European Communication Research
and Education Association
Ulster University, Faculty of Arts, Humanities and Social Sciences, School of Communication and Media
Deadline: March 29, 2019
Ulster University (Belfast) would like to appoint a Senior Lecturer in Screen Production to lead in the development and delivery of screen production programmes at undergraduate and postgraduate levels and contribute to an outstanding student experience in preparation for industry relevant specialisation and progression into professional life. The ideal candidate would also contribute to the school’s research outputs and environment in Panel 34 in Communication, Cultural and Media Studies, Library and Information Management.
Ulster prides itself on its award winning, industry engaged and research led teaching in media. With the launch of the Creative Industries Institute, and the recent success of the AHRC Funded Future Screens NI project, Ulster has confirmed its position as a sector leader within the broadly defined creative industries. As part of the newly formed Ulster Screen Academy, the School of Communication and Media seeks to expand undergraduate and postgraduate provision in both traditional and emerging screen production.
This post offers an exciting opportunity to lead the development of new curriculum that brings together academic scholarship, creative practice and professional skills development. The successful candidate will lead the new degree in Screen Production, and work alongside internationally recognized researchers to design and deliver a screen production curriculum which focuses on television production but also stretches across platforms and addresses both traditional storytelling and narratives for emerging televisual platforms. In particular, they will be teaching professional industry-level practice in broadcasting within various environments – e.g. outside broadcasting, TV studio production, and live television. A strong industrial background is essential.
Closing Date: March 29, 2019
For more information on the post please visit the website
On April 14-15, 2019
European Humanities Universtiry (EHU), Vilnius
Deadline: March 15, 2019
The event is organized by Games & Scholars (Vilnius) in partnership with the Laboratory for Computer Games at the Research Center for Mediaphilosophy (Saint Petersburg) and the Laboratory of Studies of Visual Culture and Contemporary Art (European Humanities University, Vilnius). The conference became possible thanks to support from the EHU Department of Social Sciences.
The conference is a 2 day event aimed at students and young scholars of media studies, cultural studies and other areas of humanities and social sciences. The conference invites game researchers, critics and designers to talk about violence in games on a higher conceptual level than the usual media discourse.
We invite you to discuss the following topics and cases:
We are particularly interested in cases when the game takes the initiative from players and makes them do, see or feel things they would not consent to in a different context. Violence, in this case, is understood as an uncontrollable disruption of the player’s experience. The simplest example, as mundane as it could be, is Flappy Bird, which wobbly controls reportedly made its players smash their phones. That Dragon, Cancer is a more elaborate example of gameplay violence: game’s deceptive affordances frustrate the player in dramatic situations when manipulations with available objects do not produce any results. On the storyline level, disturbing and baffling Doki Doki Literature Club is a violently subversive example. Finally, visual violence comes in many forms in video games, from hyperrealistic gore in horror games to the intricate art of glitch. In the latter case, the game as an automated medium goes rogue and accidentally creates situations which the human practice fails to control.
The question is: why does the game go on, even if it abuses the player? And even deeper: how violence in games produce the epistemological rupture in the playing process? What analytical perspectives can we apply to such cases? Who is being violent, and why? Is it media technology at large, or should we look for violence in the player’s gaze? How can we compare the horror of video games to the horror of other media (to say nothing about horrors of the real world and human existence in general)? May we suggest that all games are violent when they punish players for not following their rules? We will discuss this, and similar questions, after the talks and during panel discussions.
Submission for abstracts will be open on February 19, 2019, via an online form.
Registration will be closed on March 15 for those participants who need a visa to travel to Lithuania. The deadline may be extended until March 31 for those participants who don’t need a visa to travel to Lithuania. The registration form is available online.
The final decision about the program and submitted talk will be made before April 1, and the authors of all submissions will be notified about the result of reviewing process.
The organizers provide visa support and discount prices on accommodation to the accepted speakers who submitted before March 15 and need help with finding accommodation.
Articles based on presentations at the conference will be recommended for publication in the game studies issue of the EHU academic journal Crossroads. The Crossroads is included into EBSCO-CEEAS (Central & Eastern European Academic Source) and indexed in the MLA International Bibliography.
If you have any questions, please address them to firstname.lastname@example.org.
Nordic Production Studies
Deadline: March 31, 2019
Guest editors: Sarah Atkinson (Kings College London), Olof Hedling (Lund University), Mette Hjort (Hong Kong Baptist University) and Pietari Kaapa (University of Warwick).
Production studies has emerged as a vibrant field in contemporary media studies. The work of John Caldwell, Michael Curtin, Toby Miller and Mette Hjort has contributed to developing conceptual and theoretical approaches to the field, working simultaneously on both global and local levels of policy and production management. This work paves the way for a media studies that addresses the internal machinations of an industry often exhibiting egalitarian and liberal values on a textual level while the reality of working conditions tends to diverge considerably from these optimistic projections. While there have been studies of above-, across- and below-the-line labour in the Nordic media industries, these tend to be focused on communicating with highly specialized interest groups (journalists, regulators, film producers, social media marketers, etc.). A much more ‘convergent’ approach to the labour of professionals in the Nordic media industries is clearly required as boundaries between roles and levels of professional specialization are increasingly blurring.
Journal of Scandinavian Cinema has prioritized this emerging field for an upcoming special issue focused on the Nordic creative/media industries. The Nordic countries, especially, pose highly complex challenges for production studies as they continue to be predicated on significant levels of public funding and strict but egalitarian labour regulations. The roles of private capital, competition with imported products, the challenges of digital platforms, as well as an inherently limited scope of the domestic markets of all five countries, translate into a complex media environment where production labour and the constitution of professional roles is constantly revised, or indeed, precarious, as Curtin and Sanson (2015) would argue – this, despite the fact that these countries are often promoted as exhibiting some of the more stable and sustainable societal infrastructures globally. This, in turn, provides the issue with a unique angle on production studies in that it highlights the cultural constitution of Nordic production management, labour conditions, cultural policy and, even, the ability to evaluate how these dynamics are eventually reflected in screen content.
The issue encourages submissions on the following themes and also welcomes work outside/combining these areas:
Timeline for contributions:
All contributions will undergo double-blind peer review with publication planned for July 2020.
Please email the editors to discuss potential contributions (email@example.com; firstname.lastname@example.org; email@example.com, P.Kaapa@warwick.ac.uk).
Universitat Oberta de Catalunya
Deadline: March 10, 2019
The UOC Research and Innovation Committee has agreed to publish a call for applications for six places for three-year postdoctoral research fellowships. The positions are open to postdoctoral teaching and research staff in any of the fields of study at the University and the Internet Interdisciplinary Institute (IN3). The deadline for applications, as indicated in the terms and conditions, is 10 March.
Researchers awarded a doctoral degree – whether at the UOC or elsewhere – before publication of this call for applications may apply. Candidates with a doctoral degree from the UOC must provide proof of having carried out a postdoctoral stay at another university or research centre for a period of at least two years.
Those benefiting from these contracts cannot have been contracted by the UOC in the two years immediately leading up to the publication of this call for applications.
The decision regarding this call will be made public on or after 8 April. Candidates must send the application forms to firstname.lastname@example.org.
Editors: Hammett-Jamart, Julia, Mitric, Petar, Novrup Redvall, Eva (Eds.)
This volume offers an up-to-date analysis of film and television co-production in Europe. It brings together the voices of policy professionals, industry practitioners and media industry scholars to trace the contours of a complex practice that is of increasing significance in the global media landscape. Analysis of the latest production statistics sits alongside interviews with producers and the critical evaluation of public film policies. The volume incorporates contributions from representatives of major public institutions—Eurimages, the European Audiovisual Observatory and the European Commission—and private production companies including the pan-European Zentropa Group. Policy issues are elucidated through case studies including the Oscar-winning feature film Ida, the BAFTA-winning I am not a Witch and the Danish television serial Ride Upon the Storm. Scholarly articles span co-development, co-distribution and regional cinemas as well as emerging policy challenges such as the digital single market. The combination of qualitative and quantitative approaches, and the juxtaposition of industry and scholarly voices, provides a unique perspective on European co-production that is information-rich, complex and stimulating, making this volume a valuable companion for students, scholars, and industry professionals.
June 25-26, 2019
Middlesex University, London
Call for papers on Kurdish Migration to be presented at the 3rd International Kurdish Studies Conference, Middlesex University, London, 25-26 June 2019
As part of the 3rd International Kurdish Studies Conference, we also aim to organise several sessions on Kurdish Migration. Therefore we invite papers which are empirically and theoretically grounded and contextualized and examining all aspects of migration from, through and into Kurdistan
Sessions on the Kurdish migration at the 3rd International Kurdish Studies aims to bring together researchers from a range of disciplines working on Kurdish migration to exchange their views and findings about all aspects of migration from, through and into Kurdistan, as well as about the experiences of diasporic Kurdish communities and second generations.
Researchers are kindly encouraged to contribute to and help shape the conference through submissions of their research abstracts. We would welcome abstracts related to Kurdish migration and diaspora.
Topics of interest for submission include, but are not limited to:
Please submit your abstract of maximum 350 words to KurdishStudies@mdx.ac.uk . Please suggest up to 5 keywords, indicate your institutional affiliation and the stage of your fieldwork, if it is relevant.
The deadline for submission is 15th March 2019. Please include:
General information about the conference
3rd INTERNATIONAL KURDISH STUDIES CONFERENCE
Shifting Dynamics of the Kurdistan Question in a Changing Middle East
Over 35 million Kurds live under the national jurisdictions of Turkey, Iran, Iraq and Syria where the Kurdish identity, culture, linguistic rights, homeland and own political representation are contested and contained in most cases by the force of arms. Consequently, the combination of authoritarian state ideologies, the systematic and recurrent use of state violence in these countries has led to the rise of Kurdish opposition. In turn, the ruling states have further used the Kurdish resistance as a pretext to reinforce draconian policies of negation, assimilation and elimination of Kurdish national aspirations.
The 20th century has marked the most repressive state policies against the Kurdish quest for self-determination. At the turn of the 21st century, however, various political developments suggest a shift for the Kurds. The regime change in Iraq in 2003, the ongoing civil war in Syria and the emergence of ISIS were among the watershed events that have not only changed the balance of power in the Middle East but also the perception and position of the Kurds in the global political system.
The establishment of the Kurdistan Regional Government in Kurdistan-Iraq, the Democratic Federation of Northern Syria and the rise of pro-Kurdish political parties in Kurdistan-Turkey have given rise to the political visibility of the Kurds in international politics. The old borders and boundaries that separated the Kurds are becoming increasingly ineffective. These crucial developments have deepened the sovereignty crisis of the oppressive regional states. Simultaneously with this emerging new political geography and visibility of the Kurds, the number of scholarly studies on the “Kurdish Question” and “Kurdistan Question” has rapidly increased in recent years. The “Kurdistan Question” is growing into an international political issue that needs a global response to find a peaceful settlement in the region.
Keynote Speaker: Prof Abbas Vali, Emeritus Professor of Sociology
Call for Abstracts
This interdisciplinary conference aims to bring together researchers from a range of disciplines working on Kurdish history, politics, culture, gender, minority rights and diaspora to examine the ongoing political, social and cultural developments in the lives of the Kurds and Kurdistan. In this context, we seek a broad range of contributions from disciplines of sociology, politics, anthropology, philosophy, psychology, gender studies, cultural studies, history, economics, law, international relations and migration studies.
Researchers are kindly encouraged to contribute to and help shape the conference through submissions of their research abstracts. We also welcome proposals for sessions and are open to suggestions as to what format these take, including panel discussions, roundtables and workshops or book launches. The conference will provide an excellent venue for academics, researchers, students, professionals and policymakers.
How to submit
Please submit your abstract of maximum 350 words to KurdishStudies@mdx.ac.uk. Please suggest up to 5 keywords, indicate your institutional affiliation and the stage of your fieldwork, if it’s relevant.
The Conference Organising Committee
Dr Janroj Yilmaz Keles, Middlesex University
Prof Joshua Castellino, Middlesex University and Minority Rights Group International
Dr Naif Bezwan, University of Innsbruck, Austria, and UCL
Ibrahim Dogus, Centre for Kurdish Progress
Ass.Prof Mehmet Ali Dikerdem, Middlesex University
Dr Tunc Aybak, Middlesex University
Dr Edel Huges, Middlesex University
Prof. Dr. Abdurrahman Gülbeyaz Nagasaki University
Dr Arzu Yilmaz
Dr Selim Temo, Associate professor
Dr Umut Erel, Open University
Dr Necla Acik, University of Manchester
Dr Kamal Soleimani, The College of Mexico, Mexico
Dr Mohammed Shareef, University of Exeter
Location: Middlesex University, London, UK
Registration fee: £ 100
Discount fee for students (postgraduate and doctoral): £ 50
All delegates will be expected to make and pay for their own travel and accommodation arrangements.
Abstract Submission Guidelines
The maximum word limit for the abstract is 350 words. The abstract must contain a brief statement of the objectives, methodology, essential results and the conclusion of the study.
The abstract must also contain the authors’ names, institutional affiliations, contact number, email and postal address. Please submit your abstract to KurdishStudies@mdx.ac.uk email address.
This conference is organised by the Department of Politics and Law, Middlesex University, Minority Rights Group International and Centre for Kurdish Progress.
Contact: For more information, please contact Dr Janroj Yilmaz Keles at J.Keles@mdx.ac.uk
Deadline: April 30, 2019
The Journal of Digital Media & Interaction is an open access journal that addresses research on enhancing user experience in digital media applications in creative, cultural and social contexts. It focuses on the socio-technological challenges seen from a transdisciplinary perspective, grounded in media studies and interaction design, as well as in communication, human–computer interaction, cultural studies, design, psychology, sociology and information sciences. As an international peer-reviewed research journal, it provides an open forum for: the discussion and monitoring of trends and transformations in the digital media landscape; the presentation of new design models and emergent technologies for the innovation of the user experience; the presentation of results from empirical studies and innovative research approaches.
Important Dates for the Issue #3
ISSN 2184-3120, Indexation pending
Cardiff School of Journalism, Media and Cultural Studies
Deadline: March 22, 2019
To deliver high-quality and research-led teaching at both undergraduate and postgraduate level and contribute to the research record of the School through commitment to carrying out research leading to the publishing of work in high-quality journals. To pursue excellence in research and teaching, and to inspire others to do the same.
This post is full-time and open-ended
Salary: £33,199 - £39,609 per annum (Grade 6)
Date advert posted: Wednesday, 20 February 2019
Closing date: Friday, 22 March 2019
Please be aware that Cardiff University reserves the right to close this vacancy early should sufficient applications be received.
Cardiff University is committed to supporting and promoting equality and diversity and to creating an inclusive working environment. We believe this can be achieved through attracting, developing, and retaining a diverse range of staff from many different backgrounds who have the ambition to create a University which seeks to fulfil our social, cultural and economic obligation to Cardiff, Wales, and the world. In supporting our employees to achieve a balance between their work and their personal lives, we will also consider proposals for flexible working or job share arrangements.
Qualifications and Education
1. Postgraduate degree at PhD level in a related subject area or relevant industrial experience
Knowledge, Skills and Experience
2. An established expertise and proven portfolio of research within Global Media and Communication, with the following research areas especially welcome:
3. Teaching experience at undergraduate and/or postgraduate level
4. Knowledge of current status of research in specialist field
5. Proven ability to publish in national journals
6. A willingness to be actively involved in competitive research funding bids
7. Ability to contribute to the delivery and continued development of modules consistent with the School’s teaching programmes
Pastoral, Communication and Team Working
8. Proven ability in effective and persuasive communication
9. The ability to provide appropriate pastoral support to students, appreciate the needs of individual students and their circumstances, and to act as a personal tutor
10. Relevant professional qualification(s).
11. Evidence of collaborations with industry and/or external stakeholders.
12. Proven ability to work without close supervision
13. Proven ability to adapt to the changing requirements of the Higher Education community.
14. Evidence of ability to participate in and develop both internal and external networks and utilise them to enhance the teaching and research activities of the School.
15. A willingness to take responsibility for academically related administration.
16. Evidence of ability to participate in and develop both internal and external networks and utilise them to enhance the teaching and research activities of the School.
17. A willingness to take responsibility for academically related administration.
We are a top-rated institution in the UK for media teaching and research that helps to shape international media, journalism and communication landscapes.
We offer a wide range of courses at various levels with postgraduate degrees that range from industry oriented, practice-based training to more academic degrees. We combine a long-standing record of excellence in teaching and training with an outstanding research portfolio, routinely winning awards from a wide range of bodies.
This reputation was recognised in the 2014 Research Excellence Framework where we were ranked 2nd for the quality of our journalism, media and communications research. When compared with 66 other institutions in the UK, 89% of our research was classed as either ‘world-leading’ or ‘internationally excellent’, with both our research environment and the impact of our research receiving a score of 100%.
Our lectures are delivered by a diverse teaching team of established academics and industry leaders who also regularly contribute expert opinion and commentary about research and topical news events to the national media and the school blog.
We are also fully committed to supporting, developing and promoting equality and diversity in all of our practices and activities. We offer an inclusive culture with a range of support services for students with disabilities and learning difficulties.
Our location at No. 2 Central Square places us alongside local and national media companies including broadcaster BBC Cymru/Wales.
Our location helps us build stronger industry links, boosting our students’ employability by providing direct access to major media organisations within journalism as well as the creative and cultural industries.
Our new location features:
Salary Range Min.: 33,199
Salary Range Max.: 39,609
Job CategoryAcademic - Teaching & Research
Grade: Grade 6
RFSIC journal special issue
Special Issue Editors: Sébastien François and Marie Pruvost-Delaspre
Even though academic interest for the animated medium remains on the fringe of media studies, it seems to have gained much importance during in the last few decades (Crafton, 1982; Pilling, 1997; Lamarre, 2008; Wells, 2012). Following the impetus of the thriving “animation studies” in the English-speaking context and the pioneering work of the Society for Animation Studies (SAS) founded in 1987, scientific research on animation has started to spread across different linguistic areas and countries. Nevertheless, animation as a field of research still appears in a state of dispersal and fragmentation, marked by recurrent tropisms. Indeed, due to their dependence to related scientific projects or events, the works conducted on animation and its multiple formats and techniques have been developed within different disciplinary fields, such as film and media studies, communication studies, history or sociology, but in a certain state of unawareness of one another (Pilling, 1998; Denis, 2011). They also have been mainly focused on aesthetics and contents –and to some extent on reception–, putting aside the practical conditions of the making of animation.
A growing number of books, documentaries or DVD-bonuses may have already offered some insights into what happens “behind-the-scene”, as did so –more seriously– some general historical and theoretical works on animation (Furniss, 2016), studies devoted to major studios like Disney or Pixar (Wasko, 2001), or others focused on specialized television channels (Hendershot, 2004). Nevertheless, the design and production process of animated programs have rarely been systematically tackled by social sciences, and socio-economical approaches of the animation market appears almost non-existent. Those blind spots left by academia are related the periodic illegitimacy of animation, which is clearly linked to its reduction both to television programs and children products. In this context, ethnographical studies like Ian Condry’s work on anime studios (Condry, 2013) or Dana Lemish’s on gender in animated cartoons (Lemish, 2010), can be considered as pioneering. More recently, the one-day symposium “La fabrique de l’animation” (“The making of animation”), organized in June 2017 in Paris, which sought to raise visibility on this type of research and to develop dialogue between researchers, has rather been a first step than culmination. From the perspective of countries, like France, where animation remains, despite everything, a flourishing industry, with animation schools and young professionals with international appeal (Mérijeau & Roffat, 2015), this state of the art seems nothing but paradoxical.
This special issue consequently aims at highlighting the processes through which animation projects are designed and put into production, by bringing together contributions and researchers that engage with such questions. Thus, an essential task is still to better document the working conditions of animation professionals, whose occupations and situations are so diverse. But how can we report the organization of such production systems, in which many projects stop at their early stages while the lucky ones take years to be completed? How to describe and classify the multiple and complex “chains of cooperation” (Becker, 1982) of each one? Benefitting from the input of previous works previously undertaken in diverse academic fields, the purpose of this issue is indeed to discuss the potential approaches (theoretical and empirical) that could be useful to comprehend the production of animation, taken in its broadest sense, i.e. from the first steps of the creation to the practical manufacturing and broadcasting moments. The collection’s goal is therefore to question the specificity of animation and its qualification as a cultural industry.
So as to initiate the discussions at stake, we invite contributors to address the following (but not exhaustive) research directions:
Animation and its modes of cooperation
Following decisive works on cultural industries (Hesmondhalgh, 2012; Johnson & al., 2014) and the recent rise of production studies (Mayer & al., 2009; Arsenault & Perren, 2016), the work of animation professionals and their daily practices should appear as a central issue. Indeed, how can research follow up and document the multiple stages of the animation production? How to analyze the diversity of artistic professions (authors, animators, filmmakers, story-boarders, voice actors…) as well as their skills and crafts, while some of them remain particularly understudied? Existing research on the collective nature of creation in the cinema industry (Caldwell, 2008; Rot & de Verdalle, 2013) or on the role of cultural intermediaries (Maguire & Matthews, 2014; Jeanpierre & Roueff, 2014) should be helpful to understand how those professionals cooperate (Holian, 2015). In particular, articles addressing the question of the existing tensions within the animation industry –regarding gender, generations, schools of thought, etc.– or technical antagonisms –craftsmanship vs. industry, analogic vs. digital technology (Noesser, 2016)– are expected.
The animation industry: organizing, financing and broadcasting
The production of animated series and feature films deeply relies on specific financing and economic models (Creton, 2014) which comprehension requires to conduct studies among animation producers. Analyzing the specificity of animation production, in comparison to the situation in the film or in other cultural industries, might also shed some light on this subject. Thereby, papers dealing with the institutional and political contexts, as well as the financing of animation projects, will be highly appreciated: for instance, such works could explain why the French and European animation have continued to develop despite the powerful Japanese anime and American cartoons (Mousseau, 1982), but any other international perspective will be considered. Moreover, it is essential to scientifically include animation broadcasting, be it the film circulation through festivals, the work done by cinema distributors, and of course the role played by television channels which are indispensable in the financing and production processes (Stabile & Harrison, 2003; Jost & Chambat-Houillon, 2003), since they have their own problematics. Finally, the moral and regulation constraints which apply to audiovisual material may be also examined. The institutions (e.g. the Conseil Supérieur de l’Audiovisuel in France), associations (e.g. the “Parents-Teachers Associations” in Japan) or other entities (e.g. the “Standards and Practices” departments in American television channels; see Cohen, 2004), which directly affect professionals’ working conditions and attitudes could inspire very interesting studies.
Animation and media circulations
Looking more broadly into cultural industries and their boundaries (Bouquillon & al., 2013), article proposals focusing on the circulation of animated contents are expected. Animation often plays a central part in contemporary media circulations and one can wonder to what extent the industry has (or had) to adapt its production routines due to licensing or cross/transmedia strategies (Johnson, 2013; Kinder, 1991; Steinberg, 2012). How then has been animation associated to other “new” media (video games, Internet, apps) and what are the implications for animation professionals? Interrogating such aspects of animation circulation should contribute to the understanding of the interactions between cultural industries, as well as the building of contemporary fictional worlds (Brougère, 2008; Condry, 2013; Besson, 2015).
Submitted papers, of a maximum of 40,000 characters including spaces, should be sent before March 31, 2019 to the coordinators: email@example.com and firstname.lastname@example.org
They will then be peer-reviewed in a double-blind process by the scientific committee. Instructions on format and citations may be found at: https://journals.openedition.org/rfsic/401
The issue #18 is expected to be published by the end of 2019.
Deadline: March 30, 2019
Journal of Contemporary Eastern Asia (JCEA), Vol. 18, No 2 - Winter 2019 (special Issue)
Invited editor: Tim Dwyer, University of Sydney (email@example.com)
In recent times there has been a noticeable shift in thinking about the possibilities for regulating social media platforms. A steady stream of scandals in relation to Facebook and Google sharing personal data with third parties, the growing evidence of Russian hacking of the 2016 US Presidential elections, and the role of the boutique data analytics firm, Cambridge Analytica contributed to this shift. The turn to regulatory solutions was prompted by both US Congressional and European Commission investigatory hearings. At the same time, there is a growing understanding that these media-tech platforms in the West and Eastern Asia use less than transparent algorithms to amass personal data for achieving various objectives. We are seeing ongoing investigations and new models of regulation are just around the corner. A pervading sense that the ‘Tech Giants’ have betrayed our trust arising from their role in spreading misinformation and the manipulation of breaking news calls out for more detailed theoretical and empirical analysis. For this special issue of the Journal of Contemporary Eastern Asia we welcome any topics that deal with media manipulation, fake news, misinformation and disinformation. The topics that we are particularly interested in include, but are not limited to:
Please submit your abstract in English to firstname.lastname@example.org by 30 March (please include “JCEA Special Issue” in the title). The maximum word limit for the abstract is 500 words.
For more information about the journal, please refer to https://jceasia.org/.
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