European Communication Research
and Education Association
Deadline: August 21, 2019
Few slots open up for contributions to an edited collection on geographically isolated and peripheral music scenes. I am particularly interested in bringing in diverse perspectives beyond the UK/ North America and Australia/ NZ dialogues I currently have, and am particularly keen to provide this opportunity to female academics.
Please see below, and if you are interested please send your abstract to email@example.com by Wednesday August 21, 2019. Full chapters will be due October 31st, 2019.
Despite advancements in technology facilitating an ease with which geographical distance can be overcome, coupled with a shift away from a reliance on core creative centres for a range of creative and business services, peripheral and geographically isolated contemporary music scenes continue to face a range of challenges which impact upon the ways in which they connect with new audiences and industry beyond their home locale. This ranges from needing to make higher investments of time and money, to having to overcome attitudinal and cultural barriers in order to be viewed as worthy of prominent attention. More broadly, geographic isolation also impacts upon the ways in which culture can flow into these scenes, particularly in the live music setting. At the same time, however, this distance can also result in a range of benefits to these scenes in relation to the ways in which they are structured and how they function locally. This includes cultivating a recognition of the need to support one another, a high degree of expertise and skills concentrated on a small number of workers and a tight network of spaces, as well as the development of a strong work ethic to make the most of opportunities when they arise.
With a particular focus on the below themes, proposals based on place-specific music scene and industry research are now being invited from scholars around the world:
Proposals for chapters should consist of a title and abstract (of no more than 250 words), bio (of no more than 100 words), affiliation and email address and be sent to firstname.lastname@example.org by Wednesday August 21, 2019.
Full chapters will be due October 31st 2019 and be 6- 7,000 words in length.
Please note that only abstracts that closely fit the theme will be considered.
Editors: Kalbaska, N., Sádaba, T., Cominelli, F., Cantoni, L.
FACTUM 19 Fashion Communication Conference, Ascona, Switzerland, July 21-26, 2019
This book represents a major milestone in the endeavour to understand how communication is impacting on the fashion industry and on societal fashion-related practices and values in the digital age. It presents the proceedings of FACTUM 19, the first in a series of fashion communication conferences that highlights important theoretical and empirical work in the field. Beyond documenting the latest scientific insights, the book is intended to foster the sharing of methodological approaches, expand the dialogue between communications’ studies and fashion-related disciplines, help establish an international and interdisciplinary network of scholars, and offer encouragement and fresh ideas to junior researchers. It is of high value to academics and students in the fields of fashion communication, fashion marketing, visual studies in fashion, digital transformation of the fashion industry, and the cultural heritage dimension of fashion. In addition, it is a key resource for professionals seeking sound research on fashion communication and marketing.
November 17-18, 2019
Deadline: August 30, 2019
Bilingual Conference (French/English)
Active fan communities have long been engaging with the object(s) of their fandom. Sports teams, popular movies, television franchises, videogames, comic books, toys and many other cultural phenomena have inspired generations of collectors and enthusiasts, who make, buy, sell and trade in different ways objects and contents featuring their favourite characters, personae, and iconography. From these communities also emerge fans of genres or franchises that hone their skills and use the tools they have available to go past what is offered on the market. They propose their vision to whomever knows of their work or stumbles upon their creation. Therefore, fanart, fanfiction, mods, Youtube videos and Instagram posts are where many of these cultures situate themselves. This includes the toy makers, fanzine creators, the DIY game and tech communities, the chiptune composers and many others that cast themselves beyond the role of fans to become artists. That said, in each case, a form of self-distribution of content occurs that often defines their marginality.
In the field of games, more precisely of videogames, it is not uncommon to come across that phenomenon since, historically, videogames were created following tinkering practices conducted in margins of official activities (Bertie the Brain et Nimrod, 1951; OXO, 1952; Tennis for Two, 1958; Spacewar!, 1962). In this way, many games that ensued (Computer Space, 1971; Pong, 1972; Zork, 1977; Ultima, 1981) were invented by enthusiastic fans of this new media (Crowther, 1976; Adams 1979; Williams, 1982; Fulp 2003). Role playing games were also born from the appropriation of the popular Kriegspiels (war simulation games) by its players (Barker, 1940; Wesely, 1969; Arneson, Gygax et Perren, 1971; Stafford, 1974). Still today, videogame and role-playing game industries wouldn’t be as they are without the activity of their fans in margins of more official communities.
These activities by collectors, creators and tinkerers continue to grow in popularity, particularly since the arrival of the Internet where fans were able to gather, discuss and share their productions more easily. They even organise certain events (Comic Con, DCon, Maker Faire, Otakuhon, etc.) in order to celebrate their sense of belonging to these groups, in parallel to commercial productions. Some researchers have reported on this participative culture (Fiske, 1992; Jenkins, 2006; Postigo, 2007) and an entire field was also created around fan studies (Booth, 2010; Harris and Alexandre, 1998). However, in the majority of cases, those studies discuss the dimensions of these communities and engage in discourse about them, rather than creating the framework for dialoguing with them, keeping in mind the historic perspective of their practices.
As such, the co-chairs of the 5th annual game history symposium, happening during and in collaboration with two gaming conventions (MEGA and MIGS) in the Old Port of Montreal, invite members of collecting and creating communities to participate with scholars in two days of conversation and events. These activities will be centered on the personal and oral histories of fandom and hobbyist designers, their preoccupations, practices, and political economies. We are not only interested in the manifestations and history of these scenes, but also in how fandom themselves participate in the creation and distribution of historical discourse about the objects of their affection.
We aim to have proposals on a wide variety of subjects regarding the margins of gaming communities. For example, the following topics could inspire some of your proposals, without being an exhaustive list:
Our vision of this year’s symposium is one where scholars will engage in discussions with members of local and international communities through panels, short presentations and round tables, but also through expositions built and shared by this event’s participants. In this spirit, we would like to extend this call for paper and invite members of those communities to present their collections and creations, either with pictures, videos or a stand that would be installed in a gallery specifically set-up for this event.
This conference is a joint venture between the Faculté de communication (UQAM), Faculté des Arts et des Sciences (Université de Montréal), Homo Ludens (UQAM), LUDOV (Videogames Observation and Documentation University Lab, Université de Montréal), and TAG (Technoculture, Arts and Games, Concordia University).
Special Issue of Fashion, Style & Popular Culture
Deadline: September 1, 2020
Guest Editor: Lori Hall-Araujo, Stephens College
Marginalized people led empowerment movements resulting in significant cultural transformations in the late 1960s and early 1970s in the United States and beyond. Among the fights for equality and calls for structural systemic change emerged a sexual revolution that found its way into the mainstream. In 1972, the topic of cinematic pornography entered public discourse when the feature-length hardcore heterosexual pornographic film Deep Throat (Damiano, 1972) debuted in Times Square.
For the first time in American cinema, sexual acts appeared on the big screen in legitimate theatres and broad swaths of the moviegoing public – including women and celebrities – boasted about having seen the film. So launched the 1970s era of ‘porno chic’ filmmaking and the trend for watching narrative hardcore films in theaters.
By the 1980s, home videos and eventually on-demand and streaming services made pornography more accessible and simultaneously a more private pursuit. Coinciding with this shift was the phenomenon of women in popular culture expressing their sexual empowerment through self-objectification. Fashion scholar Annette Lynch (Lynch 2012: 52) traces the origins of women and girls’ porn-inspired millennium styles to 1980s performers such as Madonna who used self-objectification to gain attention and power. Lynch notes the continued practice of female pop stars to market sexiness and inspire what she calls ‘porn chic’.
This special issue engages the topic of porn chic and addresses pornography’s historical and contemporary relationship to fashion. Porn Chic, Erotic Style and Fashion encourages consideration of erotic style broadly defined with an aim to build understanding of its cultural implications. Contributions are accepted from any discipline and methodological approach.
Potential topics might include but are not limited to:
Deadline for Submission is 1 September 2020. Publication 2021. For questions regarding submission topics please email guest editor Lori Hall-Araujo, Stephens College at email@example.com
For questions regarding journal submission guidelines and standards please email or contact the Principle Editor Dr. Joseph H. Hancock, II at firstname.lastname@example.org
FSPC takes submission on a rolling basis with reviews commencing immediately for acceptance to all guest issues. We do not make publication decisions on the submission deadline date. All manuscripts should expect review and turnaround within 60 days.
The school of Creative Technologies and Digital Media
The school of Creative Technologies and Digital Media is seeking Associate Lecturers in Modelling and/or Visual Effects and or CGI
You should have knowledge of and skills in using some or all of the following software: Maya, ZBrush, Substance Painter, Unreal, Houdini, NUKE and Python.
Pay and terms and conditions are comparable with HE in London, include payment for consultation hours and London weighting. Pay and terms will also be as generous and flexible as possible within the payment formula. Teaching will take place at undergraduate level.
If you have relevant qualifications and teaching and industry experience in any of the above broad areas please send a CV and covering note to Dr Martin Murray at email@example.com and Manfredo Meraviglia at firstname.lastname@example.org
January 8-10 2020
Deadline (EXTENDED): August 31, 2019
We invite you to submit abstracts, panel proposals and practice-based contributions for the next Annual MeCCSA Conference, to be held from 8-10 January 2020 at the University of Brighton, UK. The theme of the MeCCSA 2020 conference is *Media Interactions and Environments.
Interactions with media are increasingly pervasive, woven into the textures and cultural politics of everyday lives. And when the spaces of our homes, shops, schools, offices and cities are so intensively mediatised, media becomes our environment, brought to life through our mundane, personal, professional, creative, commercial and ideological interactions. But what are the social, political and material implications of these media and cultural experiences and encounters?
Whose voices and perspectives are included or excluded, and how is power and agency reconfigured, realigned or reproduced in this complex media andscape? The theme Media Interactions and Environments is designed to address this critical moment in contemporary media culture, and appeal to a broad range of media, communication and cultural studies interests and approaches.
This conference approaches the theme of media interactions and environments in an expansive sense, to include, amongst others, media texts, technologies, practices, audiences, institutions and experiences.
Media interactions might be digital, cultural, political, emotional and imaginative. Environments could be spatial, political, representational, urban, local, physical, virtual and ecological. This conference theme will also enable the MeCCSA community to question how we should live responsibly and ethically in a politically and ecologically changing world, through an exploration of the central role of media cultures and creative practices in addressing social, political and climate-based challenges.
We invite proposals for scholarly papers, themed panels, posters, film screenings and other practice-based contributions. Proposals might engage with the various social, political, economic, artistic, individual, collective, institutional, representational and technological dimensions of media interactions and environments.
Potential topics could include, but are not limited to:
We welcome contributions across the full range of interests represented by MeCCSA and its networks, including, but not limited to:
Submitting a proposal
Individual abstracts should be up to 250 words, and include a 200 word biog. Panel proposals should include a short description and rationale (200 words) together with abstracts for each of the 3-4 papers, and the name and contact details of the panel proposer. The panel proposer should coordinate the submissions for that panel as a single proposal.
We actively support the presentation of practice-as-research and have a flexible approach to practice papers and presentations. This may include opportunities to present papers and screenings in the same sessions or as part of a separate screening strand. We also welcome shorter papers in association with short screenings. We also have dedicated presentation spaces to display practice artefacts including screenings, posters and computer-based work. For displaying practice work, please include specific technical data (e.g. duration, format) and a URL pointing to any support material when submitting your abstract. We expect delegates who are showing screenings to be present at the conference.
Please note that all proposals (abstracts and practice-based work) will be peer reviewed. PGRs are welcome to submit.
Submission deadline: 31 August 2019
Submit proposals to: email@example.com
Democratic Communiqué, a peer-reviewed journal dedicated to investigating mass media, information, and telecommunication phenomena and issues from critical political economy and policy studies perspectives, invites original, scholarly articles for publication in its Winter 2020 issue (Vol. 29, No.1).
The Communiqué publishes articles exploring any of a wide range of topics, including alternative/community/public media, the internationalization of capital and information flows, media and imperialism, telecommunication industry ownership and consolidation, information society, information technology and surveillance, feminist political economy, environmental political economy, media’s relatedness to social class, labor or social movements, and analyses of cultural artifacts or practices which encompass ideational and material concerns.
While these topics encompass a vast swath of academic inquiry and scholarship, they are united in their critical examination of media and communication as they relate to political economy, individual and societal involvement in these economic systems, and the policies that shape them.
The journal is indexed by Scopus, EBSCO, Google Scholar and the Directory of Open Access Journals, and publishes in both the Notes and Bibliography and Author-Date citation systems presented by TheChicago Manual of Style (15th ed.). Manuscripts should be double-spaced throughout with a detachable title page containing the full contact information of the author(s).
Submissions undergo double-blind peer review, and should not exceed 8,000 words. Please email article submissions to the Communiqué’s editor, Dr. Jeffrey Layne Blevins (Head, Department of Journalism at the University of Cincinnati) at Jeffrey.Blevins@UC.edu.
Revista Lusófona de Estudos Culturais/ Lusophone Journal of Cultural Studies, Vol. 7, nº 1
Deadline: September 15, 2019
Editors: Pedro Andrade (Communication and Society Research Centre, University of Minho) & Mário Caeiro (Superior School of Arts and Design of Caldas da Rainha, Polytechnic Institute of Leiria).
Public art is understood as a hybrid and intercultural art style that, in the context of urban or rural public spaces and times, represents and presents objects or projects, contents or forms, structures or conjunctures, or any other theme or problem, social or individual. Material public art includes monuments, statues, installations, graffiti, stencils, stickers, etc. Immaterial public art exhibits events, performances and content on websites and social networks. Thus, the practice and understanding of public art cannot be separated from its social dimensions: its contexts (public sphere, global and local cultures, cyberspace and cybertime); the respective practices (leisure, citizenship, tourism activities and actions, among others), and the corresponding target public (citizen, tourist, immigrant, etc.)
In other words, how do we communicate public art for different publics, within the city and in its public space? Inside the urban fabric of contemporaneity, everything is on the move: capital, labor, people, ideas, things, social inequalities, to name but a few of these rhythms and societal territories. In particular, within the network society, information and knowledge redefine these structures and conjunctures, by updating their own courses. Therefore, the communication of information and knowledge of public art in the city cannot but be mobile. In this context, diverse mobile cultures emerge, defined as a set of procedures, norms, beliefs, habits and practices that deal with increasingly portable information and knowledge, for example through the use of mobile phones. One of the expressions of mobile cultures is public art, whose works frequently reconstruct those innovative communication courses. And one of the processes that most contributes to the development of public art is cultural tourism. Tourist activities have gradually become a global and local phenomenon, somewhat opposite to the generalized process of immigration from the peripheral countries towards the central ones.
Thus, this issue of Lusophone Journal of Cultural Studies accepts contributions to a deeper debate and knowledge of such themes, through a reflection essentially in the following three major areas, which now hybridize with each other:
Submission deadline: September 15, 2019.
Notification of acceptance decisions: November 31, 2019.
Deadline for sending the full version and translated: January 31, 2020.
Journal publication date: June 2020.
The Lusophone Journal of Cultural Studies is a peer-reviewed journal that uses a double blind review process. After submission, each paper will be distributed to two reviewers, previously invited to evaluate it, in terms of its academic quality, originality and relevance to the objectives and scope of the theme chosen for the journal’s current issue (www.rlec.pt).
Articles can be submitted in English or Portuguese. After the peer review process, the authors of the selected articles should ensure translation of the respective article, and the editors shall have the final decision on publication of the article.
Originals must be submitted via the journal’s website (www.rlec.pt). If you are accessing the Lusophone Journal of Cultural Studies for the first time, you must register in order to submit your article (indications to register here). The guidelines for authors can be consulted here.
For further information, please contact: firstname.lastname@example.org
September 11-13, 2020
Deadline: February 29, 2020
A conference jointly organized by Journalism: Theory, Practice & Criticism and Journalism Studies in celebration of their 20th anniversaries
Vienna, Austria, September 11-13, 2020. Hosted by the Journalism Studies Center, Department of Communication, University of Vienna
The year 2000 is often considered a watershed moment in the development of the field of journalism studies, as it marks the year that two key academic journals – Journalism: Theory, Practice & Criticism and Journalism Studies – were first published. To celebrate their twentieth anniversaries, the journals are organizing a three-day conference in 2020 to look back on the evolution of the field, and to critically consider key questions for the field going forward. The conference will include a number of keynote presentations, round-tables, as well as regular paper presentations.
There is no doubt that journalism is impacted by a whole range of threats, many of which go to the core of what journalism is about, whether it is occupational issues that are failing to provide the cues to make journalism viable, politicians who are pulling into question and attempting to curtail journalism’s role, societal actors who are competing with traditional journalists and questioning journalism’s authority, economic developments that are making it harder and harder to find sustainable business models, or technological advances that threaten traditional news selection processes. The conference will engage with all these developments in the journalistic environment, and we call on submissions that deal with the (ir)relevance of journalism and fields including, but not limited to politics, technology, economics, audience, culture, and academia.
We therefore invite papers that address how journalism studies can help to answer crucial questions about journalism’s relevance, but also the relevance of the field of journalism studies itself. We call particularly for thought-provoking papers that develop new theories or methods and push the boundaries of the field. We welcome submissions from all theoretical, epistemological and methodological perspectives.
The conference will feature six keynote presentations on the topics noted above, some round-table discussions, traditional paper presentations, and coherent panels.
*Traditional paper presentations: Traditional paper presentations will take place in panels consisting of four to five papers.
*Coherent panels: A limited number of slots will be available for coherent panels where one topic is addressed in four to five presentations, followed by a respondent. Preference will be given to panels with presenters from diverse backgrounds and affiliations.
Following the conference, we envisage to publish special issues in both journals, as well as a book featuring the best submissions.
How to submit:
Submissions can be sent to email@example.com by no later than February 29, 2020. Please include in the email (1) the title of your paper, (2) an abstract of no more than 400 words, (3) names and affiliations of the authors.
To submit a panel proposal, a 300-word rationale should be sent alongside a 150-word explanation per presentation, as well as the names and affiliations of presenters and respondent.
All submissions will undergo scholarly peer-review.
Notifications of acceptance will be issued in early April.
More information can be found on our website: https://journalism2020.univie.ac.at/
Please contact the conference organizing committee with questions at firstname.lastname@example.org.
A special issue of Medijske studije / Media Studies Journal to be published in January 2020, MS Vol. 10 (2019) 20
Deadline: October 7, 2019
Media generational identities are culturally, socially, economically and historically shaped. A single vision of generational identity is impossible.
This special issue welcomes different approaches to intergenerational and generational perspectives from various geographical landscapes. Moreover, it aims to discuss digital uses and digital competences within intergenerational and generational perspectives. The proposal is to assume as context the current digital media environment, which has shaped media history over the past decades. Non-Western voices covering generations, digital uses and competences are particularly welcome.
Historically, media were mostly considered as reinforcements of the generational gap, mostly in the family context. Though research by Livingstone and Haddon (2009) found that the intergenerational gap is diminishing in time, according to Bolin & Skogerbø (2013), the digital era is contributing to straight the generations. Čuvalo (2017) discerns shared media repertoires among the youngest, so-called digital generation or digital natives and the older generation of digital immigrants (Thomas, 2011). In this sense, there is the need to work closely on life course perspectives as a possible explanation of the diminishing or perpetuating of the generational gap (Amaral & Daniel, 2018). The context of digital literacy reinforced activities by civil society and schools and can bring some light to the discussion of this need (Brites, 2017). Furthermore, a generational perspective in scholar and familiar environments can empower the discussion.
There is a story to tell and gains to conquer from the historical reflection, although the real interconnection between the digital devices and the audiences is a recent issue. Research can benefit from a systematization from the past to the future and also in the current present.
Amaral, I., & Daniel, F. (2018). The use of social media among senior citizens in Portugal: active ageing through an intergenerational approach. In International Conference on Human Aspects of IT for the Aged Population. Lecture Notes in Computer Science v. 10926 (pp. 422-434). Springer, Cham. Print ISSN: 0302-9743, Online ISSN: 1611-3349, DOI: https://doi.org/10.1007/978-3-319-92034-4_32
Bolin, G., & Skogerbø, E. (2013). Age, generation and the media. Northern Lights, 11, 3-14. doi:10.1386/nl.11.3_2
Brites, M.J. (Coord.) (2017). Digital Literacy and Education (2014-July 2016), national reports (Portugal, UK, Ireland, Spain, Serbia and Italy), ELN - European Literacy Network, Digital Literacy Team (WG2) https://www.is1401eln.eu/en/gca/index.php?id=149.
Čuvalo, A. (2017). Ritmovi medijskih generacija u Hrvatskoj: istraživanje repertoara medijskih generacija iz sociološke perspektive. Reviza za sociologiju, 47(3): 271-302. DOI: https://doi.org/10.5613/rzs.47.3.2.
Livingstone, Sonia & Haddon, Leslie (2009). EU Kids Online: Final Report. London: London School of Economics and Political Science.
Thomas, M. (2001)(ed.). Deconstructing Digital Natives. Young People, Technology and the New Literacies. New York & London: Routledge.
All manuscripts should be submitted through the Open Journal System.
Submission guidelines can be found here.
The deadline for full articles is October 7, 2019.
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