ECREA WEEKLY digest ARTICLES

April 16-18, 2020

King’s College London

Deadline: September 16, 2019

http://media-industries.org

Second international Media Industries conference, hosted by the Department of Culture, Media and Creative Industries, King’s College London

Following the success of Media Industries: Current Debates and Future Directions (2018) we are pleased to announce the next Media Industries conference will take place in April 2020.

Media Industries 2020 (MI2020) maintains an open intellectual agenda, inviting papers, panels or workshops exploring the full breadth of media industries, in contemporary and historical contexts, and from all traditions of media industries scholarship. MI2020 will therefore provide a meeting ground for all forms of media industries research.

As a specialized focus, the 2020 conference takes Global Currents and Contradictions as its coordinating theme. In media industries scholarship, repeated attention to a few key territories, frequently but not exclusively located in the Global North, has concentrated but also limited the scope of the field. In choosing the theme Global Currents and Contradictions, we are therefore particularly interested in receiving submissions engaging with industries, contexts and bodies of research that represent, extend or challenge the geographic reach of the field. To headline this theme, a programme of keynote speakers will be announced in due course.

PARTNERS

A core aim of the Media Industries conference is to bring together scholars researching media industries from across multiple professional associations and their relevant sub-groups or sections.

The Department of Culture, Media and Creative Industries at King’s College London is therefore very pleased to be organizing MI2020 in partnership with:

• British Association of Film, Television and Screen Studies (BAFTSS) - Screen Industries Special Interest Group
• European Communication Research and Education Association (ECREA) - Media Industries and Cultural Production Section
• European Media Management Association (EMMA)
• European Network for Cinema and Media Studies (NECS) - Screen Industries Work Group
• Gesellschaft für Medienwissenschaft (GFM) - AG Medienindustrien
• Global Media and China journal
• International Association for the Study of Popular Music (IASPM)
• International Association for Media and Communication Research (IAMCR) - Media Production Analysis Working Group
• International Communication Association (ICA) - Media Industry Studies Interest Group
• Media Industries journal
• Society for Cinema and Media Studies (SCMS) - Media Industries Scholarly Interest Group
• South Asia Communication Association (SACA)

HOST COMMITTEE

For King’s College London: Sarah Atkinson, Bridget Conor, Virginia Crisp, Sonal Kantaria (conference administrator), Wing-Fai Leung, Paul McDonald (conference chair), Jeanette Steemers and Jaap Verheul

ADVISORY COMMITTEE

Deb Aikat (University of North Carolina at Chapel Hill), Courtney Brannon Donoghue (University of North Texas), Hanne Bruun (Aarhus Universitet), Evan Elkins (Colorado State University), Elizabeth Evans (University of Nottingham), Tom Evens (Universiteit Gent), Franco Fabbri, Anthony Fung (Chinese University of Hong Kong), David Hesmondhalgh (University of Leeds), Catherine Johnson (University of Huddersfield), Derek Johnson (University of Wisconsin-Madison), Ramon Lobato (RMIT University), Skadi Loist (Filmuniversität Babelsberg Konrad Wolf), Amanda Lotz (Queensland University of Technology), Alfred Martin (University of Iowa), Jack Newsinger (University of Nottingham), Sora Park (University of Canberra), Alisa Perren (University of Texas-Austin), Steve Presence (University of the West of England), Roel Puijk (Høgskolen i Innlandet), Willemien Sanders (Universiteit Utrecht), Kevin Sanson (Queensland University of Technology), Andrew Spicer (University of the West of England), Petr Szczepanik (Univerzita Karlova), Harsh Taneja (University of Illinois, Urbana-Champaign), Patrick Vonderau (Martin-Luther-Universität Halle-Wittenberg)

REGISTRATION

Registration for the conference will go live in mid-November 2019. Fees will be published then and will be tiered according to the delegate’s country of residence using the World Bank’s country classifications by Gross National Income per capita.

SUBMISSIONS

To submit, see the ‘Submission Instructions’ and accompanying link at https://media-industries.org.

Deadline

Submissions will be accepted until 16 September 2019 at 23.00hrs British Summer Time (BST) (please note: BST is Coordinated Universal Time (UTC) + 1 hour)

Submission Categories

Submissions are welcomed in three categories.

• Open Call Papers

Format: solo or co-presented research paper lasting no more than 20mins.

• Pre-constituted Panels

Format: 90mins panel of 3 x 20mins OR 4 x 15mins thematically linked solo or co-presented research papers followed by questions.

• Pre-constituted Workshops

Format: 90mins interactive forum led by 4 to 6 x 6mins thematically linked informal presentations. Led by a chair or co-chairs, workshops adopt a roundtable format bringing together 4 to 6 speakers to offer short (up to 6 minute) position statements or interventions designed to trigger discussions around a central theme, issue, or problem. As such, the workshop does not involve the presentation of formal research papers, but rather is designed to create a forum for the speakers and the audience to engage in a shared discussion. The workshop format is flexible and can be adapted to allow the chair or co-chairs to introduce exercises or other activities where appropriate.

Delegates can make TWO contributions to the conference but only ONE in any category, i.e. presenting an open call paper and participating in a workshop will be permitted but presenting two open call papers will not be. Chairing a panel or organizing a workshop will NOT count as a contribution.

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Special Issue of Medien Journal, Zeitschrift für Kommunikationskultur, Issue 2020/02

Deadline: December 15, 2019

It is a commonplace that media play an important role in young people’s socialisation processes. This is even more relevant for the digitized media environment in contemporary societies. In addition to traditional media such as journals, books, and television, digital media play an increasingly important role within the media menus of children and adolescents. Several studies show that even the youngest click through the apps on their parents’ smartphones, long before developing reading and writing skills. Computer games and social media have a significant value in adolescent peer groups. The smartphone acts as indispensable companion throughout the day. Moreover, mediatization of childhood and youth also goes hand in hand with the commercialisation and commodification of youth: children and teens not only act as a central target group of (digital) marketing strategies, but their digital devices and applications figure as important consumer goods and consequently, youth itself is intensively commodified too.

The use of digital media therefore has diverse and manifold consequences for young people’s communication, their ways of learning, personal relationships, construction of identity, and formation of youth cultures. However, the extent to which media are used in a constructive way varies by context: Studies reveal that the practices and literacies of young people depend above all on the formal education of their parents. Hence, children and youths from backgrounds with a higher level of formal education have better preconditions than those who come from less highly educated backgrounds.

We call for contributions that approach the topic area from different perspectives and disciplines. Both empirical and theoretical papers are welcome.

Topics of interest include but are not limited to the following:

• Youth culture and digital media
• Commercialization and mediatization of childhood and youth
• How young people view the impact of digitalization
• Digital media usage within family contexts
• Changes of media practices over the course of time
• News and media consumption among young people
• Social media and youth identity
• Media literacy of children and adolescents
• Digitalization and its consequences for media education and media ethics
• Responses of media production and cultural industries to digital youth culture

Criteria for submission:

The text must not be previously published elsewhere.

Manuscripts submitted to Medien Journal should not be published elsewhere until the peer review process has been finished.

Papers should be 20.000 to 30.000 characters.

Submissions must contain an abstract (10 lines) and a brief biographical note on each author (max. 3 lines).

Submissions must be anonymous versions of the article and include an extra title cover page (with name and contact details) for the double-blind peer review process.

The papers have to be submitted in English – submissions must follow APA style guides (see www.apastyle.org) and the author guidelines of the Medien Journal: https://ejournals.facultas.at/index.php/medienjournal/about/submissions

Deadline for submission: Dec. 15th, 2019

Please submit your full papers in the form of a Word document via e-mail to christian.oggolder@aau.at

For any questions please contact the editors:

• Dr. Tanja Oblak Črnič, University of Ljubljana, tanja.oblak@fdv.uni-lj.si
• Dr. Christian Oggolder, University of Klagenfurt, christian.oggolder@aau.at
• Dr. Caroline Roth-Ebner, University of Klagenfurt, caroline.roth@aau.at

Deadline: October 14, 2019

This is a call for papers for an edited volume on the Arab diaspora will include an interdisciplinary approach to allow for linguistic, cultural, historical, political, anthropological and socioeconomic perspectives. This call is to request contributions about the Arab diaspora in Southeast Asia, Latin America, the United States, Eastern Europe, Western Europe, Eastern Africa, and Australia among other locations. We welcome contributions that include a variety of methods employed in the social sciences and humanities, to examine various aspects of the Arab diaspora. We also welcome would contributions on the Arab diaspora from various parts of the Arab world: the Levant, the Maghreb, and the Arabian Peninsula. The edited volume will be published by Lexington Books.

We encourage scholars to explore the following in a call for papers (the list is not restricted to these topics, however):

• The role of religion in communities of the Arab diaspora
• The international relations influence between host and home countries
• The role of media in the acculturation process for Arab immigrants
• The negotiation of gender roles among Arab immigrants
• The importance of the Arab identity in political affiliations in their host societies
• Examinations of the Arab reaction to political leaders
• Regional comparison of the histories of Arab diaspora and how it relates to public attitudes in these countries regarding specific topics
• Big data analyses of expressions of Arab Diaspora identities on social media
• Arab Diaspora in Persia and other non-Western contexts
• Factors that distinguish between rituals that are perpetuated among the Arab diaspora
• Arab diaspora and LGBTQI

Double-spaced proposals and abstracts (250-500-words limit) should be sent to mideastmedia@vcu.edu by October 14, 2019 at 5 p.m. You should also include a title page with name, institutional affiliation, and bio of no more than 150 words. First draft of accepted chapters should be received by March 9, 2020 at 5p.m. and should not exceed 6,500 words including references and tables.

About the Editors:

Dr. Mariam F. Alkazemi is an assistant professor of public relations Virginia Commonwealth University. She is an international media scholar, with a focus on the Middle East. Her publications have involved topics such as censorship, terrorism and honor-based violence. E-mail: mfalkazemi@vcu.edu

An educator, researcher, and program evaluation specialist, Dr. Youakim holds a Ph.D. in Sociology, and Certification in Gender Studies from the University of Florida. Her primary research focuses on race and ethnic relations, and acculturation patterns among immigrant communities. Particularly, she focuses on Arab American millennials who are children of immigrants, their social networks, and identity development processes. E-mail: cyou824@gmail.com

Editors: Van den Bulck, H., Puppis, M., Donders, K., Van Audenhove, L.

The Palgrave Handbook of Methods for Media Policy Research covers the craft that is and the methods used in media and communication policy research. It discusses the steps involved in conducting research, from deciding on a topic, to writing a report and everything in between and, furthermore, deals with a wide variety of qualitative and quantitative methods of data collection and analysis. The handbook invites researchers to rediscover trusted methods such as document analysis, elite interviews and comparisons, as well as to familiarize themselves with newer methods like experiments, big data and network analysis.

For each method, the handbook provides a practical step-by-step guide and case studies that help readers in using that method in their own research. The methods discussed are useful for all areas of media and communication policy research, for research concerning the governance of both mass media and online platforms, and for policy issues around the globe. As such, the handbook is an invaluable guide to every researcher in this field.

Purchase here.

November 7-9, 2019

Birmingham City University (and related screening venues)

Deadline: September 6, 2019

Confirmed Guests of Honour:

• Jen and Sylvia Soska (Rabid [2019], American Mary)
• Norman J. Warren (Terror, Inseminoid)

Keynote Speakers:

• Dr Stacey Abbott, Roehampton University
• Professor Ernest Mathijs, University of British Columbia

Previous guests of honour attending Cine-Excess have included Victoria Price (Author of Vincent Price: A Daughter’s Biography), Pete Walker (Director of Frightmare and House of the Long Shadows), Catherine Breillat (Romance, Sex is Comedy), John Landis (An American Werewolf in London, The Blues Brothers), Roger Corman (The Masque of the Red Death, The Wild Angels), Stuart Gordon (Re-Animator, King of the Ants), Brian Yuzna (Society, The Dentist), Dario Argento (Deep Red, Suspiria), Joe Dante (The Howling, Gremlins), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave (Blow Up, The Devils), Ruggero Deodato (Cannibal Holocaust, House on the Edge of the Park), Enzo G. Castellari (Keoma, The Inglorious Bast***s), Sergio Martino (Torso, All the Colours of the Dark), Jeff Lieberman (Squirm, Blue Sunshine) and Pat Mills (Action Magazine, 2000 AD).

Cine-Excess XIII is hosted by Birmingham City University and will feature a three-day academic conference alongside film industry panels and a season of related UK premieres and retrospectives taking place at screening venues across the region.

For its 13th annual edition, Cine Excess focuses on independent visions of excess and the contribution of independent filmmakers working outside of the mainstream to an understanding of cinema, culture and identities. These range from classic cult auteurs, such as Ed Wood, to contemporary movie makers who retain a fiercely unorthodox world-view whilst moving from the margins to the mainstream (such as Kathryn Bigelow). Cine Excess Xlll further considers how indie directors negotiate and respond to their own cinema cultures and wider global trends, including those iconic British filmmakers who bring elements of subversion to national cinema traditions, such as guest of honour, Norman J. Warren. With the emergence of the women in horror filmmaker movement (as embodied by guests of honour, the Soska Sisters), a particular focus is the work of female and minority directors operating in the independent sphere. We are also interested in cult creators that explore bizarre characterisation and unorthodox approaches to narrative, or adopt extreme aesthetics associated with the post-9/11 milieu. Further topics might examine gender- and genre-crossing, settings/landscapes of excess, and obscene images of nationhood, as well as how contemporary issues, such as those pertaining to mental health, are framed through cinemas of transgression. Proposals are now invited for papers that assess the importance of independent visions of excess within these differing contexts. However, we would particularly welcome contributions focusing on the following areas:

• Twisted Twins and Tortured Characters: The Cinema of the Soska Sisters
• My Private Hell: The Cinema of Norman J. Warren
• Trumped: Political Discourse in the Dissenting Image
• Monsters Made Me Too: Women Doing Horror
• Classic and Contemporary Case-Studies of Indie Cult Cinema
• Cult Voices in the Age of Remakes
• Histories of Violence: Actuality Framed Through Excess
• New Canadian Visions of Excess
• Perversities and Peculiarities of Excess: The Aesthetics of the Marginal
• The Industry of Excess: Business Perspectives on Cult Film Creation
• Indie Inside: Rebellious Voices Subverting the Mainstream
• Excessiveness in the Lynchian Universe
• Landscapes of Transgression: Space, Place and the Creative Mindset
• European Visions of Transgression
• Post-Millennial Aesthetics of Horror
• UK Indie Auteurs
• Supernatural Phenomena through the Indie Mindset
• Diverse Voices, Global Indie Visions
• Split: Framing Mental Health in Exploitation Cinema
• Near Dark: The Cinema of Kathryn Bigelow
• Queer Renditions of Excess
• Experimental and Extreme: Visions of the Avant-Garde

Please send a 300-word abstract and a short (one page) C.V. by Friday 6th September 2019 to:

Professor Xavier Mendik (Birmingham City University): xavier.mendik@bcu.ac.uk

Dr Fran Pheasant-Kelly (University of Wolverhampton): F.E.Pheasant-kelly@wlv.ac.uk

A final listing of accepted presentations will be released on Monday 16th September 2019.

Delegate fees for Cine-Excess XIII are £100/£60 (concessions). This includes entrance to the conference, related Cine-Excess screenings and industry panels. A selection of conference papers from the event are scheduled to be published in the Cine-Excess Journal. For further information and regular updates on the event (including information on guests, keynotes and screenings) please visit www.cine-excess.co.uk

October 22-24, 2020

Library of Congress, Washington, D.C.

Deadline: December 1, 2019

The Radio Preservation Task Force (RPTF) of the Library of Congress invites applications for papers, panels, moderated discussions and workshops for a conference marking the centenary of broadcasting in the United States.

We seek presentations by archivists, radio and television historians, artists, information scientists, journalists, sound studies scholars, broadcasters and others highlighting how preservation can help us complicate and rethink our understandings of the history of mass media at community, local, national and international levels. We particularly welcome participants who put archival resources to work today to enrich radio, television, podcasting, music, literature, journalism, public history, installation art and other creative practices.

The conference will take place Oct. 22nd to 24th, 2020, at the Library of Congress on Capitol Hill, in Washington D.C. Registration is free for all presenters, moderators and respondents.

Celebrating One Hundred Years of Broadcasting

In the United States, the radio industry began primarily as a form of wireless telegraphy used for point-to-point communication. After World War I, government licensing began for stations that were changing the medium by airing point-to-mass broadcast transmissions of music and voice. From the celebrated Election Day broadcasts of Westinghouse station KDKA on November 2, 1920 to similar services offered by hundreds of other stations from coast to coast, the industry paradigm shifted. The broadcasting model endures to the present, characterizing media systems from large commercial networks to public broadcasting, satellite radio and online streaming services, and RSS-based podcasting.

This conference marks the centenary of that paradigm shift and investigates radio’s century of constant renewal and rebirth over the course of the intervening century, during which various radio and radio-like practices have been invented and reinvented, forgotten and remembered, in settings across the United States. We want to highlight a century dotted with “new” sound practices in this restless medium, from the first non-English programs to the first broadcasts aimed at communities of color, from the first international shortwave transmissions to the first true crime podcasts, the first educational shows to the first radio-based art. Our conference underscores the role of preservation in documenting (and even driving) the process of renewing radio from generation to generation and from community to community.

Renewing Radio Heritage

This meeting also takes place at a moment in which media history is itself changing, thanks to a renaissance in radio and television preservation, which has created an archive that is more diverse and richer than ever before, conveying a sharper sense of how broadcast media helped Americans articulate understanding of nation, region, class, gender, race, sexuality and ability. That is thanks in part to the work of the Radio Preservation Task Force, which for five years has been pursuing projects and partnerships to change the very archive itself in a way that necessitates fresh thinking about many firsts—and seconds, and thirds— in conventional national and international narratives of radio history.

Created in 2014 in fulfillment of a radio preservation mandate in the Library of Congress’s National Recording Preservation Plan, the RPTF is charged with fostering collaborations between researchers and archivists to facilitate work on radio preservation, developing an online inventory of extant collections, promoting preservation of endangered radio collections, encouraging use of radio and sound archives in educational settings, and cultivating academic study of archival radio materials. It currently boasts a network of hundreds of scholars and archivists who share materials, fundraising, and best practices. The RPTF has also constructed a national database aggregating information on over 2,500 radio collections from coast to coast, and has encouraged and overseen several special issues and anthologies on radio history and preservation. It is currently developing pedagogical guides for classroom use and resources to assist with preservation of endangered radio materials. To advance its goals, the RPTF partners with over 40 local, national, and international academic, archiving, and media organizations. A full list of partner institutions is available on our conference site.

Suggested Themes

This conference will focus on preservation’s historic and ongoing role in documenting and shaping new research from policy studies to sound studies, and new media practices from journalism to art. To that end, we seek panels, presentations and workshops whose ambit could include, but is not limited to:

• Highlighting a specific archive based on historic recordings that challenge assumptions about mass media history, the invention or reinvention of formats, or show outreach to new audiences.
• Offering best practices based on experience in preservation, from digitization and metadata to fair reuse, either on air or in arts settings.
• Exploring techniques for researching, processing or reusing the changing radio archive, such as how to use specialized methods from machine learning to deep listening.
• Examining communities whose stories have been lost but can now come to light as a result of the RPTF’s various initiatives and caucuses, especially communities of color, native communities, women’s radio history, LGBTQ histories, as well as among differently abled communities.
• Examining how preservation can highlight radio’s historic and ongoing role in activism, especially at the regional, local and community level.
• Looking at international histories of radio, and at preservation practices outside the United States, particularly in Latin America and Europe, from which U.S. archivists might learn.
• Focusing on long-arc narratives of radio history—the history of crime reporting, for instance, or civil rights radio—that stretch across the entirety of the “broadcast century” and whose history isn’t limited to one “tier” of radio, but rather can be studied in contexts from large networks to local radio and podcasts, and everywhere in between.
• Studying how preservation methods might be adapted for emerging forms of radio beyond traditional broadcasting platforms, particularly podcasting, as well as the study of broadcast platform elements themselves, from radio tower systems to RSS.
• Focusing on preserving recordings from arts and freeform stations, as well as exploring how the materials that RPTF projects have uncovered can be reused in contemporary art, journalism and research in the new golden era of podcasting and sound art more broadly.
• Providing practical advice for independent archivists, particularly when it comes to public history outreach, identifying possible funding and grant writing.

To Participate

Proposal options include papers, pre-constituted panels, moderated discussions, and workshops. To submit a proposal, email abstracts and other materials specified below in a single document to radiotaskforce@gmail.com by December 1, 2019. For questions, please contact neil.verma@northwestern.edu.

Papers. Individual archivists, scholars or artists are invited to submit an abstract for a paper of about 20 to 30 minutes in length on our conference themes. Successful applications will be organized into panels by the steering committee. Applications should include: A brief biography; contact information for the applicant including any institutional affiliation; a 400-word abstract with a title; and five keywords.

Pre-constituted Panels. Pre-constituted panels should have 3-4 participants, plus a moderator and/or respondent. These panels will be based on the presentation of papers, with each speaker given 20 to 30 minutes to speak. Applications should include: A brief biography for each applicant; contact information for each applicant including any institutional affiliations; a 400-word abstract with a title for each paper; five keywords for each paper; a 400-word abstract explaining the goal and ambit of the panel.

Moderated Discussions. These events will differ from pre-constituted panels in that they do not require formal prepared remarks and will instead focus on discussion and exchange. Groups of 4-6 participants may apply, with each participant expected to speak for 5-10 minutes about a current project, archival recording, or issue. Applications should include: A brief biography for each applicant; contact information for each applicant including any institutional affiliations; a 400-word abstract explaining the goal and ambit of the panel; five keywords for the panel as a whole.

Workshops. For workshops on specific issues (e.g., digitization, grant writing, analysis tools, recording workshops), a single presenter or team leads discussion and has an open forum to field questions. Applications should include: A brief biography for the workshop leader(s); contact information including any institutional affiliations; a 400-word abstract explaining the goal and ambit of the workshop including any technical equipment that would be needed.

The Library of Congress RPTF Conference Steering Committee

RPTF 2020 Conference Chair: Neil Verma, Northwestern University

NRPB Chair:

• Christopher Sterling, George Washington University
• Library of Congress:
• Steve Leggett (NRPB)
• Cary O’Dell (NRPB)

RPTF Director: Josh Shepperd, Catholic University and Penn State University

RPTF Assistant Director:

• Shawn VanCour, University of California, Los Angeles
• Conference Committee Members:
• Matt Barton, Library of Congress
• Claudia Calhoun, Fairfield University
• Inés Casillas, University of California, Santa Barbara
• Susan Douglas, University of Michigan, Ann Arbor
• Christine Ehrick, University of Louisville
• Anna Friz, University of California, Santa Cruz
• Kathryn Fuller-Seeley, University of Texas, Austin
• Michele Hilmes, University of Wisconsin, Madison
• Bob Horton, Smithsonian National Museum of American History
• Tom McEnaney, University of California, Berkeley
• Julie-Beth Napolin, The New School
• Stephanie Sapienza, University of Maryland
• Jacob Smith, Northwestern University
• Michael Socolow, University of Maine
• Dave Walker, Smithsonian Center for Folklife and Cultural Heritage

May 21-23, 2020

Ann Arbor, Michigan

Deadline: October 1, 2019

IASPM-US 2020 Conference

The International Association for the Study of Popular Music-United States chapter (IASPM-US) invites proposals for its annual conference, which will take place in Ann Arbor at the University of Michigan on May 21-23, 2020. We welcome abstracts on all aspects of popular music, broadly defined, from any discipline or profession, and especially encourage submissions on the many rich popular music histories of Michigan, Ann Arbor, and Detroit.

The theme for this year’s conference is “BPM: Bodies, Places, Movements,” which intersects with Detroit and its storied place in rhythm and blues, rock, punk, pop, hip-hop, and electronic dance music, and is intended to connect the histories, philosophies, and practices of urban spaces to other historical and global popular music communities. Each year Detroit celebrates this local-meets-global history with the Movement Electronic Music Festival, which in 2020 will commence the same weekend as the IASPM-US conference.

BPM as a marker for “Beats Per Minute” was first included on records to allow DJs to sync disco and funk selections together on the fly and has since become an important digital tool to create, alter and interweave tracks. In addition to its practical musical applications, the creation of BPM encodes an array of social and cultural histories: urban migration; industrialization and its reverberations in deindustrialization and urban renewal; the cultural, racial, and class politics of white flight, capital departure, and gentrification; social movements from the Second Great Awakening, Civil Rights, and Fair Housing through neo-conservatism, white nationalism, and millennial populism; and the myriad communities that articulate their ideals, utopias, frustrations and joys through popular music and its attendant practices, in garages, studios, music halls, warehouses, and digital spaces. Topics to consider include (but are not limited to):

• Bodies: identities, abilities, practices, performances, communities, bodies of work, raced, classed, gendered, and sexualized bodies, modes of embodiment

• Places: Cities, suburbs, small towns, virtual and digital spaces, stages, studios, basements, exclusive and inclusive spaces

• Movements: social, cultural, and political movements, mobilities, dance, migration, displacement

IASPM-US is a multidisciplinary organization, and invites proposals from and across all fields of scholarly inquiry. Conference proposals from intellectuals from outside of academia, including teachers, museum and archive professionals, musicians and music professionals, and independent scholars, are encouraged. IASPM-US is also a friendly conference for students at all levels. We especially welcome proposals from members of underrepresented groups including, but not limited to, women, Black/African American, Indigenous, and People of Color, people with disabilities, and people from LGBTQ+ communities, as well as people of different ages, socio/economic classes, nationalities, and religions. This year’s program committee consists of Justin Patch (chair), Anthony Kwame Harrison, K. E. Goldschmitt, Brian F. Wright, Rebekah Farrugia, and Kathryn Metz.

Please submit proposals via Word document to iaspmus2020@gmail.com with “last name, first name” in the subject line no later than midnight October 1, 2019. Individual submissions should include a paper title, the presenter’s name, contact information and a 250-word abstract that identifies the methodology used, states the paper’s goals, summarizes the context and argument of the paper, and includes a brief conclusion.

Organized panels, consisting of 3 - 4 papers, should include a 250-word description of the panel’s rationale and goals, and a 250-word abstract for each individual participating in the panel. Roundtables, consisting of a moderated conversation with 4 – 6 participants, require a single 250 word abstract and a list of roundtable members, and should designate one person as the panel chair. All individual presentations are limited to 20 minutes with a 10-minute question and answer period. Roundtables and organized panels can be allotted up to a two-hour time slot. Abstracts not adhering to the word count will not be considered.

Please note: All conference presenters must be registered IASPM members (or must register after paper, panel, or roundtable acceptance). For membership and conference information visit: http://iaspm-us.net/

Portland, Oregon

Deadline: October 1, 2019

Apply nowJob no: 524127

Work type: Faculty - Tenure Track

Location: Portland, OR

Categories: Instruction, Journalism/Communication

Department: School of Journalism and Communication (SOJC)

Rank: Assistant Professor

Annual Basis: 9 Month

Application Deadline: To ensure consideration, please submit application materials (or nominations) by October 1, 2019. The position will remain open until filled.

Required Application Materials

Interested candidates should submit a letter of interest, CV, and the names of four (4) academic references. Applicants are encouraged to highlight their experience and philosophy with regard to diversity, equity, and inclusion.

We invite applications from qualified candidates who share our commitment to a diverse, equitable, and inclusive learning environment. We also welcome nominations.

We particularly welcome applications from scholars who are from populations historically underrepresented in the academy, and/or who have experience working with diverse populations.

For inquiries about the application process, please contact SOJC Operations at 541-346-3561. Specific inquiries about the position may also be directed to the search chair Regina Lawrence, Associate Dean, SOJC Portland at: rgl@uoregon.edu.

Position Announcement

The University of Oregon's School of Journalism and Communication invites applications for a tenure track position for an Assistant Professor in Immersive Media Psychology to begin in fall 2020.

We seek an individual whose research, expertise and skills in virtual/augmented/extended reality and media psychology will create innovative, interdisciplinary research exploring the cognitive implications of immersive technologies in the context of communication. This person's doctoral training may come from the fields of communications, psychology, information science, and/or human-computer interaction, with a research agenda focused on the uses, experiences, and the effects of immersive media. This person will be qualified to lead innovative, grant-funded research teams to advance theory and bridge knowledge and practice.

This individual will provide graduate students in our Media Studies PhD program with strong theoretical orientation on the role and impact of immersive media from a psychological perspective, and will also be prepared to offer courses that bridge academia and practice, teaching undergraduates and professional masters students techniques for immersive world-building and/or immersive story-telling grounded in an understanding of uses and psychological effects of the medium. We seek a scholar who can address enduring questions of human communication in the context of immersive media, who can help develop new curriculum that further positions the SOJC as a thought leader in immersive media, and whose expertise is also cognizant of emerging industry trends.

This position will be based at the University of Oregon's Portland campus and will take a leading role in supporting and shaping the Oregon Reality (OR) Lab. Faculty members at UO Portland gain unique research opportunities based on our "urban laboratory" environment and our proximity to a tremendous variety of technology and creative firms.

This person will teach up to three courses per year for graduate students in the Strategic Communication and Multimedia Journalism programs in Portland, along with at least one course per year in the undergraduate public relations sequence and/or graduate programs on the Eugene campus. Specific courses to be taught may include research methods for Strategic Communication and Public Relations; media theory; and special topics courses in immersive media for strategic communication and journalistic storytelling.

Candidates whose research programs focus on uses of immersive media with respect to marginalized communities and/or in multicultural contexts are especially encouraged to apply. We seek candidates who integrate technological skills with an ongoing program of research and who demonstrate excellence in teaching diverse students at the graduate and undergraduate levels.

Department or Program Summary

The School of Journalism and Communication is an ACEJMC-accredited program with a century-long history at the University of Oregon, which is a comprehensive research university and a member of the Association of American Universities (AAU). Our program thrives as a journalism and communication school known for innovation, ethics, and action. We offer four undergraduate concentrations (in Advertising, Journalism, Media Studies, and Public Relations), four professional and academic master’s programs, and a doctoral program in Media Studies

Minimum Requirements

PhD in Communication, Psychology, Information Science, human-computer interaction, or a related field in hand by time of appointment; demonstrated potential for teaching and research excellence; and a record of scholarly accomplishments that include publication in high quality academic journals in communication, psychology and/or related fields.

Preferred Qualifications

Competitive applicants will have an established research profile, peer reviewed publications, external funding experience, and a proven record of teaching experience, along with skills and experience that bridge research and practice in the field of immersive media (VR/AR/XR and/or 360 degree video).

About the University

The University of Oregon is one of only two Pacific Northwest members of the Association of American Universities and holds the distinction of a “very high research activity” ranking in the Carnegie Classification of Institutions of Higher Education. The UO enrolls more than 20,000 undergraduate and 3,600 graduate students representing all 50 states and nearly 100 countries. The University of Oregon is guided by a diversity framework that involves a commitment to diversity, equity, and inclusion or all students, faculty, staff, alumni, and community members. In recent years, the university has increased the diversity of its student body while raising average GPAs and test scores for incoming students. The UO’s 295-acre campus features state-of-the art facilities in an arboretum setting within the traditional homelands of the Kalapuya people. The UO is located in Eugene, a vibrant city of 157,000 with a wide range of cultural and culinary offerings, a pleasant climate, and a community engaged in environmental and social concerns. The campus is within easy driving distance of the Pacific Coast, the Cascade Mountains, and Portland.

The University of Oregon is proud to offer a robust benefits package to eligible employees, including health insurance, retirement plans and paid time off. For more information about benefits, visit http://hr.uoregon.edu/careers/about-benefits.

The University of Oregon is an equal opportunity, affirmative action institution committed to cultural diversity and compliance with the ADA. The University encourages all qualified individuals to apply, and does not discriminate on the basis of any protected status, including veteran and disability status. The University is committed to providing reasonable accommodations to applicants and employees with disabilities. To request an accommodation in connection with the application process, please contact us at uocareers@uoregon.edu or 541-346-5112.

UO prohibits discrimination on the basis of race, color, sex, national or ethnic origin, age, religion, marital status, disability, veteran status, sexual orientation, gender identity, and gender expression in all programs, activities and employment practices as required by Title IX, other applicable laws, and policies. Retaliation is prohibited by UO policy. Questions may be referred to the Title IX Coordinator, Office of Civil Rights Compliance, or to the Office for Civil Rights. Contact information, related policies, and complaint procedures are listed on the statement of non-discrimination.

In compliance with federal law, the University of Oregon prepares an annual report on campus security and fire safety programs and services. The Annual Campus Security and Fire Safety Report is available online at http://police.uoregon.edu/annual-report.

Flow Volume 26 Special Issue

Deadline: August 26, 2019

The summer of 2019 has seen a variety of news reports and stories  announcing and celebrating the accomplishments of diversity,  inclusivity, and socio-political progress across the entertainment  industries. Examples include Ali Stroker’s monumental win at the Tony  Awards (as the first wheelchair user to win an award); the casting of  Halle Bailey in Disney’s live-adaptation of The Little Mermaid; Marvel  Studios’ casting of Simu Liu, Salma Hayek, and Mahershala Ali in lead  roles as well as the hiring of non-white and non-male directors for  Phase 4 projects; the announcement that the 007 role in the James Bond  franchise will now be played by Black woman, Lashana Lynch; the  development and production of a queer-centered superhero television  series in the upcoming Batwoman on The CW; and the critically-acclaimed  and fan-lauded careers of musicians like Lil Nas X and Lizzo taking  center stage in the music industry. 

This inaugural issue of Flow’s twenty-sixth volume, “New Faces, New  Voices, New Bodies: Current Thoughts on Media Representations,” asks  cultural and media scholars to consider these recent developments from  historical, industrial, political, economic, cultural, and national lenses. Arguably, this phenomenon has occurred before (to name a few,  the ‘70s with Blaxploitation, socially “relevant” TV programming, and  the popular embrace of funk and soul; the late ‘80s and early ‘90s with  Hollywood’s New Black Wave, the flood of Black sitcoms on network  television, and the mainstream success of hip-hop and rap; and the late  ‘90s and early ‘00s with the rise of Latinx stars in pop music,  “multiculti” ensemble casts, and the appearance of LGBTQ characters  in  primetime). This special issue seeks to understand: What is new about  this moment? How can we discuss these developments without losing sight  of the economic motives of conglomerates? How can we define and discuss  this current wave of diversity, inclusivity, and progressive action in  the industries? And to what extent are these industry strategies of  diversity and inclusivity sustainable?

Possible topics include, but are  by no means limited to: 

• LGBTQ identities in contemporary fiction and non-fiction media 
• Effects of trailblazing texts and figures on the media industry 
• Discourses of authenticity, sincerity, progress, and pandering 
• Late-night television, political comedy, and the Trump administration 
• Cultural and political responses to casting and production  announcements 
• Genre-specific examinations of identity and representation 
• Comparative analyses of historical precedents and contemporary  resurgences 
• Conglomeration, technology, and regulation as pressure points for  diversity and inclusivity, particularly in corporate diversity  initiatives and campaigns 
• Global perspectives of identity and representation 

To be considered for this timely issue, please submit a completed short  essay of 1200-1500 words, along with at least three images (.png),  video, and/or new media files (GIFs, etc.), and a short bio, to Rusty  Hatchell and Selena Dickey at flowjournaleditors@gmail.com  by Monday, August 26th, 2019. The Special 

Issue will be published at flowjournal.org  on Monday, September 16th, 2019. 

November 18, 2019

Doha, Qatar

Deadline:  September 5, 2019 (23:59 PM Pacific Standard Time)

Workshop website here.

Co-located with Social Informatics 2019, November 18-21, Doha, Qatar.

In recent years, we have witnessed the rise of social media, which have enabled people to virtually share information with a large number of users with little-to-no regulation or quality control. On the one hand, this has enabled anyone with a computer and internet access to rapidly create and disseminate content. On the other hand, it has also opened the door for malicious users, including automated bots, to rapidly spread disinformation, misinformation, and propaganda, which can now reach audiences at an unprecedented scale. This has resulted in the proliferation of false information that is typically created either (a) to attract network traffic in order to secure financial gain through advertising revenue (e.g. clickbait), or (b) to affect individual people's beliefs - something that can ultimately lead to influencing major events such as political elections or views on public health. There are strong indications that false information was weaponized at an unprecedented scale during the 2016 U.S. and the 2018 Brazilian presidential campaigns, among many others. The workshop aims to bring together researchers from both academia and industry to discuss bias, disinformation, misinformation, and propaganda in online news and in social media.

Topics of interest include but are not limited to the following:

• Bias
• Bots
• Check-worthiness
• Claim extraction
• Claim source detection
• Clickbait
• Deep fakes
• Disinformation
• Echo chambers
• Fact-checking
• Fake reviews
• Harassment/bullying
• Hate speech
• Hyper-partisanship
• Misinformation
• Offensive language
• Polarization
• Propaganda identification/analysis
• Seminar users
• Source reliability
• Stance detection
• Supporting evidence retrieval
• Trolls
• Trust
• Truth

Submission Format

We kindly ask you to submit abstracts addressing one of the topics above from the perspective of use cases, tools, resources, and preliminary experimental results.

Abstracts should be in Socinfo format (see here), 1-2 pages long. Abstracts will be reviewed by the workshop organizers and the authors of selected abstracts will be assigned a time slot for a short presentation (15 minutes each) to present their ideas. Selected abstracts will be made available on this website.

Send your submission to socinfo-bias-workshop@googlegroups.com.

Workshop Organisers:

• Giovanni da San Martino (Qatar Computing Research Institute, Hamad Bin Khalifa University)
• Preslav Nakov (Qatar Computing Research Institute, Hamad Bin Khalifa University)
• Alberto Barrón-Cedeño (Università di Bologna)
• Jisun An (Qatar Computing Research Institute, Hamad Bin Khalifa University)
• Haewoon Kwak (Qatar Computing Research Institute, Hamad Bin Khalifa University)
• Banu Akdenizli (Northwestern University, Qatar)
• Marc O. Jones (Hamad Bin Khalifa University)
• Grant Franklin Totten (Aljazeera)