ECREA WEEKLY digest ARTICLES

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.

Buy here.

November 17-18, 2019

Montreal, Canada

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:

• Conventions, swap meets and social events;
• Collecting cultures: toys, games, videogames;
• Display and interpretive techniques through “everyday” curation;
• Social media as curatorial display: YouTubers, the “shelfie”, etc.;
• Preservation and restorations;
• User-generated content such as gaming, fanzines, filming, audio and artwork composition;
• Hobbyist and independent game designs;
• Crowdfunded games;
• Mods, modders;
• Etc.

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.

Conference features

• In partnership and during the Montreal Expo Gaming Arcade (MEGA) and the Montreal International Gaming Summit (MIGS)
• Keynote speakers: Mark J.P. Wolf (other names to be confirmed)
• Exhibits of fan creations during the symposium
• Social events and gatherings in the evening
• Publication of selected papers in a peer reviewed journal (Kinephanos)
• Strategically located in the famous Old Port of Montreal

Proposals

• 500 words plus references
• Please send your anonymized proposals to: gamehistorysymposium@gmail.com
• Deadline for the reception of proposals: August 30th, 2019
• Notification of acceptance: September 30th, 2019
• Proposals will be blindly evaluated by the organizers with the support of the scientific committee.

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

More here.

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:

• fashion trends in subcultural sexual communities
• production aesthetics, music styles, body types,
• fashion and costume tropes in pornography
• porn, fashion and cosmetic surgery/body modifications
• the public and private in porn and fashion
• queer fashion and style subversions of heteronormative porn
• heteronormative women’s sexiness: empowering or charade of authentic power?
• porn and fashion as capitalist productions
• porn and fashion’s relationship to race and fetishes
• lesbian porn for straight men and lesbian chic in fashion
• gay porn’s impact on mainstream men’s fashions
• porn’s influence on fashion photography
• BDSM style and mainstream fashion
• social media, free porn and body image among boys and young men
• incel ideologies, homoeroticism and changing notions of the ideal masculine physique
• Instagram, influencers and the demise of Playboy
• porn film style and fashion case studies.

Deadline for Submission is 1 September 2020. Publication 2021. For questions regarding submission topics please email guest editor Lori Hall-Araujo, Stephens College at lhallaraujo@stephens.edu

For questions regarding journal submission guidelines and standards please email or contact the Principle Editor Dr. Joseph H. Hancock, II at joseph.hancockii@gmail.com

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 m.murray@londonmet.ac.uk and Manfredo Meraviglia at m.meraviglia@londonmet.ac.uk

MeCCSA 2020

January 8-10 2020

Brighton, UK

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:

• Media, communication and inequality: exploring race, gender, sexuality, class and (dis)ability
• Datafication, agency and power
• Ecologies of media industries
• Social movements, activism and civic engagement
• Transformative learning environments and pedagogy
• Participatory media and collective engagement
• Popular culture, media and representations of the environment

• Media archaeology, sustainability and archives
• Digital cultures and immersive technologies, practices, audiences and experiences
• Communicating and envisioning futures
• Critical and creative responses to the anthropocene
• Visual cultures, representations and experiences

We welcome contributions across the full range of interests represented by MeCCSA and its networks, including, but not limited to:

• Race, ethnicity and postcolonial studies
• Representation, identity, ideology
• Film and television studies and practice
• Radio studies and practice
• Cultural and media policy
• Social movements and activism
• Climate change, sustainability and environment
• Digital culture and games studies
• Gender and sexuality studies
• Disability studies within media studies
• Media pedagogy
• BAME experiences of media and culture industries
• Children, young people and media
• Diasporic and ethnic minority media
• Political communication
• Methodological approaches
• Media practice research and teaching
• Community media

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.

Practice-based work

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: meccsa2020@brighton.ac.uk

Website: http://www.meccsabrighton2020.co.uk

Twitter: @MeCCSA2020

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:

• Public art production: innovation for the public communication of urban culture and arts
• Creation of cultural and art works within the urban public space; material public art (monuments, statues, installations, graffiti, stencils, stickers, etc.); immaterial public art (events, performances, content on websites and social networks); hybrid cultures and intercultural / transcultural communication in the city; history and socio-cultural memory of artistic projects in the city, by pioneering authors and actors of classical media or new media.
• Mediation of public art: valorization of urban heritage and promotion of cultural tourism through urban art
• Regulation of public art by central and local state and administrative institutions; local development strategies through public arts; growth of participatory cultural investments linked to the ecology of regions and to the restructuring of urban areas; sustainability of cultural and artistic enterprises promoting public art.; emergence of industries, service mediators (tourist agencies), and creative commerces in the cultural and leisure sector, linked to public art; inclusive employability in the public arts sector and human capital in the local economy; memory institutions and urban artistic archive: museums, art galleries, cultural enterprises, local associations, groups of friends, collectors, etc.; urban public arts, cultural tourism and digital culture.
• Dissemination of public art: urban media, social networks and mobile devices
• Dissemination of cultural heritage through public art; territorial promotion for the quality of life via the urban arts; implementation of public art in Unesco creative cities and smart cities; international affirmation of urban arts localities and non-places as a tourist and counter-tourist destination; central socio-cultural actors in public art networks: artists, curators, collectors, public (citizens, tourists, immigrants, etc.); mobilities of lifestyles and leisure associated with public art: use of mobile telephones in urban telemobilities, mobile companionship, slow tourism, etc.; Public Art in the City 2.0 (through urban, social and digital networks) and in City 3.0 (social-semantic networks, mobile devices, Internet of Things).

KEY DATES

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: rlec@ics.uminho.pt

September 11-13, 2020

Vienna, Austria

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 journalism2020@univie.ac.at 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 journalism2020@univie.ac.at.

A special issue of Medijske studije / Media Studies Journal to be published in January 2020, MS Vol. 10 (2019) 20

Deadline: October 7, 2019

Edited by

• Maria José Brites (Lusófona University of Porto)
• Inês Amaral (University of Coimbra)
• Antonija Čuvalo (University of Zagreb)

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.

Descriptors:

• A historical and cross-national perspective on generations and the digital environment
• Non-media centric approach to media generations
• Generations and the context of the digital environment
• Generations and digital competences
• Generations and intergenerational approaches
• Digital literacy and generations
• Digital literacy and intergenerational dimensions
• Theoretical discussions on generations, digital uses and competencies
• To define and explore methodologies critically to better understand the audience of digital generations, namely alternative methodologies.
• To consider ethical discussions in researching generations and also intergenerational dynamics.

Questions:

• What can we learn with a historical perspective of generations and the digital, especially in the context of transitional and non-Western societies?
• How does the digital environment may contribute to convergence on generations? Still, what are the differences in using the digital across generations?
• What are the current and future trends that research results are giving to the field?
• Is there a shift in the approach of different generations and the media?
• What is the relevance of life course in the digital uses and competences?
• How to portray the digital evolution uses across generations, considering that the generational context is not a static dimension?
• What are the most appropriate theoretical approaches?
• Is research giving insights about new methodological approaches? What are the methodological challenges?
• What are the most challenging and needed ethical questions of this research field?
• Is there still a generation gap in terms of digital uses and competences?
• What social and cultural issues define generational contexts and condition intergenerationality far beyond competencies or uses?
• How to equate intergenerationality and digital uses in different geographic contexts?

References

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.

University of Toronto

Deadline: October 1, 2019

Job Field: Tenure Stream

Faculty / Division: University of Toronto Mississauga

Department: UTM: Institute of Communication, Culture, Information and Technology

Campus: Mississauga

Apply here.

Description:

The Institute of Communication, Culture, Information and Technology (ICCIT) at the University of Toronto Mississauga invites applications for a full-time tenure-stream appointment in the area of Digital Marketing, at the rank of Assistant Professor. The position start date is July 1, 2020.

Candidates must have a PhD in a related discipline with a curricular emphasis in marketing, management, business administration, communications/media, or information, or a related discipline by the time of appointment (or shortly thereafter). Candidates must have a demonstrated record of excellence in research and teaching. They must demonstrate an active and excellent research program emphasizing the role of technology in marketing; an emerging reputation in a marketing-related field with a demonstrated ability to attract research funding; and a good publication record in top-ranked and field relevant scholarly journals; as well as through strong endorsements from referees of high standing. Excellence in teaching can be demonstrated by the teaching dossier outlining experience and accomplishments, a statement of teaching philosophy, sample syllabi, and teaching evaluations, as well as strong letters of reference is also required. The successful candidate will have a graduate appointment in one of the University of Toronto's tri-campus graduate departments such as the Rotman School of Management or the Faculty of Information's iSchool.

The successful candidate will have experience researching and teaching in the area of digital marketing, including but not limited to, market research, campaign management, strategic planning, brand management, as examples. Candidates should have an active program of research that considers how marketing principles and practices are impacted by emergent technologies giving rise to platforms such as e-commerce, social media, user-generated content, peer-based evaluation systems, and mobile technologies.

Salary will be commensurate with qualifications and experience.

ICCIT focuses on teaching and research excellence in its three undergraduate programs: Communication, Culture, Information and Technology, Digital Enterprise Management and Professional Writing and Communication. ICCIT is building a research complement in the theory and practice of communication, interactive and immersive digital media and culture, new media design, and management in/of technology organizations. The successful applicant will join a vibrant intellectual community of world-class scholars at Canada’s leading university. For information, please visit www.utm.utoronto.ca/iccit

Equity and diversity are among UTM’s core values and are essential to academic excellence. We seek candidates who value diversity and whose research, teaching and service bear out our commitment to equity. Candidates are therefore also asked to submit a 1-2 page statement of contributions to equity and diversity, which might cover topics such as (but not limited to): research or teaching that incorporates a focus on underrepresented communities, the development of inclusive pedagogies, or the mentoring of students from underrepresented groups.

To be considered for this position, all application materials must be submitted online by October 1, 2019. Submission guidelines can be found at http://uoft.me/how-to-apply.

Applications must include the documents listed below, formatted as 3 attachments with naming convention LastnameFirstname_CV_Statement.pdf, LastnameFirstname_Writing.pdf, etc.:

Attachment 1: Cover Letter, CV and Research Statement

Attachment 2: Writing Sample (ONE peer-reviewed, first- or sole-author scholarly work demonstrating significant contribution to the field of Digital Marketing; do not submit entire doctoral theses)

Attachment 3: Teaching Dossier (Max. 20 pages, may include list of courses taught, sample syllabi, course evaluation data summary, statement of teaching philosophy, etc.)

Applicants must have three referees send letters of recommendation directly to Professor Rhonda McEwen, ICCIT Director, University of Toronto Mississauga via email (on letterhead, dated, signed and scanned) to iccit.utm@utoronto.ca by the closing date, October 1, 2019.

The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from racialized persons / persons of colour, women, Indigenous / Aboriginal People of North America, persons with disabilities, LGBTQ persons, and others who may contribute to the further diversification of ideas.

Candidates are asked, as part of their application, to complete a brief Diversity Survey. This survey is voluntary. Any information provided is confidential and cannot be accessed by search committees or human resources staff. Results will be aggregated for institutional planning purposes. For more information, please see http://uoft.me/UP.

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.