture of submissions and connections with local punk scenes. If you wish to take part, please submit your proposal to the relevant affiliate, if there is not one in your immediate geographical region then please submit it to the affiliate that aligns with your time zone for ease of inclusion. Proposals should be 350 words maximum (or equivalent, 3 minutes if a video clip for example) and do not have to be in English, please feel that you can use the language of your region if you wish. Proposals should be submitted to the following affiliated branches of the Punk Scholars Network:

Australia and Aotearoa (NZ), proposals to samantha.bennett@anu.edu.au Colombia, proposals to punkscholarsnetworkcolombia@gmail.com UK and the rest of Europe, proposals to psnconference2020@gmail.com (we can support proposals/presentations in French or German and will try to support other languages if we can) Iberia, proposals to punkscholarsnetworkiberia@gmail.com Indonesia, proposals to psnindonesia15@gmail.com USA and Canada, proposals to punkscholarsusa@gmail.com Brazil, proposals to joaobitt.cs@gmail.com by 30th September 2020 for consideration. Successful submissions will be notified by 15th October 2020, all submissions will be responded to by 28th October 2020.

University of Bergen

The University of Bergen, Faculty of Social Sciences, Department of Information Science and Media Studies is advertising a PhD position in media studies. The duration of the PhD position is 4 years, of which 25 per cent of the time comprises obligatory duties associated with research, teaching and dissemination of results.

This is an open call, and we invite you to relate to one or more of our four relevant research groups:

-Research Group for Media Use and Audience Studies: Research on how people use media - as audiences, users and citizens, and how they relate to each other and to society through media.

-Research Group for Rhetoric, Democracy and Public Culture: Research on communication as a tool for argumentation, assurance, and for the expressions of identity and identification - as individuals, in organizations and in society.

-Journalism Studies Group: A broad approach to the role of journalism, news and the social media in the public sphere.

-Media Aesthetics: Focus on media aesthetic expressions, broadly oriented towards contemporary and historical genres, media technology and forms of interaction.

For more information about the research groups and the Department, see the website of the department: https://www.uib.no/…dia . Do feel free to contact the leader of relevant research group(s).

Detailed information about the position can be obtained by contacting:

Head of Department, professor Leif Ove Larsen, e-mail: leif(dot)larsen(at)uib(dot)no.

Practical questions about the application process should be directed to senior executive officer Bodil Hægland, e-mail: bodil(dot)hagland(at)uib(dot)no.

Appointed research fellows will be admitted to the PhD programme at the Faculty of Social Sciences. Questions about the programme may be directed to Adviser-PhD: hanne(dot)Gravermoen(at)uib(dot)no.

The complete announcement and application portal is available here: https://www.jobbnorge.no/…ies

Special Issue of Revenant

Deadline: October 5, 2020

Guest Editors Dr Bethan Michael-Fox (@bethmichaelfox) and Dr Renske Visser (@Renske_Visser)

www.revenantjournal.com

Revenant is now accepting abstracts for critical articles, creative writing pieces, and book, film, music, or event reviews for a themed issue on Death and the Screen, examining how screens, in the broad sense of the word, have shaped and continue to shape the way we witness, experience and reflect on death and dying.

Numerous and complex relationships between death and the screen have already been charted. The dead come back in film, on television and online. Screens let us not only see the dead but hear them too. As Penfold-Mounce has emphasised, in a technology saturated world of mass media, ‘the dead no longer remain silent as the grave’ (2018, p.36).

Whilst relationships between screens and digital media more broadly have gained attention, so have the dynamics of death and individual screen media.While some argue that television is one way in which death is brought into the home, others have examined the ways in which the representation of dying on television might be problematic or harmful to audiences.

In terms of ‘real’ death, it is possible to witness death, dying and trauma on mobile phones, tablets and laptops simply by scrolling through social media. Autoplay and ‘live’ features in apps have been critiqued for the ways they expose people to these images without warning. When George Floyd’s death at the hands of US police officers was recorded some people sought this video out, while others have shared their experiences of deciding not to watch it.

Many people don’t shy away from death and the gory on screen. To what extent is this a form of escapism and to what extent is it an extension of their everyday life? And how can you ‘escape’ death on the screen when death and dying is at the center of the daily news and a theme in almost any film, television show and now also in advertisements? How do screen deaths relate to ‘real’ deaths in people’s lives and can such a distinction even be made?

As screen media become more ubiquitous, these complex and multifaceted relationships continue to warrant further critical attention. In keeping with/Revenant/’s positioning as an inter-disciplinary journal encouraging discussion about the supernatural, uncanny or the weird, we welcome proposals for submissions that engage with these ideas. However,/Revenant/also emphasises that the ‘natural’ is part of the super-natural and as such academic and/or creative engagement with ‘natural’ death and/on the screen, or which complicates the notion of a ‘natural’ death, is also welcome.

We believe a range of different methodological and theoretical approaches will enrich this special issue and as such urge you not to feel limited. We encourage proposals for academic articles or creative responses, which might be poetry, fiction, fanfiction, art, comics, audio or film that might stand alone or be accompanied by critical reflections, as well as autoethnographic and/or personal responses.

Submissions that blur the boundaries of these categories are also welcomed.

Topics or areas of focus might include: 

• Making sense of death and dying through the screen
• Haunting and/in screen cultures
• Weird screen deaths
• The ethics of screen deaths
• Death and the supernatural on screen
• Documentary engagement with death and dying
• Adaptation of death (from literature or elsewhere) to the screen
• Death and the uncanny in screen cultures
• Death, social media and any of/Revenant’/s themes: the uncanny, the
• supernatural, the weird or haunting
• Personal and/or creative responses to death and the/on the screen
• Crises (climate, pandemic, other crises), death and screens
• Non-human death and/on the screen
• Death in screen gaming

Please submit extended abstracts of 500 words by 5 October 2020 with a short bio either via the Google Form here:https://forms.gle/…R19 Or to:deathandthescreen@gmail.com

For creative or innovative submissions please also feel welcome to get in touch via email ondeathandthescreen@gmail.com to discuss your ideas or propose your work in a different way.

Reviews of books, films, games, events, and art related to the death and the screen will be considered (800-1,000 words in length).

If your abstract is accepted, the full submission will be due in April 2021 with a view to publish in late Winter 2021.

Inquiries are welcome and should be directed todeathandthescreen@gmail.com

Edited by Gabriele Balbi and Andreas Fickers

This book focuses on the history of the International Telecommunication Union (ITU), from its origins in the mid-19th century to nowadays. ITU was the first international organization ever and still plays a crucial role in managing global telecommunications today. Putting together some of the most relevant scholars in the field of transnational communications, the book covers the history of ITU from 1865 to digital times in a truly global perspective, taking into account several technologies like the telegraph, the telephone, cables, wireless, radio, television, satellites, mobile phone, the internet and others. The main goal is to identify the long-term strategies of regulation and the techno-diplomatic manoeuvres taken inside ITU, from convincing the majority of the nations to establish the official seat of the Telegraph Union bureau in Switzerland in the 1860s, to contrasting the multi-stakeholder model of Internet governance (supported by US and ICANN).

“History of the International Telecommunication Union” is a trans-disciplinary text and can be interesting for scholars and students in the fields of telecommunications, media, international organizations, transnational communication, diplomacy, political economy of communication, STS, and others. It has the ambition to become a reference point in the history of ITU and, at the same time, just the first comprehensive step towards a longer, inter-technological, political and cultural history of transnational communications to be written in the future.

With contributions by: Christiane Berth, Simone Fari, Andrea Giuntini, Roxane Gray, Christian Henrich-Franke, Richard R. John, Léonard Laborie, Gianluigi Negro, Lisa Ruth Rand, Maria Rikitianskaia, Marie Sandoz, Valérie Schafer, Marsha Siefert, Adrian Stecher, Heidi Tworek, Anne-Katrin Weber, Dwayne Winseck, Nina Wormbs.

For more information: https://www.degruyter.com/view/title/567062.