European Communication Research
and Education Association
November 7-8, 2019
Deadline: September 9, 2019
CALL FOR PAPERS
The call for submitting papers to the international seminar Platforms and Diversity: Netflix under Debate, that will be held on 7–8 November 2019 at the Faculty of Humanities, Communication and Documentation of Carlos III University of Madrid (UC3M), is now open until September 9.
This event is part of the activities that are being developed by the Audiovisual Diversity research team under the project Audiovisual Diversity and Online Platforms: Netflix as a case study, which is particularly interested in the role that online platforms play for the diversity of the audiovisual industries. More specifically, it studies the actions and impacts of transnational online platforms that commercialize audiovisual contents through Internet, considering their socioeconomic profile and the political and regulatory reactions they provoke. The analysis of such an impact pays special attention to the Spanish market and takes deeply into consideration Netflix as a case study.
The seminar, precisely, will revolve around these and will be organized as follows: a keynote speaker will open the event, followed by three panels dedicated to the challenges and opportunities audiovisual platforms present to diversity, Netflix’s performance in different national markets, and Netflix’s launch, evolution and connection within the Spanish audiovisual sector. Additionally, there will be a session of four contributors chosen, by the Scientific Committee of the event, among those replying to this call for papers.
If interested, please send a title and abstract, of no more than 500 words, and a short bio (150 words), along with a selection of key references.
Welcomed topics are:
Based on selected proposals, the panel discussion will be held in the afternoon of November 7. The contributors will have 20 minutes for their presentations. Previously, being October 21 the deadline, successful applicants must send their final unpublished and original contributions. Papers should be between 6,000 – 8,000 words in length.
(*) The organization is considering taking steps to offer the papers presented the possibility to be published in a peer review scientific journal.
More information on the event and the research project in http://www.diversidadaudiovisual.org
20th Documentary Summer School
August 12-17, 2019
Deadline: June 16, 2019
Already in its 20th year, the Documentary Summer School (DSS 2019) is jointly organized by the Università della Svizzera italiana and Locarno Film Festival, in collaboration with the Semaine de la critique. The DSS offers places for up to 30 university students in the fields of cinema, media and communication. Graduated students, early doctoral students and emerging filmmakers are also welcome to apply. The DSS explores different research and production relevant issues concerning documentary cinema. A special attention is devoted to ethical questions.
DSS Website: https://www.locarnofestival.ch/pardo/professionals/summer-academy/documentary-summer-school.html
APPLICATIONS AND ENQUIRIES TO:
Documentary Summer School - Organizing committee
Università della Svizzera italiana
Via Buffi 13, 6900 Lugano
Tel. +41 (0)58 666 4814
DSS 2019 PROGRAM
Now in its 20th edition, the Documentary Summer School (DSS 2019) is jointly organized by the Università della Svizzera italiana and Locarno Film Festival, in collaboration with the Semaine de la critique.
The DSS explores different research and production relevant issues concerning documentary cinema. Given the great pervasiveness with which currently images and representations spread, for some years the DSS has decided to focus on the theme of ethics in documentary filmmaking. This year the DSS will be held on 11-18 August and will reflect upon the representations of people and issues we do not experience directly: "the others". The respectful coexistence between people different in terms of culture, sexual choices, origin, religion is becoming an issue of crucial importance. The aim of the DSS will be to investigate this issue in the context of audiovisual representations - such as documentaries, but also reportages. Which forms of communication could build bridges among people? Which ones can reduce fear, distrust, rejection? Which ones are at risk of dividing people?
Prof. Maria Cristina Lasagni, the DSS director, lecturer in cinema and documentary at USI with more than 20 years' experience in teaching and researching documentary filmmaking and media ethics.
Prof. Nevina Satta CEO of the Sardegna Film Commission and a board member of Cineregio, the EU network of Regional Film Funds;
Andrea Segre an award-winner filmmaker who has directed over twenty films of documentary and fiction genre exploring issues such as ethnic and cultural identity, migration, social and economic crisis.
Prof. Gail Vanstone a well-known researcher in the field of Feminist Cultural Production with an emphasis on Literature and Film, Canadian Cultural Production, Contemporary Critical Cultural Theory;
Prof. Brian Winston founding director of the Glasgow Media Group and founding chair of the British Association of Film, Television and Media Studies. Among the DSS guests also professional documentarists from Semaine de la critique selection.
CONDITIONS OF PARTECIPATION
The Documentary Summer School is open up to 30 undergraduate students in the fields of film, media and communication studies. Graduate students, early PhD students and emerging filmmakers are also welcome to apply. No geographic restrictions apply.
The participation fee is of 550 CHF and it covers:
Meals other than breakfast and travel to and from the Festival are at the expense of participants.
Please note that the Festival provides participants with a shuttle service free of charge between Milano Malpensa airport and Locarno, prior booking.
Deadline for submission is 16 June 2019 for students who do not need a visa, and 31 May 2019 for students who needs a visa to come to Switzerland.
Candidates shall submit via email the following documents:
Submitted dossiers will be evaluated by the scientific board, and selected participants will be notified via email within three weeks after the deadlines for submission.
University of Technology, Tallinn
Deadline: June 15, 2019
Interviewing starts June 15 2019. Priority will be given to applications received on or before June 15 2019.
Ragnar Nurkse Department of Innovation and Governance (RND) is one of the largest, most internationalized and leading social science research centres in Estonia. As part of Tallinn University of Technology (TalTech) and its School of Business and Governance, RND functions at the intersection of technological and social science research.
The emergence of big data era has led to serious discussions about social datafication – i.e. the socio-cultural consequences of big data on societies, individual lives, and governmental organizations. Positive consequences like control of spatial mobilities through algorithms and negative consequences like discrimination through datafied decisions are central in these discussions. Estonian society with its contradictions – a highly digitalized environment, moderate use of open data, low awareness of algorithmic control and privacy concerns – offers a highly attractive environment for studying the societal consequences of big data, algorithms, and AI.
• The main task of the doctoral researcher is to carry out research in data studies in the field of spatial mobilities (e.g. refugees, highly skilled immigrants, e-residents, ‘data rich’ and ‘data poor’ mobile groups).
• Participation in the research activities in the domains of
(1) data justice - how to avoid discrimination through data, automatized inequalities, racial bias, and movement towards more just data practices;
(2) awareness of algorithmic control (the perspectives of data subjects from the Global South, data rich and data poor ethnic / mobile groups),
(3) data governance (use of social scoring, AI, machine learning methods in governmental institutions for controlling mobility).
• Participation in the teaching activities of the research group, including supervision of students;
• Participation in the administrative functions of the research group;
• MA or equivalent in social sciences (in the fields of sociology, public administration, media and communication, human geography, or a related discipline);
• Excellent knowledge of research methods, including quantitative (survey, mobility tracking, basic and advanced statistics, social networks analysis) or qualitative methods (interviewing, textual analysis, visual analysis methods). Knowledge of digital or computational research methods are advantageous.
Specifics & Benefits:
We offer the chance to do high-level research in an internationally recognized research team; opportunities for conference visits; networking with leading universities in the field of data studies; publishing in high-level journals in the field.
• The position is fixed-term (4 years)
Start date: 1 September 2019 (or as soon as possible).
• The position is financed from the state scholarship and from the projects, which in total provides monthly income up to 1200 EUR net (including 20% national income tax, Estonian national health, social security and pension payments).
• Cover letter
• Curriculum vitae
• Research proposal (5 pages)
• When applying for the 1st time for a position in TalTech, duplicate of the required diploma (MA) or other document providing evidence of the necessary qualification.
For more information on TalTech, see www.taltech.ee
For more information on RND, see www.taltech.ee/nurkse
University of West London
Deadline: May 29, 2019
UWL is inviting a new round of applications for PhD scholarships featuring a fees waiver and a stipend of £15,000 pa. The call is for applications across the whole university and competition is initially at subject and then at University level.
The call is open until Wednesday May 29th. Among the wide range of fields in which applications are sought to work with supervisors from the School of Art, Design and Media are:
Summaries of areas of research expertise linked to specific areas and specific supervisors may be found at: https://www.uwl.ac.uk/academic-schools/film-media-design/mphil-and-phd
Details of how to apply are here: https://www.uwl.ac.uk/research/graduate-school/applications-and-entry-requirements
The call is posted here https://www.uwl.ac.uk/research/graduate-school/vice-chancellors-phd-scholarships
Potential applicants are invited to contact any of the supervisors or mailto:email@example.com and/or mailto:firstname.lastname@example.org
Call for Chapters
Deadline for Submission of Abstracts: June 30, 2019
Editor: Karen McNally
Donald Trump’s emergence in the field of American politics has had an undeniable and wide-ranging impact on contemporary American television. As a medium television has been quick to respond to the extraordinary climate and fast-paced news environment created by the roller-coaster of events and political strategies that have defined the Trump administration. CBS drama /The Good Fight/, for example, explicitly ties the unfolding events of the Trump presidency to its characters’ professional and personal lives, while the dystopian narrative of /The Handmaid’s Tale/ seems an updated warning of the continuing threats to women’s legal and cultural rights. Each genre from the satirical show to reality television has demonstrated the centrality of contemporary politics to viewers’ everyday experience, assuming an atypical awareness of current events amongst diverse members of the American public. At the same time, television has been forced to confront its role in the construction of a media-driven celebrity presidency, as it provides 24-hour breaking-news coverage and makes celebrities out of the various press secretaries entering and exiting Trump world. Whether it’s the challenge of depicting the fictitious car crash politics of /Veep/ with the backdrop of a White House reportedly in disarray, or news analysis shows wading through the concepts of ‘fake news’ and ‘alternative facts’, the balance between representation, critique, entertainment, fiction and fact has become the site of television’s negotiation with the current era.
This volume seeks a range of essays aiming to address the ways in which the political climate of the Trump era has revealed itself on American television. The political setting might be defined as much by movements such as #MeToo, Time’s Up and Black Lives Matter as by the various branches of federal government, or political moments such as Charlottesville or the release of the Mueller Report. Similarly, authors might choose to examine individual television shows or particular genres, and themes including celebrity politics, backlash culture, journalism as entertainment, genre hybridity, amongst a variety of topics.
Chapter proposals should be submitted as a 300-400 word abstract by 30 June 2019 to the editor, Karen McNally, at TrumpEraTelevisionthebook@gmail.com . Please include a full author biography and contact details. Final chapters will be 5,000 to 6,000 words and due by 15 November 2019. Please feel free to email also with any queries prior to submission of abstracts. A major publisher is being sought for the volume.
Dr Karen McNally is a Senior Lecturer in Film and Television Studies at London Metropolitan University and a specialist in Hollywood cinema and American television and culture. She is the author of /When Frankie Went to Hollywood: Frank Sinatra and American Male Identity /(University of Illinois Press, 2008) and /The Stardom Film: Hollywood and the Star Myth/ (Columbia University Press, forthcoming). She is also the editor of /Billy Wilder, Movie-Maker: Critical Essays on the Films/ (McFarland, 2011) and co-editor of /The Legacy of Mad Men: Cultural History, Intermediality and American Television /(Palgrave Macmillan, forthcoming).
Contact Details: TrumpEraTelevisionthebook@gmail.com
November 20-22, 2019
Deadline: July 15, 2019
The European elections of May 2019 take place in a scenario of particular uncertainty. The rise of populist movements of different ideologies, often linked to Eurosceptic positions, is combined with a crisis situation in the European Union. Institutional crisis, deriving fundamentally from the consequences of Brexit, the exit from the United Kingdom, scheduled for October of this year. But there is also an economic and political crisis, in a world where Europe's influence is tending to decline.
This International Conference aims to analyse the European Parliament Elections from different points of view, which could be summarised in the following topics:
Regarding the abstract submission, All proposals will be sent in English, in .doc, .docx., .odt or .pdf format, through the form of the http://congreso2019.mediaflows.es website.
Proposals should include title, keywords and abstract (250-300 words).
The abstract should present the aim/objectives of the work, the methodological approach, the results, and the conclusion. Proposals should focus on the topics indicated above.
The Scientific Committee of the Congress will announce in advance which proposals have been accepted for presentation at the Congress. The five best evaluated proposals -not belonging to researchers from Spanish universities- will receive a 400€ grant to cover travel, accommodation and registration of the communicator(s).
Deadline & Dates:
• 15 July 2019 – Deadline to submit abstracts
• 31 July 2019 – Notification of accepted proposals and award of grants to the five best-rated proposals
• 31 October 2019 – Deadline for full paper submission
• 20-22 November 2019 – Conference
The registration fee is €80, covering access to all sessions, coffee break, and conference material.
For further information, please consult the Mediaflows web page.
November 22-23, 2019
Deadline: June 30, 2019
In 2002, Annette Kuhn reflected, in /Dreaming of Fred and Ginger: Cinema and Cultural Memory/, that in regards to 1930s British cinemagoers, “we hardly know these people at all” (2002, 3); Jackie Stacey (1994, 49) focusing on British female movie fans of the 1940s and 1950s, made a similar observation in 1994, when she noted that “there is a history of female cinematic spectatorship which has yet to be written.” In their respective works, both scholars used sources such as magazines, questionnaires and interviews to begin to write exactly that history.
This conference wishes to build upon this observation that “we hardly know these people at all” by expanding its meaning in terms of the people involved, both in terms of time and in terms of demographics. We therefore invite papers focusing on marginalised female audiences in the broadest sense, and interpret this in two distinct ways. Firstly, we seek to hear from scholars focusing on rediscovering or uncovering particular audiences, marginalised vis-à-vis the texts they consumed through racial, ethnic or religious identity, through geographic or linguistic distance, through sexual orientation or gender identity, through disability status, through social class, etc. This includes a demographic analysis of such audiences, an examination of their specific and varied fan practices and attitudes, the intersectional identities of certain audience members, etc.
It also includes, however, broader contemplations on the very notion of the “marginalised” audience.
Firstly: if we are indeed all, as Henry Forman wrote in 1933, “movie-made”, what, then, does it mean to be “made” by movies or media texts specifically aimed at demographic groups with a privilege inaccessible to many other audience members? Secondly, we are keen to acknowledge and discuss the methodological challenges involved in studying such audiences, and the ways in which difficulties in terms of scholarly research may essentially serve to marginalise the group in question further. Thirdly, we wish to invite auto-ethnographic reflections from scholars working on such research topics, while also members of one or more marginalised groups themselves.
While the organisers’ own research is rooted within a film-historical context, and indeed we are very interested in hearing from those engaged in rediscovering lost historical audiences, we also invite submissions from those working on contemporary LGBTQ+, disabled, or racial/ethnic/religious minority women spectators. We particularly hope to reach out to scholars working within the multidisciplinary field of fan studies, where much fascinating work has been done, in recent years, on examining the practices of such audiences, as well as their relationship to traditional conceptions of fandom (such scholars include Kristen J. Warner, Rukmini Pande, Julie Levin Russo, Eve Ng, and others). While film and television history and fan studies have largely operated in distinct and separate spheres from one another, we believe the disciplines can come together in fruitful and methodologically interesting ways in order to allow us a more complete picture of these often invisible fans.
Potential topics can include, but are not limited to:
• Historical perspectives on cinemagoing in ethnic communities
• Immigrant spectatorship
• The consumption of Hollywood movies by minority women
• LGBTQ+ fandoms
• Methodologies to access historically lost audiences
• Film archives and the marginalised audience
• Black women as movie fans
• Disability and spectatorship
• Studies of film reception amongst specific religious groups
• Women-only film screenings and film clubs
• Characteristics of marginalised spectatorship
• The methodological challenges in examining female audiences
• Theorising lesbian spectatorship
• Working class women and the movies
• Women and film criticism
• Gender and race-specific viewing pleasures
• National minorities and cinema culture
• Girlhood and fandom
• Geographically specific viewing practices
We invite abstracts of no more than 300 words for 20-minute papers, as well as panel proposals for pre-constituted panels (consisting of three papers). Conference attendance will be free of charge. Send your proposal and a short bio to Lies Lanckman and Agata Frymus at womenspectatorship.conf@gmail by 30 June 2019. The conference website can be found at https://audiencelost.wordpress.com/
October 21-22, 2019
University of Helsinki, Helsinki, Finland
The Young Scholars Network of ECREA (YECREA) is happy to invite all young scholars – doctoral students, post-docs, junior scholars, and other early-career scholars – to participate in two seminar sessions, organised as part of the joint conference on ‘Infrastructures and Inequalities: Media industries, digital cultures and politics’ in Helsinki.
This is a joint initiative of three YECREA Sections: Communication and Democracy; Digital Culture and Communication; and Media Industries and Cultural Production.
Topics this workshop will cover:
Scholarly communication is undergoing significant changes and evolutions, particularly in today’s shifting media landscape. For young scholars and early career researchers in particular, issues of disseminating our research on social media platforms, creating alternative communication forms, and establishing sustainable researcher communities are particularly relevant.
The shift towards a more diverse array of scholarly communication has already begun. Scholars now share their research and connect with each other on platforms such as Academia.edu, ResearchGate and LinkedIn. As well as these outlets, the traditional article format is being altered by including blog posts, interactive graphics and video. And perhaps most significantly, scholarly conversations are now taking place on social media platforms such as Twitter and Instagram.
These seminars aim to help young scholars navigate the process of sharing their research within this digital media environment.
21 October 2019
The first seminar, facilitated by Professor Kirsi Pyhältö, explores the issue of “How to build and sustain researcher networks”.
This workshop, intended for PhD students and young career scholars, aims to facilitate use of researcher communities as a resource for doctoral research and career development, by analyzing the potential of these communities, exploring one’s own communities, and discussing them with peers. The workshop addresses the function of researcher communities in early career researchers’ daily lives, and their role as a central resource for their careers after a doctoral degree.
22 October 2019
The second seminar, facilitated by Dr. Salla-Maaria Laaksonen, explores the topic “Why bother? Expert communication on social media”.
This seminar addresses the issue of the growing diversity of digital platforms for research dissemination, scholarly conversation, and alternative academic networking. It explores how early career researchers can engage with social media, the opportunities and also the pressures that these digital platforms afford, inquiring how young scholars and researchers can benefit from them.
Please submit a brief expression of interest (max. 200 words) providing a short description of your research interests and why you are interested in attending the seminars.
Additionally, please provide a short bionote stating your name, email, affiliation and position, and country.
Please be aware that participants commit to attending both seminars.
Please send in your expressions of interests and personal information, no later than 15 June 2019, to:
Selected participants will be notified by the 15th of July 2019
Participation in these seminar sessions is free of charge.
THE ORGANISING TEAM:
We encourage workshop participants to also submit a proposal for the main
conference. Please submit your abstract also by 1 June 2019 (300-word abstract for individual proposals; or 300-word panel rationale plus individual 200-word abstracts from a minimum of four speakers for panel proposals). All abstracts for individual as well as panel proposals should be submitted through EasyChair: https://easychair.org/conferences/?conf=infrastructuresandin
For more information, please consult the conference website: https://www.helsinki.fi/en/conferences/infrastructures-and-inequalities
Biannual Conference of the Television Studies Section of ECREA (European Communication Research and Education Association)
October 24-25, 2019
University of Groningen
Deadline (EXTENDED): May 31, 2019
Confirmed keynote speakers:
Television is constantly testing its definitional boundaries. What was formerly defined by ways of transmission and screen technology, is more and more in dissolution in today's mediated landscape. Young people, especially, are turning away from traditional broadcast television - and turning towards other screens and formats. This development is forcing established structures to react and adapt to this new viewing culture. Novel formats, such as the Norwegian teen drama series 'SKAM' or the Spanish talent show 'Operación Trriunfo/Star Academy', proved to be extremely successful in overcoming the traditional boundaries of the medium, amongst others by including multi-platform technology and storytelling via social networks.
How can we understand television today as a 'young' medium and audiovisual culture? As a connected screen culture, not constrained anymore by a singular screen and fixed location in households, the medium continues to play a key role in people's everyday lived realities. How is television understood by young audiences as part of their wider screen culture? A clear contradiction seems to be a part of this trend, with older viewers leading traditional television audiences, and younger populations increasingly connected through other audiovisual devices and contents.
And how should scholars of audiovisual culture try and make sense of television production and use by/for these younger audiences? The conference 'The Youthification of Television and Screen Culture' therefore also provides a platform to reflect on 'young', contemporary, and intersectional approaches to the study of television and connected audiovisual media on multiple platforms and screens. The conference has as its key goal to overcome 'narrow' definitions of the medium television, inviting reflections from wider and intersectional perspectives studying the medium's production, reception and/or cross-platform programming in different European contexts.
We invite papers addressing comparative studies of television, audiovisual culture and screen culture, international research on new and/or multi-platform modes of production, distribution and consumption; and related to challenges of television (studies) in Europe, including:
Special panel hosted by ECREA Film Studies:
The conference will also host a special panel organized by the ECREA Film Studies section. The section invites paper proposals devoted to explore new film-TV hybrid forms boosted by young people. The section welcomes submissions that explore theoretical explorations, comparisons of case studies and innovative approaches, in order to shed light on the future of film and cinema in its merging with TV platforms and the new cultural practices emerging within the new generations.
Proposals for individual papers or panels can be submitted to the ECREA Television Studies Vice Chair, dr. Berber Hagedoorn at email@example.com until 13 May 2019. Abstracts should be written in English and contain a main question/argument, theoretical framework, methodology, results and reflection on key conference question(s). The length of individual abstracts should be between 300 and 500 words maximum plus key references, institutional affiliation and a short bio (max 150 words). A panel proposal should include a panel presentation (max 300 words) along with four or five individual abstracts and a short biographical note of each author.
For more information visit our conference website at https://ecreatelevisionstudies2019.wordpress.com
Conference organizers: Berber Hagedoorn (University of Groningen, the Netherlands), Juan Francisco Gutiérrez Lozano (University of Málaga, Spain), Susanne Eichner (Aarhus University, Denmark).
Nordicom Review Special Issue (open access)
Deadline: October 1, 2019
Special issue editors:
Stine Liv Johansen (Aarhus University), Maja Sonne Damkjær (Aarhus University), Martina Skrubbeltrang Mahnke (University of Copenhagen), Ane Kathrine Lolholm Gammelby (Aarhus University).
Motivation and Aim
This special issue of Nordicom Review explores and discusses the concept ‘struggling’ in relation to media and technology use. ‘Struggling with technology’ is a dual concept. It refers not only tosituations where media technology is adopted to deal with different struggles, but also to situations where media technology itself becomes the subject of struggle.
Media technology permeates our social, leisure and work life. Although media technology is often implemented to support everyday activities and communication, it sometimes ‘gets in the way’, is experienced as difficult to handle or becomes the subject of heated debate. In other cases, people challenged by specific life situations or issues such as physical or mental health problems adopt particular technologies in order to overcome these struggles in – for them – meaningful ways.
Appropriation of new technologies thus often fosters – or is fostered by – different kinds of struggle. Technologies may contribute to amplify and extend or modify and constrain specific capabilities for communicationas well as change or reconfigure practices, meanings, social relations and relations of power. Given the similarities of the Nordic media and welfare systems and the Nordic countries’ rapid adoption of media technologies, this special issue will explore the concept of struggling specifically within a Nordic context (cross-national comparative studies are welcome).
This special issue aims to contribute to current debate about societal implications of media and technology use through different theoretical, analytical, empirical and conceptual discussions of how individuals and groups experience ‘struggling’ with technology. A further goal is to examine how discourses and metaphors concerning our engagement with technology affect understandings of media and technology. When these critical discussions become nuanced and sharpened, which we hope to achieve with this special issue, we as a research community contribute to improve insight into the roles that different media and technologies play in our lives.
Under the theme ‘struggling with technology’ we invite researchers to focus on aspects of our lives with media and technology that become pertinent because they are troublesome, imbued with conflict, discomfort or uncertainty, or lead individuals and groups to struggle. We wish to scrutinise features of media and technology use associated with ‘struggle’ at different phases of life and between and across generations and social groups, as well as how media and technology users demonstrate agency and creativity in how they respond to these circumstances.
We welcome contributions that examine and discuss the phenomenon of ‘struggling with technology’ in depth, especially in relation to cultural, social, historical and temporal perspectives on the multiple and complex ways in which people engage with and make use of different media types and technologies. We especially encourage contributors to discuss theoretical aspects of the concept ‘struggling,’ for instance how the given framework of ‘struggling’ can be operationalised for empirical media and technology studies, and how different perspectives can be integrated both analytically and conceptually.
Procedure and Important Dates
The special issue is expected to be published online and in print in the winter 2020/2021. The selection of papers to be included in this special issue will follow this two-step procedure:
Authors submit title and abstract (no more than 600 words incl. references) of their papers along with five-six keywords and short author bios (no more than 150 words per author) to the special issue editors (please send this to firstname.lastname@example.org). The deadline for submission of abstracts is 1 October 2019 at 23:59 CET. The authors will be notified of acceptance or non-acceptance by early December 2019.
If an abstract is accepted, the authors will be requested to submit a full paper (no more than 7000 words including all references and appendices) anonymised for double-blind peer review and formatted according to the Nordicom Review guidelines. The deadline for submission of invited, anonymised full papers is 1 April 2020. The subsequent double-blindpeer review process and other administrative matters will take place according to a timeline to be further arranged by the special issue editors and the main editorial board.
Please note that if the invited, anonymised full papers are deemed incompatible with the preceding accepted abstracts or do not demonstrate sufficient academic quality, the special issue editors will reserve the right to reject such papers in line with Nordicom Review’s editorial policy.
Please address all questions as well as abstracts and full paper submissions to:
Stine Liv Johansen, Aarhus University, Aarhus, Denmark (email@example.com).
We look forward to receiving your submissions!
About Nordicom Review
Nordicom Review is an international peer-reviewed open access journal published by Nordicom (Nordic Information Centre for Media and Communication Research) at the University of Gothenburg. The publication of Nordicom Review is supported by the Nordic Council of Ministers. Nordicom Review is indexed by SCOPUS.
View this CFP on Nordicom's website: https://www.nordicom.gu.se/en/latest/news/call-papers-struggling-technology
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