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ECREA WEEKLY digest ARTICLES

  • 14.11.2019 10:42 | Anonymous member (Administrator)

    University of Bremen

    The Centre for Media, Communication and Information Research (ZeMKI) at the University of Bremen is offering two salaried 3-year PhD positions (f/m/d) at a newly established research lab to be led by Cornelius Puschmann.

    Description of the positions

    Duration: 3 years

    Starting date: 1 February 2020 or as soon as possible thereafter

    Remuneration based on grade E13 TV-L (65% of a full-time position) of the German federal employee scale

    General description of the position: The PhD student will join a newly established research lab, led by Cornelius Puschmann, and situated within the interdisciplinary ZeMKI of the University of Bremen. The members of this lab will study the relationship between digital media use – for example using social media platforms, engaging with online news, finding information through search engines – and current social, cultural and political phenomena, such as the spread of disinformation, cultural fragmentation, and social disenfranchisement, through a combination of computational and traditional research methods. The PhD student will be actively involved in the research activities of the lab and contribute to sharpening its research agenda and growing its research output. It is also expected that the PhD student will be an active contributor to the interdisciplinary intellectual environment of the ZeMKI. For more information on the lab and the ZeMKI, please see below.

    Research and teaching duties

    • Develop an independent PhD research project based on the objectives of the lab (see below)
    • Collaboration in current and future research projects undertaken within the lab
    • Presenting research results at national and international conferences and workshops
    • Contributing to scientific publications
    • Teaching (2 hours per week in communication and media)

    Essential qualifications

    • Master’s degree in Media and Communication, Sociology, Psychology, Computer/Information Science or Computational Linguistics
    • Command of R (alternatively Python)
    • Interest in computational methods, e.g.
    • Automated content analysis/text mining or
    • Network/sequence analysis or
    • Survey analysis/online experiments or
    • other standardized methods relevant to media usage research
    • Interest in media and communication (for applicants with backgrounds in other fields)
    • Experience with social media data analysis is desirable
    • Strong command of English

    The University of Bremen intends to increase the proportion of women in science and therefore urges women to apply. Handicapped applicants with the same professional and personal suitability are given priority. Applications from people with a migration background are encouraged. Candidates who already hold a PhD degree will not be considered.

    For questions pertaining to the position, please contact Cornelius Puschmann (puschmannuni-bremen.de).

    Application

    The application should include a brief description of his/her research interests, a written CV, copies of academic certificates and a writing sample (Master’s thesis, research paper, or other scholarly output, such as software code), as well as a short project sketch (0.5-1 page).

    Please send your application including the reference number A309/19 until 1 December 2019 to:

    Universität Bremen

    Zentrum für Medien-, Kommunikations- und Informationsforschung (ZeMKI)

    z.H. Frau Denise Tansel

    Postfach 33 04 40

    28334 Bremen

    or as PDF via Email (single file) to: dtanseluni-bremen.de

    The employment is fixed-term and serves the scientific qualification, governed by the Act of Academic Fixed-Term Contract, §2 (1) (Wissenschaftszeitvertragsgesetz). Therefore, candidates may only be considered for appointment if they still have the respective qualification periods available in accordance with § 2 (1) WissZeitVG.

    About the lab

    Informed citizens are a prerequisite for functioning Western societies and reliable information on politically and socially relevant issues increasingly reaches us online. Mobile apps and websites of major media brands play an important a role, as do niche offerings, popular blogs and dubious or even manipulative content (clickbait, fake news), some of which is mediated by non-human agents (social bots). There is currently a clearly identifiable research gap when it comes to the systematic investigation of media and news use on the basis of digital communication data -- a deficit that the new research lab will seek to address. Methodologically the lab will draw on:

    • digital user tracking (through browser plug-ins / apps, data donations)
    • automated content analysis (topic modelling, machine learning, sentiment analysis)
    • survey data (online surveys, experience sampling)

    Our long-term ambition is to link these instruments in panel designs in order to draw conclusions regarding causal relationships, for example between routine digital media usage and user attitudes.

    About the Centre for Media, Communication and Information Research (ZeMKI)

    As an inter-faculty research institute, the Centre for Media, Communication and Information Research (ZeMKI) bundles research activities at the University of Bremen in the area of media and communicative change regarding a broad range of cultural, social, organisational and technological context fields. The research institute is committed to interdisciplinary cooperation, integrating researchers from the areas of media and communication studies, cultural studies, information management and media pedagogics. In addition to their research activities, ZeMKI members are active in the various media related study programmes at the University of Bremen. The ZeMKI oversees the profile-building research group "Communicative figurations of mediatized worlds" of the University of Bremen. The research group has been supported as a "Creative Unit" by the institutional strategy "Ambitious and Agile" of the University of Bremen funded within the frame of the Excellence Initiative by the German Federal and State Governments.

  • 07.11.2019 11:07 | Anonymous member (Administrator)

    March 19, 2020

     Lund University, Sweden

    Deadline: December 12, 2019

    Department of Communication and Media

    Organisers: Annette Hill and Hario Satrio Priambodho

    Break up, break down, and break away: variations on media and the breaking down of infrastructures, technicalities, texts, contexts and social relations are the basis of this international symposium Media and Breakdown. This event focuses on the play off between deconstruction and reconstruction work in media, communication and cultural studies.

    Breakdown signifies wearing down, collapse, and catastrophe; this meaning of breakdown relates to media technologies and services, representations and themes in factual and fictional genres, or broader issues such as a crisis of democracy, and a thin trust between politicians, the media and publics. Breakdown also signifies taking apart something to analyse and understand how it works; this meaning of breaking down relates to deconstructing a text and its internal workings and contradictions, or forensically analysing media systems, political economics and power structures. Moments of media breakdown can reveal that which is otherwise hidden. And breakdown can be related to processes of fluidity and renewal, in the breaking down of barriers and divisions. The theme of breakdown offers a multidimensional approach to how we can understand media, culture and society as a site of collapse and repair, and as a place for theoretical and empirical analysis within media, communication and cultural studies.

    The international symposium offers a platform for dialogue on media and breakdown that addresses the theme from empirical and theoretical perspectives. We invite papers related to the following themes:

    • Media and crises of democracy
    • Media, civility and incivility
    • Media misinformation, bias and fake news
    • Media and failure of institutions, infrastructures, and professionals
    • Media framing of catastrophe, crisis, and apocalypse
    • Media and breaking down genres and narratives
    • Media and cultural practices of collapse, repair and reconciliation
    • Media, arts and creativity on breakdown, dissolution and resolution
    • Media and cultural methods of deconstruction and reconstruction

    The research questions include: 1. How can we critically examine media and breakdown across news, radio and television, film, arts and museums, digital and social media? 2. In what ways can we understand breakdown and repair in our analysis of media and culture? 3. What methods can we apply to the study of media and breakdown? Different disciplinary approaches to research on media and breakdown have developed in a variety of subject areas such as media, communication and cultural studies, political communication, sociology and anthropology, cultural geography, media history, film studies, art and creative practice, and memory studies. The symposium offers opportunities to seek overlaps and connections in pursuing our topic.

    Confirmed speakers include Nico Carpentier (Charles University, Czech Republic), Simon Dawes (Université de Versailles Saint-Quentin-en-Yvelines, France), Christine Geraghty (Glasgow University, UK), Joke Hermes (InHolland University, Netherlands), Annette Hill (Lund University, Sweden), and Peter Lunt (University of Leicester, UK).

    Please submit an abstract of 300 words in English by December 12th 2019 to hario.priambodho@kom.lu.se. For further information please consult our website https://www.kom.lu.se/en/research/konferenser-och-natverkstraffar/media-and-breakdown/. There is a registration fee of 850 SEK (90 Euros) that covers food and drink for the day and an evening buffet.

  • 07.11.2019 11:06 | Anonymous member (Administrator)

    Convergence Special Issue

    Deadline for Abstract Submissions: December 31, 2019

    Guest editors: Germaine Halegoua (University of Kansas, USA) and Erika Polson (University of Denver, USA)

    Deadline for Full Papers: May 1, 2020

    Expected date of publication: April 2021

    We invite submissions for a special issue of "Convergence: The International Journal of Research into New Media Technologies" on the topic of Digital Placemaking. As digital and physical environments converge, each increasingly producing the norms and parameters of the other, it is important to consider how the drive to create and control a sense of place remains primary to how social actors identify with each other and express their identities, and how communities organize to build more meaningful, connected spaces. Instead of depleting a sense of place, the ability to forge attachments to digital media environments and through digital practices enables people to emplace themselves and others. The increasing mobility of people, goods and services, information, and capital contribute to the impression of a world in flux where the “space of flows” dominates the “space of places,” while at the more personal scale, multiplying public and private uses of digital media have produced varied discourses on the potential for these practices to dissociate or liberate users from co-present environments. The implication of these perspectives is that our collective sense of place has been disrupted, leaving people unsure of their belonging within conditions and boundaries that seem increasingly fluid. While it is imperative to attend to the shifting social, economic, and political conditions that give rise to such concerns, it is also necessary to recognize the many ways people actually use digital media to negotiate differential mobilities and become placemakers.

    This special issue introduces and critically examines the concept of “digital placemaking” as practices that create emotional attachments to place through digital media use. As populations and the texts they produce become increasingly mobile, such practices are proliferating, and a striking array of applications and uses have emerged which exploit the affordances of mobile and digital media to foster an ability to navigate, understand, connect to, and gain a sense of belonging and familiarity in place. Papers are invited to investigate the concept of “digital placemaking” as both a theoretical and applied response to the spatial fragmentation, emerging virtual and physical environments, and community reorganizations thought to have accompanied the speed and scale of globalization.

    The editors welcome contributions that explore questions such as:

    • How do people employ digital media to create and negotiate a new sense of place within rapidly changing media landscapes and socio-spatial exchanges?
    • How does digital placemaking as a research approach or theoretical framework uncover novel socio-cultural-technical practices and understandings of sense of place?
    • How are boundary crossing and place transgressions implicated in tensions related to tourism, gentrification, migration, and emerging media?
    • How can scholars investigate digital placemaking to reflect nuances of interrelated online and offline practices?
    • What are key characteristics and configurations of digital placemaking within particular communities or institutions?
    • How can digital placemaking be employed as an innovative approach to studying digital media technologies and practices?
    • What does a focus on digital placemaking help us understand about issues including: mobile rights and risks associated with migration and diaspora; creative tactics within social and mobile media regarding tourism and travel; the design of physical places and experiences; and contested mobilities based on social power and access to digital infrastructures?
    • How does the concept or framework of digital placemaking uncover tactics and forces that coordinate, govern, and express mobilities within digital infrastructures and imaginaries?

    We are open to a range of approaches in exploring this concept, and particularly welcome submissions that address locations and digital placemaking practices in the global south.

    TO SUBMIT: Please send a 500-word abstract and a 100-word bio to the guest editors at grhalegoua@ku.edu and epolson@du.edu by December 31, 2019

    Authors of accepted abstracts will be contacted in early January and invited to submit full contributions by May 1, 2020.

  • 07.11.2019 11:01 | Anonymous member (Administrator)

    June 12-14, 2020

    Cape Breton University: Sydney, Nova Scotia

    Submission Deadline: December 15, 2019

    IASPM Canada Annual Conference

    As we enter into a new decade it’s apt to question our place in the world. Almost sixty years ago, Marshall McLuhan notably coined the term Global Village to refer to the global spread of media content and consumption, and yet Canada still struggles with its position in the world as an imposing landmass with a relatively small population, and how that influences where and how its cultural texts are encountered. This conference seeks to address the concept of voice and sound as tied to space and place, in the broadest sense. In regards to popular music in Canada, we have established a strong identity, but one that is often defined in opposition to our more vocal neighbours to the South. As we continuously define and redefine Canadian cultural identity, and cultural outputs, this conference questions how our musical landscape has historically adapted, and will continue to adapt, to an increasingly globalized environment.

    This is the first time that the IASPM Conference has been held in Cape Breton. And, as such, it opens up a great opportunity to not only address the “big sounds” that emerge out of “small places” like Cape Breton, but also wider themes of space and place in popular music, and the relationship between communities and music.

    While we welcome papers on any aspects of popular music, we encourage papers that align with the conference subthemes: audiences; space & place; and populations & peripheries.

    Audiences:

    The digital landscape has dramatically extended the reach of niche music, local musicians, and subcultures/scenes. Potential areas of focus in this theme include, but are not limited to:

    • Scenes: from “small town” roots to urban niches. The history, present, and future of local scenes.
    • Digital communities/fans: the spread of Canadian pop through digitality.
    • Subcultures: issues of subcultural identity in popular music
    • Everyday uses of music
    • Listening practices: environmental impacts; listening to music in transit
    • Dance and embodied consumption

    Space & Place:

    Canada, as a Nation and a concept, continues to exist as both “village/settlement” and a major player on the global stage. The ways in which popular music also navigates these complicated relationships is often intimately tied how space and place is expressed in music. This can be seen not only in Canadian music, but also throughout a myriad of cultural and national identities. Potential areas of focus in this theme include, but are not limited to:

    • Issues of space and place in popular music
    • Land-based epistemologies and musical embodiment; the natural environment and music spaces
    • “Small” nations/artists/communities on the global stage
    • Live music and venues: small/hidden/underground venues; “noise” and leaking sounds; busking; rehearsal spaces
    • Music-making practices in domestic spaces

    Populations & Peripheries:

    How does/can music become the sound of a community? This theme explores the connection between cultural identity, community, and music. In addition, it takes up the notion of peripheries to focus on the marginalized, subaltern, and/or tokenized sounds/identities, and to disrupt hegemonic paradigms. Potential areas of focus in this theme include, but are not limited to:

    • Music and cultural, community, and/or national identity
    • “Small” economies in smaller populations
    • Issues of music policy and practice
    • Making music in jail
    • The sounds of Indigenous, Immigrant, Disabled, LGBTQ, and/or Ally communities

    Submission Guidelines:

    Abstracts of individual papers, workshops, performances and other presentations should be no longer than 300 words. The program committee is especially interested in proposals in diverse formats. Panel submissions should include a title and abstract for the panel (300 words max.) as well as titles and abstracts for the individual papers on the panel. All abstracts for a panel should be submitted together. Abstracts will be adjudicated individually, so it is possible for a panel to be accepted but not an individual paper and vice versa. Each abstract should also include a short biography of the author (100 words max.) including the institutional affiliation, if any, and email address of each author. Each abstract should also include five keywords. Submissions in French and English are acceptable. All submissions must be submitted as a single Word document with the author's last name as the document file name. Please do not submit your proposal as a PDF. Proposals will be blind reviewed.

    Email Submissions To: iaspmcanada2020@gmail.com

    Presentation Logistics:

    Papers will be limited to 20 minutes followed by 10 minutes of questions. Panels will be limited to a maximum of 4 papers. Other presentations (workshops, film screenings, roundtables, etc.) will generally be limited to 60 minutes, but alternatives can be discussed/proposed. All participants must be members of IASPM-Canada at the time of the conference. Membership information is available on the following website: http://iaspm.ca/membership.

    For questions about the conference, please contact the Program Committee Chair, Melissa Avdeeff (melissa.avdeeff@gmail.com), or Local Organizing Chair, Chris McDonald (chris_mcdonald@cbu.ca).

    Program Committee Members:

    • Melissa Avdeeff (Chair), Coventry University
    • Vanessa Blais-Tremblay, Université du Québec à Montréal
    • Sandria P. Bouliane, Université Laval
    • Matt Brennan, University of Glasgow
    • Mark Campbell, University of Toronto
    • Marcia Ostashewski, Cape Breton University
    • Maya Stitski, Queen’s University
  • 07.11.2019 10:57 | Anonymous member (Administrator)

    July 12-16, 2020

    Tsinghua University in Beijing, China

    Deadline: February 10, 2020

    At the critical juncture of the second decade of the 21st century, the world is facing tremendous challenges. The past three decades of cultural, economic and communication globalisation have created sharp income and wealth inequities, a divisive international community, dysfunctional media, an increasingly fragmented digital culture and an accelerating environmental crisis. We witness growing populism and protectionism and a dissolving consensus on global engagement and international collaboration. We see deepening technological contestation in digital media and artificial intelligence between the world’s two economic powerhouses. We also witness a sharp decline of the quality of national and international information flows as a result of widespread misinformation facilitated by social media.

    These developments pose urgent questions and challenges for media and communications scholars. What are the reasons for the division, gaps and fragmentation we now see? What roles have digital media communication played in these developments at both the local and global levels? What values should inform our proposals for addressing them?

    This year’s conference aims to respond to those challenges by re-examining the roles and patterns of global communication while including local voices, seeking critical reflections on the relationship between them, and exploring feasible agendas for a shared digital future based on inclusiveness, respect and reciprocity.

    In the context of growing divisions between elites and citizens, the economically secure and the marginalised, mainstream and minority cultures, and intensified political polarization, calls for greater inclusiveness of different voices in the media and equality of access and opportunities, become even more pressing. As researchers we need a more comprehensive understanding of the factors promoting and impeding inclusiveness in the ‘legacy’ print and audio-visual media media domestically and globally and the roles played by existing and emerging digital media.

    Having a public voice and opportunities for expression, however, does not in itself guarantee that diverse contributions to a common culture will be listened to attentively or treated with respect. IAMCR 2020 addresses respect for both diversities and shared values. Respect embodies respect for local cultural experiences and developmental models as well as respect for human dignity and international law and institutions. It embodies respect for role of ethics in developing the digital technology and for the safety and security of personal data and privacy. Exploring these issues requires us to reconsider to what extent the current global communication and technological landscapes have facilitated these dimensions of respect for diverse voices, experiences and models; and to ask what communicative values and goals would guaranteed the in the future.

    Promoting inclusiveness and respect are essential preconditions for (re)imagining and developing a shared digital future that challenges and transcends political, religious, and cultural boundaries. But pursuing this goal also requires a commitment to reciprocity based on relations between public, governments and business communities rooted in a shared a commitment to inclusiveness, respect and avoiding exploitation or exacerbating divides and conflicts.

    Organised by two leading Chinese universities in Beijing and Suzhou, two ancient capitals mixed with the chic of postmodern metropolis, IAMCR 2020 is set to bring together different perspectives on how multi-stakeholders of the global and local communication and media spaces negotiates among heterogeneous communities and institutions in the hope for building an inclusive, harmonious and respectful digital future. Bringing IAMCR to China offers members a unique opportunity to access analysis and commentary on the China’s experience of employing media and digital communication technology.

    Languages

    Different sections and working groups have different policies regarding languages. Some accept abstract and programme sessions in English, French and Spanish while others conduct their programmes in only one or two languages. Consult the individual CfPs for details on the language policy of each section.

    Guidelines for abstracts

    Abstracts should be between 300 and 500 words. All abstracts must be submitted at https://beijing2020.iamcr.org/submit. Abstracts sent by email will not be accepted.

    It is expected that authors will submit only one (1) abstract. However, under no circumstances should there be more than two (2) abstracts bearing the name of the same author, either individually or as part of any group of authors. No more than one (1) abstract can be submitted to any section or working group. Please note also that the same abstract or another version with minor variations in title or content must not be submitted to more than one section or working group. Any such submissions will be deemed to be in breach of the conference guidelines and will be rejected. Authors submitting them risk being removed entirely from the conference programme.

    The deadline to submit abstracts is 23:59 GMT on 10 February 2020.

    For other important dates and deadlines, please see IAMCR 2020 key dates on the conference website.

    Technical guidelines, if any, are defined by the individual Sections and Working Groups. If you have questions, consult the Section or Working Group's specific CfP or contact the head of the Section and Working Group that interests you.

    For further information about the conference, consult the IAMCR Beijing 2020 webpage.

  • 07.11.2019 10:56 | Anonymous member (Administrator)

    The Data Justice Lab

    Deadline: November 30, 2019

    The Data Justice Lab is now accepting applications for two Data Justice Fellows.

    We are looking for two fellows to collaborate with us on exploring current issues in data justice for a one-month research stay at Cardiff University, UK. We welcome proposals from both academics and practitioners who wish to investigate different dimensions of social justice in a datafied world.

    Applicants should submit a proposal that addresses the ongoing work of the Lab and/or the research agenda of data justice.

    Each fellow will spend one month full time at the Lab in Spring 2020. You will receive a £2000 stipend to cover your living expenses.

    To find the full details and apply, click here: https://datajusticelab.org/data-justice-fellowship/

  • 07.11.2019 10:53 | Anonymous member (Administrator)

    Utrecht University's Faculty of Humanities

    Deadline: December 1, 2019

    Apply here

    Utrecht University's Faculty of Humanities is looking for a Full Professor Media, Culture and Society. Are you interested? Then please read the full profile and apply.

    JOB DESCRIPTION

    The Department of Media and Culture Studies is looking for a media scholar with a strong international reputation and excellent skills in research, teaching and management. S/he can articulate an engaged, interdisciplinary vision on the academic field in line with the strategic plans of the department, the Faculty of Humanities, and the university. The ideal candidate substantially contributes to developing the department's research themes in media, culture and society and helps distribute this knowledge in and beyond academia. S/he is able to motivate and inspire cooperative research projects across disciplines and to acquire external funding, initiate collaborative teaching, and stimulate innovation that directly connects to recent developments in media studies, both nationally and internationally. The successful candidate focuses on the cultural and societal dimensions of media in today's digitised society in both teaching and research. Moreover, s/he is expected to contribute to Utrecht University's strategic themes and is encouraged to initiate and build on the university's research strengths in these areas.

    The candidate we are looking for has a strong publication and teaching record, an extensive international network, and the experience and willingness to take on managerial responsibilities. S/he has profound knowledge of the theoretical foundations of media studies as an academic field and is familiar with current developments in the field of media such as mediatisation, datafication, and screen cultures; we welcome theoretical, historical as well as contextual orientations towards these developments.

    The new chair 'Media, Culture and Society' (pdf) will be positioned in the Department of Media and Culture Studies (MCW), which is part of the Humanities Faculty of Utrecht University. MCW provides education and research in the fields of film, television, games, new media and digital culture, theatre, dance and performance, musicology, gender and post-colonial studies, communication and information studies, and participation in arts and culture. In the department a wide range of media as well as cultural and artistic expressions are studied in conjunction with one another. Culture is interpreted as a dynamic combination of artistic, creative and everyday activities that people use to shape their identities, and within which social processes, structures and institutions are shaped.

    REQUIREMENTS

    We are looking for candidates:

    who are experienced, internationally respected senior researchers in the field of the chair, as shown by a completed PhD and an extensive list of peer-reviewed scholarly output in leading academic journals and reputable book publications;

    • with substantial experience in teaching media subjects at BA and MA level and who have acquired Senior Teaching Qualification (SKO) according to Dutch university standards or who have extensive experience in developing curricula;
    • with experience in supervising PhD candidates in an inspiring and effective way as well as in leading an international team of researchers;
    • with an extensive international and national network in academia and beyond, especially in the media sector, and who are able to engage this network in order to develop original research projects;
    • who have successfully acquired internal and external research grants;
    • with excellent communication skills and capable of inspiring positive team spirit;
    • who have the experience and willingness to take on managerial responsibilities at departmental level;
    • who are fluent in English at near-native or native speaker standard in oral and written communication;
    • whose fluency in Dutch is at least at NT2 level (or able to attain this level within two years after the appointment).

    CONDITIONS OF EMPLOYMENT

    We offer a temporary position (1.0 FTE) for the duration of five years. In case of a good performance, an indefinite employment is one of the possibilities. The gross salary - depending on previous qualifications and experience - ranges between €5,582 and €8,127 (scale HL2 according to the Collective Labour Agreement Dutch Universities) per month for a full-time employment.

    Salaries are supplemented with a holiday bonus of 8% and a year-end bonus of 8.3% per year. In addition, Utrecht University offers excellent secondary conditions, including an attractive retirement scheme, (partly paid) parental leave and flexible employment conditions (multiple choice model). More information about working at Utrecht University can be found here.

    EMPLOYER

    A better future for everyone. This ambition motivates our scientists in executing their leading research and inspiring teaching. At Utrecht University, the various disciplines collaborate intensively towards major societal themes. Our focus is on Dynamics of Youth, Institutions for Open Societies, Life Sciences and Sustainability.

    The Faculty of Humanities has around 6,000 students and 900 staff members. It comprises four knowledge domains: Philosophy and Religious Studies, History and Art History, Media and Culture Studies, and Languages, Literature and Communication. With its research and education in these fields, the Faculty aims to contribute to a better understanding of the Netherlands and Europe in a rapidly changing social and cultural context. The enthusiastic and committed colleagues and the excellent amenities in the historical city center of Utrecht, where the Faculty is housed, contribute to an inspiring working environment.

    The Department of Media and Culture Studies at Utrecht University is an internationally renowned teaching and research consortium composed of scholars in Film, Television, Arts Policy and Participatory Arts, Communication, New Media, Game and Gender Studies, Music, Theatre and Dance. It is dedicated to an interdisciplinary approach to media, performance, music, and culture in general.

    ADDITIONAL INFORMATION

    For more information about this position, please contact Eugene van Erven (Head of the Department of Media and Culture Studies), via E.A.P.B.Erven@uu.nl.

    Please note that an assessment can be part of the selection procedure.

  • 07.11.2019 10:50 | Anonymous member (Administrator)

    A special issue of Feminist Media Studies

    Deadline: November 30, 2019

    Co-edited by Jilly Boyce Kay (School of Media, Communication and Sociology, University of Leicester, UK) & Justine Lloyd (Department of Sociology, Macquarie University, Australia)

    Forthcoming June 2021 (see full info on all dates below)

    As Michele Hilmes has recently argued, broadcasting, while being heavily controlled by nation-states from its inception in the early twentieth century, had an unprecedented cultural capacity to transgress and defy national borders. In this aspect, the legacy of broadcasting is a transnational cultural economy that continues into the present (Hilmes 2012: 2). As Hilmes goes onto describe, the role of gender in these transnational media circuits is potentially politically disruptive. Contestations over gender have not only added to growing pressures on elite cultures and established power dynamics, but have intersected with other important struggles, to the extent that popular media have become “a means of acknowledging and addressing [inequalities] while uniting the citizenry not only within national boundaries but across them” (Hilmes 2012: 84).

    This special issue therefore extends from Hilmes’ historical focus on transnationalism’s role within the broadcasting cultures of the UK and USA. It builds on recent scholarship on transnational gendered media cultures (Sreberny 2001; Kim 2010, Mankekar 2015, Hegde 2014) and visibilities (Hegde 2011), including within Feminist Media Studies (for example, Imre et al. 2009), to bring together recent scholarship that works against the grain of national histories.

    This special issue of Feminist Media Studies will profile work on media from scholars inside and outside the academy. We are particularly interested in papers which consider how mediated practices intersect with political contexts and afford diverse kinds of interventions in issues of social justice. We welcome abstracts engaging with transnational media and gender including in the following contexts:

    • Social media and transnational feminism
    • Gendered cultural forms within transnational activist networks
    • Transnational film cultures and feminist praxis
    • Decolonisation and gender as explored in media
    • Circulation of gendered images and affects within and outside national polities
    • Translations of gender and genre across regional media markets
    • Indigenous and first nations media and questions of gender
    • Critiques of contemporary forms of orientalism within global media cultures from a gendered perspective

    As well as engaging with the special issue’s theme all articles must (a) comply with the general submission requirements, (b) address the central concerns of the journal, which is to bring together scholars, professionals and activists from around the world to engage with feminist issues and debates in media and communication, and (c) be of relevance to a wide international and multidisciplinary readership (see below for the Journal’s aims and scope).

    Key dates:

    • 30 November 2019: deadline for abstracts (350 words) and biographical note (200 words)
    • mid-December 2019: authors notified of outcome of abstracts and some invited to submit full articles. NB: All full articles will go through peer review, so acceptance of an abstract is not a guarantee of publication
    • 15 March 2020: deadline for full articles of 7000 words (including references)
    • End of March 2020: all full articles sent for peer review
    • mid-June 2020: deadline for return of peer reviews to editors
    • end of July 2020: articles returned to authors for revision; authors of rejected articles notified
    • end of September 2020: articles returned to editors for final acceptance
    • end of November 2020: accepted articles forwarded for copyediting
    • end of April 2021: accepted articles begin appearing as 'articles in press', if authors respond in a timely manner to copyediting queries
    • June 2021, special issue published as Feminist Media Studies, Vol 21, Issue 4.

    Submission instructions:

    Please submit 350-word abstracts here by the closing date of 30 November: https://www.dropbox.com/request/2AbJqu19QTGexAKJLPII

    Please save your 350-word abstract and 200-word biographical note both within one word document named in the following format:

    Authorlastname_Papertitle_FMSSI.doc

    For example, if the author was Justine Lloyd and the paper was titled ‘International Public Broadcasting and Women’, the word document would be named thus:

    Lloyd_Internationalpublicbroadcastingandwomen_FMSSI.doc

    Queries about the special issue can be directed to Justine Lloyd Justine.Lloyd@mq.edu.au.

    Journal Aims and Scope

    Feminist Media Studies provides a transdisciplinary, transnational forum for researchers pursuing feminist approaches to the field of media and communication studies, with attention to the historical, philosophical, cultural, social, political, and economic dimensions and analysis of sites including print and electronic media, film and the arts, and new media technologies. The journal invites contributions from feminist researchers working across a range of disciplines and conceptual perspectives. The journal offers a unique intellectual space bringing together scholars, professionals and activists from around the world to engage with feminist issues and debates in media and communication. Its editorial board and contributors reflect a commitment to the facilitation of international dialogue among researchers, through attention to local, national and global contexts for critical and empirical feminist media inquiry. When preparing your paper, please click on the link ‘Instructions for Authors’ on the Feminist Media Studies website (www.tandf.co.uk/journals/rfms) which provides guidance on paper length, referencing style, etc. When submitting your paper, please do not follow the link ‘Submit Online’ as special issue papers are handled directly via email with the special issue Editors.

    Peer Review Policy

    All research articles in this journal undergo rigorous peer review, based on initial editor screening and anonymous refereeing by at least two scholars.

  • 07.11.2019 10:46 | Anonymous member (Administrator)

    Academic Quarter #22, 2020

    Deadline: January 15, 2020

    Since the fall of the Berlin Wall in 1989, the European crime narrative genre has represented the consequences of globalization in ways that have often involved the treatment of space and place. The new transnational configuration of the world’s geography—imposed by such powerful systemic factors as global trade, connective technologies, and the movement of large masses of people across different boundaries—has fueled a variegated debate over the notion of transculturalism. What has been called “the cosmopolitan turn” in the social and political sciences (Beck 2006) resonates in the research agendas of many contemporary approaches to European literature (Domínguez & d'Haen 2015), film (Eleftheriotis 2012; Mulvey, Rascaroli, Saldanha 2017) and television (Chalaby 2009; Bondebjerg 2016). This happens at a time of increased cooperation and integration among a variety of traditional and digital media, all allied to obtain, through seriality and transmediality, an augmented illusion of complex fictional worlds.

    This issue of Academic Quarter aims at interrogating the ways in which current cultural experiences of glocalisation (Roudometof 2016), translocality (Greiner and Sakdapolrak 2013), transnational mobility and cosmopolitan networking have affected both place-specific production cultures and genre-specific representations of space and place in contemporary European crime novels, films and television series. We welcome proposals from different methodological perspectives that interrogate the intersection of local, national, regional and supranational agencies, cultures and identities in the creation of popular crime stories. Contributors should be aware of the post-Kantian, post-national/postcolonial frame (Mellino 2005) that forms the context for contemporary definitions of “critical cosmopolitanism” (Delanty 2006; Rumford 2008) and “critical transculturalism” (Kraidy 2005). At the same time, we welcome proposals focusing on the representation of Europe, European geography, European landscapes and European architecture.

    A few general questions may be asked. Are we to conceive of cosmopolitanism and the process of European transculturation exclusively as unifying factors, fostering the generation of a shared and uniform transnational identity? Or should we better acknowledge the existence of a whole variety of European transcultural identities, expressed in different writing and audio-visual styles, characteristic narrative models, and place-specific production cultures? Should hybridization and transculturation be assumed as markers and powerful drivers of cultural homologation? Or rather, is the opposite true, namely that cultural hybridization entails a growing differentiation of narrative forms and styles, content and formats, thus contributing to the emergence of a post-national assemblage of multiple cosmopolitan identities?

    Contributors must propose articles focusing on the post-1989 period in relation to topics involving a consideration of the treatment of space and place.

    Possible topics include, but are not limited to, the following:

    • Local thrillers in a glocal perspective
    • Borders, borderlands, border-crossing and the migrant experience of space
    • Crime narratives, tourism and location branding
    • The consumption of foreign crime narratives as virtual journey
    • Transcultural identities of European Noir: the Nordic and Mediterranean variants, and beyond
    • Language, dialect, idiom and the sense of place
    • Hybridity and cosmopolitan audio-visual styles
    • Cosmopolitan authors and producers
    • Production strategies and cosmopolitan networking
    • The theme of locality in the promotion and packaging of crime novels, films, and TV dramas
    • The hybridity dilemma: toward homogeneity or increased differentiation? The case of Netflix Europe.
    • Situated characters: cosmopolitan habitus, traveling detectives and transcultural encounters
    • Transnational crime networks and geospatial mapping
    • Eco-thrillers and the destruction of the European environment
    • Common-places of European geography: port cities, islands, mountains, inland areas
    • Place and glocal minorities
    • Gendering and/or queering space between the public and the private spheres
    • Crime and architecture
    • Space and time in the chronotopes of European Noir

    Submission guidelines

    • Submission of abstract January 15, 2020
    • Submission of full article May 1, 2020
    • Submission of final/revised article October 1, 2020
    • Publication December 2020

    Academic Quarter accepts two kinds of contributions: text articles or video essays. The submitted contribution will be sent to double blind peer-review.

    A text article must be between 3,000-3,500 words (not including references), and must use Chicago Author-Date Style (https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html) and the Chicago System Style Sheet (http://www.akademiskkvarter.hum.aau.dk/pdf/AK_word_template.docx).

    Abstracts in app. 150 words in English must be submitted by January 15 2020 to Liza Pank (pank@cgs.aau.dk). The contributors will receive answer as soon as possible. Accepted articles must be sent to the guest editor no later than May 1, 2020. The final and revised article must be returned by October 1 2020, and the issue will be published December 2020.

    Video essays

    Video essays should be 7-12 minutes long and accompanied by an academic guiding text between 1,000-1,500 words. The video essay should be of scholarly quality and may be argumentative (documentary) or symbolic (metaphorical) or a combination. The guiding text should clearly explain the argument in the video-essay as well as the insight that the viewer may gain from watching it. Video essays should be final and handed in as a separate mp4-video-file. Academic Quarter supports only publication and not the technical development of video essays. Video essays and the guiding text will be reviewed together. Criteria for reviewing video-essays are a) the lucidity of the argument, b) the technical and stylistic execution of the video material and c) the clarity of the guiding text.

  • 07.11.2019 10:42 | Anonymous member (Administrator)

    The University of Applied Sciences and Arts of Southern Switzerland (SUPSI)

    Deadline: December 15, 2019

    The University of Applied Sciences and Arts of Southern Switzerland (SUPSI), in collaboration with the Department of Media and Communication Research (IKMZ) at the University Zurich (UZH), opens a doctoral position in Communication/Media within the project Late-teenagers Online Information Search (LOIS) funded by the Swiss National Science Foundation (FNS/SNF). The doctoral student will work at the Department of education and learning (DFA) in Locarno and at the Department of Media and Communication Research (IKMZ) at the University Zurich (UZH). This is a full-time position (100 %) for a limited 3-year contract.

    Interviews will take place on January 7th, 2020 in Locarno.

    More information can be found on: http://www.supsi.ch/home_en/supsi/lavora-con-noi/2019-12-15-bando686

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