ECREA WEEKLY digest ARTICLES

Aniki. Portuguese Journal of the Moving Image

Deadline: July 15, 2024

Coordinated by Gonzalo de Lucas (Universitat Pompeu Fabra, Barcelona), Ana Daniela de Souza Gillone (Escola de Artes, Ciências e Humanidades da Universidade de São Paulo) and Josep Lambies (ESCAC - Universitat de Barcelona).

Films made during periods of political transition provide fertile ground for analysing how history and cultural education become inscribed in the personal and corporeal memory, through gestures, emotions and new ways of expressing desires. The social changes and ideological tensions that occur in the workplace, the family and the public sphere have a clear impact not only on explicitly political militant cinema, but also on mainstream genres, in terms both of narrative and aesthetic approaches inherited from the preceding period and of elements inspired by the political events of the moment.

Actresses, who since the dawn of cinema have always made significant contributions to the cultural production of emotions, collective psychologies, social imaginaries and values, play a vital role in these periods of transition, conveying the historical and ideological tensions of their context. In many cases, the introduction of legislative changes and new social structures has been reflected in or aligned with their role as film stars and popular icons, often to a point where they become cultural symbols of the transformations themselves (e.g., Victoria Abril, Carmen Maura, Ana Belén and Ángela Molina in Spain; Lia Gama, Guida Maria, Zita Duarte and Ana Zanatti in Portugal; Fernanda Montenegro, Sônia Braga, Lucélia Santos and Fernanda Torres in Brazil; Gloria Münchmeyer, Amparo Noguera, Catalina Saavedra and Paulina Urrutia in Chile; Camila Perisé, Susú Pecoraro and Norma Aleandro in Argentina). Moreover, actresses of the new generations would often appear on screen alongside stars of the previous period, in a contrast that expressed the complex tensions between historical memory and historical amnesia.

The democratic transitions that took place in southern Europe in the 1970s as a result of the collapse of the Regime of the Colonels in Greece (1974), the Carnation Revolution in Portugal (1974) and the death of General Franco in Spain (1975) offer paradigmatic examples of the alignment of actresses’ on-screen performances with the political changes taking place. The same can be said of Eastern Europe at the time of the fall of the Berlin Wall (1989) and the communist regimes, as well as the disintegration of the Soviet Union and Yugoslavia (both in 1991). Outside Europe, other examples can be found in the periods of transition that followed the end of dictatorships in various Latin American countries, such as Argentina (1983), Brazil (1985) and Chile (1990). In all these cases, the debate over the role of women in the public sphere, and of the representation of their subjectivity and desires on screen, constituted a key concern in the films made at the time of these sociopolitical changes, and the actresses who starred in those films played an important part in this process.

The aim of this special section is to explore how, during periods of democratic transition in countries such as Spain, Portugal, Greece, Argentina, Brazil or Chile, actresses constructed distinct female subjectivities that transcended the prevailing social imperatives, in varying degrees of dialogue with the debates in feminist theory and activism. This is in line with Teresa de Lauretis’ suggestion to “return to a conception of female subjectivity in terms of the practices it involves and the needs sustained by desire when it is expressed through a woman’s body” (2000, our translation). We want to analyse the creative function of actresses in critiquing stereotypes, the degree of control they can acquire over their own self-representation, and the modes of production of new subjectivities who, based on an understanding of gender as a representation without a referent (as a representation of representations), are not afraid to manipulate traditional models and introduce unexpected forms of desire that embrace all the differences and contradictions existing in feminism on two levels: as differences that exist within feminist theory and as divisions within a single subjectivity.

Research on the evolution of actresses in periods of democratic transition can help clarify whether they create dissident, alternative or contradictory characters who expose sexual difference, on an indirect or implicit level in relation to the discourses foregrounded in the film. These subjectivities revealed in the actresses and their characters can be identified and analysed as icons of change and emancipation, constructing new forms of desire unique to the female experience and constructing other narratives about women that have rarely been shown before.

Proposed lines of research for submissions include but are not limited to:

-Analysis of the ways women are represented through the characters and specific creative work of actresses during historical processes of democratic transition;

-Studies of the production of new forms of female subjectivity through actress’ representations of narrative and visual motifs on issues such as work, economics and class relations, the family, sexuality and the body, love and desire, sexist violence, and human rights and legislative changes;

-Explorations of the cultural function of actresses through their work and their media images, in turbulent periods of sociopolitical transformation, in order to categorise stereotypes and identify forms of differentiation, dissidence and contradiction in women’s experiences;

-Studies from a gender perspective that include a conception of the actress as a creative subject in the political construction of new female imaginaries and in the filmmaking process, with a focus on periods of democratic transition.

More information

This thematic section is being coordinated by Gonzalo de Lucas (Universitat Pompeu Fabra, Barcelona), Ana Daniela de Souza Gillone (Escola de Artes, Ciências e Humanidades da Universidade de São Paulo) and Josep Lambies (ESCAC - Universitat de Barcelona).

May 25, 2024

Online

Deadline: April 26, 2024

We are pleased to announce a call for abstracts / expression of interest for an online symposium to be held in late May 2024, focusing on the intricate interplay between media, politics, and democracy in the Global South. Scholars from diverse disciplinary backgrounds, including but not limited to media and communication, African studies, Global South studies, and media and democracy, are invited to submit their original research papers.

Background:

Hallin and Mancini's seminal work, "Comparing Media Systems: Three Models of Media and Politics" (2004), has provided a foundational framework for understanding the complex relationship between media and democracy. However, the landscape has evolved significantly since its inception, particularly in regions like the Global South. In South Africa, for example, a burgeoning democracy a mere decade ago, the dynamics between media, politics, and democracy have undergone profound transformations. Factors such as increased media diversity, the proliferation of digital platforms, and ongoing challenges to media freedom have reshaped the terrain. 

The updated hybridisation model (Hallin et al., 2021) helps to understand media markets in terms of fragmentation but does not go far enough to explore and evaluate the influence of global and local politics in the media markets, particularly in the postcolony. Additional characteristics that affect the postcolony, particularly in the Global South and especially in Africa, should better outline ethics of media practice, the continued political interventions on journalistic integrity and professionalism, and the unique specifics of digital, language, and geographical access. Blanket models that are developed for and by Western theorists have a difficult application to Global South systems, even if some aspects fit with a squeeze. 

The Hallin and Mancini (2004, 2012; Hallin et al., 2021) models are important and illuminating, but none fit exactly the media systems of postcolonial, Global South countries. The hybrid model is more appropriate and applicable, but even here the application is mixed. These models are a useful set of variables with which to understand how the media and political systems intertwine, but trying to ruthlessly force this system to fit into the blanket models would be best left for Procrustes, not communication theory. We suggest that it may be time to create a new, non-Western-centric typology of media markets that considers the intricate histories of postcolonialism, struggles of democracy, and a Fourth Industrial Revolution that steamrolls over some and yet simply leaves others behind.

Theme:

This symposium aims to critically revisit the applicability of Hallin and Mancini's Three Models theory in the context of the Global South, with a particular focus on postcolonial countries. We encourage submissions that engage with the following themes, or others:

1. Critiques and Reassessments of the Three Models Theory in the Global South

2. Comparative Analyses of Media Systems in the Global South

3. Africanization and/or Hybridization of Media Models

4. Postcolonial Trajectories of Media, Politics, and Democracy

5. Digital Disruption and Media Dynamics in Emerging Democracies

6. Development of new Media Models

Submission Guidelines:

We invite scholars to submit abstracts of no more than 300 words, along with a brief biography, by April 26th 2024. Abstracts should clearly outline the research objectives, methodologies, and theoretical frameworks employed. 

We expect the online symposium to develop into a Special Edition journal with Media and Communication in 2025. Accepted abstracts will then be developed into full papers by October 2024.

Important Dates:

Abstract Submission Deadline: April 26th 2024

Notification of Acceptance: May 3rd 2024

Symposium Dates: May 25th 2024

Submission Instructions:

Please submit your abstracts and biographies as a Word document to Dr Bernadine Jones at b.l.jones@stir.ac.uk with the subject line: "Symposium Submission - [Your Last Name]". Authors will receive a confirmation email upon successful submission.

Publication Opportunities:

Selected papers presented at the symposium will be considered for a larger event in 2025 and subsequent publication in a special issue of Media and Communication, subject to peer review.

Contact Information:

For inquiries and further information, please contact Symposium Organizers Dr Bernadine Jones (b.l.jones@stir.ac.uk) and Dr Adrian Hadland (a.hadland@stir.ac.uk).

We look forward to receiving your submissions and engaging in stimulating discussions on the evolving dynamics of media, politics, and democracy in the Global South.

Sincerely,

Dr Bernadine Jones

University of Stirling

October 24-25, 2024

Sofia University St. Kliment Ohridski, Faculty of journalism and mass communication (Sofia, Bulgaria)

Application Submission Deadline: June 30, 2024

Organizes a 5th Jubilee International Scientific Conference will be held on the 24th and 25th of October 2024 within the framework of the St. Kliment Ohridski Days on the video conference platform Teams. We most politely invite the specialists in media and communications, students and alumni of the Faculty, as well as those who are involved with the problems of the media and communication environment and culture in their various dimensions and manifestations. We welcome the interdisciplinary approach to the contemporary challenges in the education and practice of journalism and to the communication activities as a whole.

Read more: https://commed21.com/

Journal of Advertising (JA) (Special issue)

The submission deadline: November 30, 2024

Manuscripts are currently being solicited for a special issue of the Journal of Advertising (JA) dedicated to Contributions of Biometrics to Advertising Research.

BACKGROUND

Broadly speaking, biometric science uses physical, physiological, neurophysiological, or behavioral measures to observe second-by- second responses to stimuli and contexts. Biometrics can reveal implicit psychological processes that help to further understand audiences’ responses to advertising (Mundel et al., 2021). Advertising researchers have used biometrics measures for decades (e.g., Karslake 1940); employing techniques such as functional magnetic resonance imaging (fMRI), electroencephalography (EEG), electrodermal activity (EDA), facial electromyography (fEMG), electrocardiography (ECG), facial expression analysis (FEA), and eye tracking (ET) to examine complex or subtle psychological processes that are unable to be captured via self-report (Beard et al., 2024; Bellman et al., 2016; Beuckels et al., 2021; Holiday et al., 2023; Lee et al., 2023; Pozhaliev et al., 2017; Read et al., 2018).

While the frequency with which biometrics have appeared in the literature has fluctuated, their value to the discipline of advertising has solidified in the past decade, particularly given recent advances in advertising theory and practice facilitated via these measures (e.g., Floyd and Weber 2020), and advances in technology – resulting in less expensive and more accessible biometric equipment. Increasingly, advertising researchers are finding new ways to employ biometric technologies, such as collecting data remotely through webcams (e.g., Mancini et al., 2023), or applying older biometric approaches to new contexts (e.g., using FEA to examine the facial displays of influencers; Holiday et al., 2023).

Scholarship in the first years of the recent wave of advertising biometric research was characterized by introducing these methods and describing their potential applications to the field (e.g., Plassman et al., 2015). Now, after a decade of contemporary biometrics advertising research, it is time to look back and assess the contributions of these methods to advertising theory and practice. Many of the theories that explain advertising effectiveness, such as the Elaboration Likelihood Model (ELM), were formulated using traditional, self-report measures such as thought listing (elaboration). Biometrics have the potential to disentangle, for example, different attentional processes proposed by the ELM as they occur over time (Cacioppo et al. 2012; MacInnis and Jaworski 1989). The unique advantages of biometrics data in furthering understanding of advertising theory and practice include pinpointing biological mechanisms, dissociating emotional and cognitive processes as they occur over time, measuring implicit responses, and improving behavioral predictions (Plassman et al., 2015). For this reason, despite claims that AI and computational research eliminate the need for human subjects in research (e.g., www.alpha.one), biometrics studies conducted by trained researchers in controlled laboratories or natural settings, using actual consumers, are essential to furthering understanding of the dynamics behind how advertising works.

For this Special Issue, we seek manuscripts addressing the contributions of biometrics to our understanding of advertising, both those that focus on results and theory-building (i.e., “what have we learned?”) and ones exploring the methods themselves (i.e., “what could we do?”). For example, has recent research using biometrics supported core advertising theories like the ELM? Or has biometrics research provided evidence for competing theories based on brain function, physiology, and evolutionary processes (e.g., Jones, 2019; Lang, 2014; Lee et al., 2020; Lee et al., 2023) – which are more appropriately tested by biometrics than self-report?

 Now that we can observe fleeting attention to advertising in real-time, compared to assessing attention post-hoc via self-report, what data-driven recommendations can researchers provide to advertisers for increasing the effectiveness of creative and media? How can AI improve biometric data analysis to better understand advertising theory? This Special Issue aims to investigate these questions (and others) while reflecting on the contributions of biometrics to advertising theory and practice, identifying knowledge gaps in the field, and devising new ways biometrics can address these and push the discipline forward.

POTENTIAL TOPICS

To contribute to our understanding of advertising, manuscripts considered for this special issue must connect biometric research solidly to theory and extant literature. While some processes that fall under the purview of computational social science may be applicable to biometrics research, authors employing computational approaches must also ground their hypotheses in theories of persuasion, advertising, and/or communication science. We welcome submissions with diverse approaches to relevant topics, including literature reviews, meta-analyses, and empirical research. Potential topics include:

• Overview of established or novel theoretical perspectives that inform advertising biometrics research,

• Core principles and issues in the application of advertising theory to biometrics research (how insights drawn from biometrics may differ from traditional measures, issues in conceptualization and operationalization of variables with biometric measures, the unique contributions and/or drawbacks of using biometrics measures to inform advertising theory, etc.),

• Literature reviews/meta-analyses of what has been learned from the current wave of biometrics research (e.g., theories supported),

• Conceptual literature reviews assessing the strengths and weaknesses of current theories,

• Identifying gaps in theory, and proposing extensions or new theory informed by biometrics data, along with hypotheses future research could test,

• Theoretically grounded systematic reviews of case studies and applied research identifying the most effective uses of biometrics by advertisers (e.g., ad testing, attention metrics),

• Methodological innovations particularly applicable to better understanding processes associated with the advertising creation process or message reception,

• Best practices and ethical guidelines for biometrics data collection and reporting to contribute to advertising theory (e.g., acknowledging/integrating the correlational nature of biometrics data into theory development, theoretically driven interpretation of biometrics data).

SUBMISSION GUIDELINES

Submissions should follow the manuscript format guidelines for the JA found at https://www.tandfonline.com/action/authorSubmission?show=instructions&journalCode=ujoa20. The word count should be 12,000 words maximum (including references, tables, figures, etc.).

The submission deadline is November 30, 2024.

All manuscripts should be submitted through the JA Submission Site between November 1, 2024 and November 30, 2024. The link to the submission site can be found at the JA’s website https://www.tandfonline.com/journals/ujoa20 (“Go to submission site”). Authors should select “Article Type” (e.g., research article, literature review, research note) on the first page of the submission website. On the second page, authors will be asked if this is for a specific special issue or article collection. Select “Yes” and select “SPECIAL ISSUE: Contributions of Biometrics to Advertising Research” from the drop-down menu. Please note in the cover letter that the submission is for the Special Issue on Contributions of Biometrics to Advertising Research.

• Articles will undergo blind peer review by at least two reviewers.

• The anticipated date for publication of the Special Issue is August 2025.

Please send questions about the Special Issue to the guest editors: Drs. Robert F. Potter, Steve Bellman, and Glenna L. Read at JAbiometrics@gmail.com.

REFERENCES

Beard, E. C., N. M. Henninger, and V. Venkatraman. 2024. “Making Ads Stick: Role of Metaphors in Improving Advertising Memory.” Journal of Advertising 53 (1):86-103. doi:10.1080/00913367.2022.2089302

Bellman, S., B. Wooley, and D. Varan. 2016. “Program–Ad Matching and Television Ad Effectiveness: A Reinquiry Using Facial Tracking Software.” Journal of Advertising 45 (1):72-7. doi:10.1080/00913367.2015.1085816

 Beuckels, E., L. Hudders, V. Cauberghe, K. Bombeke, W. Durnez, and J. Morton. 2021. “To Fit In or to Stand Out? An Eye-Tracking Study Investigating Online Banner Effectiveness in A Media Multitasking Context.” Journal of Advertising, 50 (4):461-78. doi:10.1080/00913367.2020.1870053

Cacioppo, J. T., G. G. Berntson, C. J. Norris, and J. K. Gollan. 2012. “The Evaluative Space Model.” In Handbook of Theories of Social Psychology, vol. 1, edited by P. A.M. Van Lange, A. W. Kruglanski, and E. T. Higgins, 50-72. London: Sage. doi:10.4135/9781446249215.n4

Floyd, K., and R. Weber. 2020. The Handbook of Communication Science and Biology. New York: Routledge. doi:10.4324/9781351235587

Holiday, S., J. L. Hayes, H. Park, Y. Lyu, and Y. Zhou. 2023. “A Multimodal Emotion Perspective on Social Media Influencer Marketing: The Effectiveness of Influencer Emotions, Network Size, and Branding on Consumer Brand Engagement Using Facial Expression and Linguistic Analysis.” Journal of Interactive Marketing 58 (4):414-39. doi:10.1177/10949968231171104

Jones, M. R.. 2018. Time Will Tell: A Theory of Dynamic Attending. New York: Oxford University Press. doi:10.1093/oso/9780190618216.001.0001,

Karslake, J. S. 1940. “The Purdue Eye-Camera: A Practical Apparatus for Studying the Attention Value of Advertisements.” Journal of Applied Psychology 24 (4):417-40. doi:10.1037/h0054171

Lang, A. (2014). “Dynamic Human-Centered Communication Systems Theory.” The Information Society, 30(1), 60-70. https://doi.org/10.1080/01972243.2013.856364

Lee. H., B. Bellana, and J. Chen. 2020. “What can Narratives Tell us about the Neural Bases of human Memory?” Current Opinion in Behavioral Sciences 32:111-19. doi:10.1016/j.cobeha.2020.02.007

Lee, S., J. Kim, G. L. Read, and S. Kim. 2023. “The Effects of In-Stream Video advertising on Ad Information Encoding: A Neurophysiological Study.” Journal of Advertising. doi:10.1080/00913367.2023.2222782

MacInnis, D. J. and B.J. Jaworski. 1989. “Information Processing from Advertisements: Toward an Integrative framework. Journal of Marketing, 53(4), 1-23. doi.org/10.1177/002224298905300401

Mancini, M., P. Cherubino, A. Martinez, A. Vozzi, S. Menicocci, S. Ferrara, A. Giorgi, P. Aricò, A. Trettel, and F. Babiloni. 2023. "What is Behind In-Stream Advertising on YouTube? A Remote Neuromarketing Study Employing Eye-Tracking and Facial Coding Techniques.” Brain Sciences 13 (10):1481. doi:10.3390/brainsci13101481

Mundel, J., G. Read., A. Almond, S. Alhabash, and J. Wilson. 2021. “Translating Consumer Neuroscience into Advertising Research and Education. American Academy of Advertising Conference Proceedings (online):88-91.

Noton D, and L. Stark. 1971. “Scanpaths in Eye Movements During Pattern Perception.” Science 171 (3968):308-11. doi:10.1126/science.171.3968.308

Plassmann, H., V. Venkatraman, S. Huettel, and C. Yoon. 2015. “Consumer Neuroscience: Applications, Challenges, and Possible Solutions.” Journal of Marketing Research 52 (4):427-35. 427-35. doi:10.1509/jmr.14.0048

Pozharliev, R., W. Verbeke, and R. P. Bagozzi. 2017. “Social Consumer Neuroscience: Neurophysiological Measures of Advertising Effectiveness in a Social Context.” Journal of Advertising 46 (3):351-62. doi:10.1080/00913367.2017.1343162

Read, G. L., I. I. Van Driel, and R. F. Potter. 2018. “Same-Sex Couples in Advertisements: An Investigation of the Role of Implicit Attitudes on Cognitive Processing and Evaluation.” Journal of Advertising 47 (2):182-97. doi:10.1080/00913367.2018.1452653

August 12-16, 2024

Locarno, Switzerland

Submission Deadline: May 10, 2024

Summer School Description: https://www.locarnofestival.ch/it/about/factory/documentary-summer-school.html

Currently in its 25th year, DSS is hosted by the Institute of Media and Journalism (IMeG) at the University of Lugano (Università della Svizzera Italiana), along with the Locarno Film Festival and the Semaine de la Critique. As always, DSS will bring together experts from academia and the film industry to collaborate, exchange valuable insights, explore fresh concepts, and collectively contemplate the future of documentary filmmaking.

Registration for the Documentary Summer School 2024 is now open, and we encourage you to submit your application by May 10, 2024 (April 30, 2024 if you need a VISA).

With 30 available spots at max, we recommend that you carefully review all the necessary information provided on this page before completing and submitting your application to dss@usi.ch. This will help streamline the process and ensure that you don't miss any important details.

What is the Documentary Summer School?

• Established 25 years ago, the DSS offers an exceptional opportunity to meet and learn from globally renowned scholars and filmmakers while soaking up the atmosphere of one of the world's most prestigious film festivals.

• The DSS program offers a one-of-a-kind experience that includes five half days of engaging lectures and carefully selected films from the prestigious Semaine de la Critique and the Festival's International Competition. By participating in this program, you will have the opportunity to engage in a stimulating exchange between the academic and film communities, immersing yourself in a dynamic dialogue that spans a wide range of topics - from theoretical reflection to creative practice.

• At DSS, we are dedicated to showcasing the immense potential that hybrid projects - which bring together academia and film practices - can offer to both communities. Our program achieves this by drawing on the insights of renowned film scholars and filmmakers, whose contributions help to bridge the gap between these two domains and generate meaningful benefits for all involved.

• The DSS strives to emphasize the advantages of hybrid projects that benefit both communities by tapping into the knowledge of world-renowned film scholars and filmmakers.

    • Over the years, we have been honored to host a diverse array of distinguished speakers, inlcuding Andrea Segre (award-winning director who has directed more than 20 films in the documentary and fiction genre), Nevina Satta (managing director of the Sardegna Film Commission and secretary general of the European Film Commission), Till Brockmann (head of the Semaine de la Critique, the independent section of the Locarno Film Festival, organized by the Swiss Association of Film Journalists), Rula Jebreal (journalist, novelist and award-winning screenwriter), Alessandro Comodin (director, screenwriter and editor of the documentary "Gigi the Law"), Arthur Jafa (American cinematographer), Brian Winston (Emmy winner for documentary screenplay), Sylvain George (director, cinematographer, editor and French poet), Martina Parenti (award-winning director and professor at Scuola Civica, Milan) and many others!

Do I fit the bill for the Documentary Summer School?

If the following criteria resonate with you, then the DSS would be an excellent opportunity for you to explore:

• I am a university or film school student.

• I am an emerging filmmaker.

• I possess a proficient command of the English language, which is vital for interacting with fellow project participants and the various guests at DSS.

• I have a profound interest in documentary filmmaking.

• I am eager to engage proactively with experts and colleagues from around the world.

Which documents are required in the application process?

To apply for the DSS, we require the following documents:

• Your resume in English

• A brief motivational letter (max 600 words) outlining your enthusiasm for documentary filmmaking

and the reasons behind your decision to apply to DSS. It is critical for us to understand your interest

in this opportunity.

• A passport-sized digital photograph of yourself, which is necessary for your festival accreditation in

the event of selection.

Please ensure that you submit all required documents, as incomplete applications will not be considered during the selection process for DSS participants.

Which dates should I remember?

Here are the key dates to keep in mind:

• If you need a visa, the deadline to submit your application is April 30, 2024. By May 13, 2024, you will receive a response regarding your application to the program. This response will inform you of whether you have been accepted into the program, placed on a waiting list, or unfortunately not selected for participation.

• The general deadline to submit your application is May 10, 2024. By May 27, 2024, you will receive a response regarding your application to the program. This response will inform you of whether you have been accepted into the program, placed on a waiting list, or unfortunately not selected for participation.

• The Documentary Summer School will take place from August 12-16, 2024, during which you will participate in various events and activities.

What does the Documentary Summer School in Locarno offer if I get selected?

Participating in the DSS in Locarno will be a unique and rewarding experience. The participation fee of CHF 600 includes:

• Overnight accommodation, including breakfast, at the Locarno Youth Hostel from August 11-17, in a shared room with another participant (shared unisex bathroom).

• An accreditation that grants access to all Locarno Film Festival screenings.

• Five days of lectures with a diverse international faculty of film scholars and professionals.

• Exclusive Q&A sessions with filmmakers from the festival as well as those selected for the Semaine de la Critique.

• Networking events and opportunities to connect with individuals from around the world.

• A certificate of participation.

• Undergraduate students can earn 3 ECTS credits through their participation in the program.

The only additional expenses are travel to and from Locarno and meals (apart from breakfast, which is included in the participation fee).

If this meets your requirements, please send your application to dss@usi.ch.

Organizing Committee

Dr. Eleonora Benecchi is a lecturer and researcher at the Institute of Media and Journalism at the Università della Svizzera italiana, Switzerland. She specializes in Audiovisual Theory and Production, Digital Cultures, and Social Media Management. Her research and publications focus on fandom and audiovisual culture.

Laura Pranteddu M.Sc. is a doctoral student and researcher at the Institute of Media and Journalism of the Università della Svizzera italiana, responsible for the laboratory of the Audiovisual Theory and Production course. Already juror at film festivals, she deals with artificial intelligence in journalism.

May 21, 2024

Online

https://iamcr.org/webinars/presidential-phd-webinar-2024

IAMCR invites presenters for the upcoming IAMCR Presidential PhD Research Webinar convened by Jasmin Surm from the University of Leeds, United Kingdom. 

The webinar will take place on 21 May 2024 at 08:00 UTC.

This webinar serves as an opportunity for PhD researchers to showcase their work, fostering a rich scholarly dialogue on news agencies.  Additionally, it seeks to facilitate networking opportunities and encourage a meaningful exchange of ideas among different generations of news agency scholars.

Potential topics include (but are not limited to):

• Any exploration of the status quo, challenges, and future horizons of news agencies in the respective area of focus, which can include topics such as:
  
• Economic Pressures: Examining the economic challenges news agencies face, including their evolving business models and strategies for ensuring financial sustainability.
  
• Ownership Structures, Business Models and Editorial Independence: Discussion on the influence of ownership structures on news agency operations, editorial decision-making processes, and editorial independence. 
  
• Technological Adaptation: Exploration of how news agencies leverage technology, including artificial intelligence and automation, to enhance news gathering, production, and distribution processes. 
  
• Disinformation, Fake News and Ethical Considerations: Investigation into the role of news agencies in combating disinformation and fake news. This can include fact-checking initiatives, content verification processes, and collaboration with other stakeholders.
  
• Globalisation vs. Localisation: Analysis of the interplay between global and local news coverage and production, and how news agencies navigate this balance in their reporting practices. This exploration can include an examination of the challenges, opportunities, and strategies for news agencies in serving diverse clients with diverse audiences in different geographical, linguistic and cultural contexts. 
  
• News Agency Personnel: Analysis of the roles and challenges of diverse professionals working within and for news agencies. 
  
• Future Pathways: Exploration of potential future directions for news agencies, including business models, emerging technologies, and strategies.

To submit your paper for presentation in the webinar, please download and complete the application form (*). Send the completed form to Jasmin Surm (j.surm@leeds.ac.uk), the convenor of the webinar, and Mazlum Kemal Dağdelen (mazlum@iamcr.org), the assistant to Nico Carpentier, IAMCR President, with the subject line “IAMCR Presidential PhD Research Webinar: Title of your Paper Proposal” by 15 April 2024, 23.59 UTC. If there are multiple presenters, each should fill out an individual application form and send all forms in one email.

Please note that only IAMCR member PhD students are eligible to present in the IAMCR Presidential PhD Research Webinar.

Timeline 

• Deadline for Applications: 15 April 2024, 23h59 UTC
  
• Decision Announcement: 29 April 2024
  
• Submission of the final presentations (and a brief note on the research): 14 May 2024 
  
• Date of the Webinar: 21 May 2024
  

(*) Link: https://iamcr.org/system/files/PresenterApplicationForm_NewsAgenciesinTransition.docx

We are pleased to announce that the Liverpool School of the Arts Doctoral Award (LADA) is now open for applications. The award provides assistance with fees and maintenance for full-time PhD study, renewable each year for up to 3 years, based on satisfactory progress. LADA comes with an expected commitment of up to 150 hours of teaching or research assistance work per year. Applications are welcome from all students, UK or international, who are applying to a PhD programme within School of the Arts.

To be eligible, candidates must have applied to a PhD programme in SotA by 3rd April 2024. The LADA application itself must then be submitted by 8th May 2024, with interviews expected to take place on 16th July 2024.

The application form and further details are available here: Doctoral Award - School of the Arts - University of Liverpool. 

Please don’t hesitate to contact pgarts@liverpool.ac.uk if you have any queries.

June 6, 2024, 5:00PM - 7:00PM

IALS Council Chamber, Institute of Advanced Legal Studies, 17 Russell Square, London WC1B 5DR

Contact: ials.events@sas.ac.uk 

Press Freedom and Regulation in a Digital Era: A Comparative Study assesses the extent to which the emergent regulatory model for online news media is shaped by analogies from the past, or rather by a newly prevalent culture of control. By interweaving two distinct strands of analysis - the concepts of press freedom and regulation, and the phenomena of convergence and digitalization - this book examines the challenges for press freedom in the nascent digital news ecosystem. Drawing upon decisions of the European Court of Human Rights and the Court of Justice of the European Union, as well as from German, UK and US case law, this comparative work explores the regulation of the press in the digital era and the impact of the proliferating media laws, policies, and jurisprudence on press freedom.

Part of the book was written while the author was an ILPC Research Associate. The book launch and panel discussion should be of interest beyond the academy, namely for lawyers and policymakers working in government departments and/or involved with media regulation as well as for campaigners defending press freedom and/or advocating for greater press accountability. The book launch will also be an opportunity for collaboration between the ILPC and CFOM.  

Panellists:  

• Mr Adam Baxter (Director of Standards and Audit Protection, Ofcom)
  
• Ms Lexie Kirkconnell-Kawana (IMPRESS)
  
• Professor Jacob Rowbottom (University College, Oxford)
  
• Dr Sejal Parmar (Cardiff University)
  
• Dr Irini Katsirea, Centre for Freedom of the Media (CFOM), School of Journalism, Media and Communication, University of Sheffield (author)
  

Chair: Mr William Horsley (International Director, CFOM)

This event is organised in collaboration with the Centre for Freedom of the Media (CFOM) at the University of Sheffield. 

All welcome- this event is free to attend but booking is required. 

Irini Katsirea

• Provides a cutting-edge analysis of current legislative, jurisprudential, and policy developments of online news media regulation
  
• Offers a comparative analysis of the regulation of the online news media across different jurisdictions
  
• Provides interdisciplinary insights from legal as well as media, communication, and journalism research
  

The processes of convergence and digitalization have altered the technological conditions in which the press operates. More than that, they have altered the environment in which the press stakes its claim to freedom and strives to protect its turf from other media players. The advent of internet-based services and applications has blurred the technological boundaries between the press, broadcasting, and telecommunications, challenging their regulatory silos.

Press Freedom and Regulation in a Digital Era: A Comparative Study assesses the extent to which the emergent regulatory model for online news media is shaped by analogies from the past, or rather by a newly prevalent culture of control. By interweaving two distinct strands of analysis - the concepts of press freedom and regulation, and the phenomena of convergence and digitalization - this book examines the key implications of digitalization and assesses the challenges for press freedom in the nascent digital news ecosystem. 

https://global.oup.com/academic/product/press-freedom-and-regulation-in-a-digital-era-9780198858607?q=katsirea&lang=en&cc=gb#

University of Southampton

The University of Southampton is looking for two Lecturers in Digital Media with research interests in Artificial Intelligence to join the Film department. These posts are available from August 1 2024. Details on the role further below.

Informal enquiries may be addressed to the Head of Film, Prof. Shelley Cobb (s.cobb@soton.ac.uk). Whilst this post is offered on a full-time basis, hours are not a barrier, and we are interested in individuals wishing to work 0.6 FTE and above. 

You can apply at jobs.soton.ac.uk. REF 2659424AR

The deadline is May 1, 2024 and we expect interviews to take place June 3rd and 4th.

The University of Southampton is in the top 1% of world universities and is one of the UK’s top 15 research-intensive universities.  Committed to excellence in all we do, we are growing and investing in our research and people to accelerate our remarkable achievements. With particular focus on four key impact themes chosen to build on the university’s existing strengths and to address the most complex societal and environmental challenges: Artificial Intelligence, sustainability and resilience, decarbonisation and engineering better health, this role is integral to our aim of making a lasting difference.  

The Film Department at Southampton has an excellent reputation for teaching and research. For REF 2021, 95% of our research was judged ‘world-leading’ or ‘internationally excellent’, and we achieved the highest scores for impact beyond the academy. We have close interdisciplinary links with other members of the School, Faculty and the wider University. Our research-led teaching across film, television and digital media includes modules on history, theory, industry, and cultural studies. 

The role  

These posts are REF (Research Excellence Framework) led and require academics with a developing and growing research profile that indicates an

 existing or developing national reputation in their area of expertise, as well as strong potential for participation and/or leadership in grant applications.

About you  

You will be capable of engaging with critical questions about the place of artificial intelligence in society from a humanities or social science perspective. Your research agenda will address a larger question of social importance (sustainability, policy/governance, wellbeing or social resilience), and its potential to impact beyond the academy will be an advantage. An ability to teach undergraduate students in modules dealing with digital labour, algorithmic cultures, and automated systems and decision-making processes will be highly regarded, and we are keen to hear from applicants whose teaching and research expertise can productively engage with media industries. The ability of your research to have impact beyond the academy and/or familiarity with computational methods may be advantageous.