ECREA WEEKLY digest ARTICLES

Departement für Kommunikationswissenschaft und Medienfoschung (DCM)

Voraussichtlich ab 1. August 2019

Stellenprofil: Die Oberassistentin/der Oberassistent soll Forschung und Lehre am DCM in einem oder mehreren der folgenden Bereiche verstärken: Journalismus, Kommunikations- und Mediengeschichte, Medienökonomie, Medienpolitik, Mediensysteme, Mediennutzung/Medienwirkung, Methoden, PR/Organisationskommunikation oder politische Kommunikation. In der Lehre ist die Übernahme von vier Semesterwochenstunden in unseren kommunikationswissenschaftlichen Studiengängen (BA/MA) vorgesehen. Es wird zudem erwartet, dass sich die Bewerberin/der Bewerber im Rahmen eines Habilitationsprojektes weiterqualifiziert. Die ausgeschriebene Qualifikationsstelle ist zunächst für ein Jahr befristet (Probezeit), mit Option auf 4 weitere Jahre Verlängerung.

Einstellungsvoraussetzungen: Voraussetzung für eine Bewerbung sind eine überdurchschnittliche Promotion sowie ausgewiesene Fach- und sozialwissenschaftliche Methodenkenntnisse. Internationale Forschungserfahrung sowie Erfahrungen in der selbstständigen Konzeption und Durchführung von Lehrveranstaltungen sind von Vorteil. Es werden gute Kenntnisse in englischer Sprache sowie die Bereitschaft zur Mitarbeit in der universitären Selbstverwaltung erwartet. Französischkenntnisse sind von Vorteil.

Die Universität Freiburg ist eine zweisprachige Universität und zeichnet sich durch ein internationales Umfeld sowie attraktive Arbeitsbedingungen aus. Zur weiteren Qualifizierung stehen hochschuldidaktische Angebote zur Verfügung.

Schriftliche Bewerbungen mit den üblichen Unterlagen (Lebenslauf mit Darstellung der bisherigen Tätigkeit, Zeugnisse, Liste der wissenschaftlichen Publikationen, 1-2 seitiger Abstract der Dissertation, aktuelle Lehrevaluationen) sind bis zum 15. Juni 2019 elektronisch im PDFFormat an unser Sekretariat, Frau Anne-Marie Carrel (anne-marie.carrel@unifr.ch) zu richten.

Universität Fribourg

Wirtschafts- und Sozialwissenschaftliche Fakultät

Departement für Kommunikationswissenschaft und Medienforschung (DCM)

z.H. Frau Anne-Marie Carrel

Bd. de Pérolles 90

CH-1700 Fribourg

Tel.: +41 (0) 26 300 83 83

November 7-8, 2019

Madrid (Spain)

Deadline: September 9, 2019

CALL FOR PAPERS

The call for submitting papers to the international seminar Platforms and Diversity: Netflix under Debate, that will be held on 7–8 November 2019 at the Faculty of Humanities, Communication and Documentation of Carlos III University of Madrid (UC3M), is now open until September 9.

This event is part of the activities that are being developed by the Audiovisual Diversity research team under the project Audiovisual Diversity and Online Platforms: Netflix as a case study, which is particularly interested in the role that online platforms play for the diversity of the audiovisual industries. More specifically, it studies the actions and impacts of transnational online platforms that commercialize audiovisual contents through Internet, considering their socioeconomic profile and the political and regulatory reactions they provoke. The analysis of such an impact pays special attention to the Spanish market and takes deeply into consideration Netflix as a case study.

The seminar, precisely, will revolve around these and will be organized as follows: a keynote speaker will open the event, followed by three panels dedicated to the challenges and opportunities audiovisual platforms present to diversity, Netflix’s performance in different national markets, and Netflix’s launch, evolution and connection within the Spanish audiovisual sector. Additionally, there will be a session of four contributors chosen, by the Scientific Committee of the event, among those replying to this call for papers.

If interested, please send a title and abstract, of no more than 500 words, and a short bio (150 words), along with a selection of key references.

Welcomed topics are:

• Netflix and the Spanish audiovisual sector.
• Netflix’s impact on audiovisual production, distribution and consumption.
• Public policies, Netflix and cultural diversity.
• Intellectual property rights and Netflix.
• The Convention on cultural diversity (UNESCO, 2005) in the digital era and Netflix.
• Netflix and the reformulated European Audiovisual Media Services Directive.

Based on selected proposals, the panel discussion will be held in the afternoon of November 7. The contributors will have 20 minutes for their presentations. Previously, being October 21 the deadline, successful applicants must send their final unpublished and original contributions. Papers should be between 6,000 – 8,000 words in length.

TIMELINE:

• Deadline for abstracts: September 9, 2019.
• Send proposals to: diversidadaudiovisual@uc3m.es
• Notification of acceptance: September 23, 2019.
• Registration deadline: September 30, 2019.
• Deadline for full papers (unpublished and original; for internal coordination): October 21, 2019.

(*) The organization is considering taking steps to offer the papers presented the possibility to be published in a peer review scientific journal.

More information on the event and the research project in http://www.diversidadaudiovisual.org

20th Documentary Summer School

August 12-17, 2019

Locarno, Italy

Deadline: June 16, 2019

Already in its 20th year, the Documentary Summer School (DSS 2019) is jointly organized by the Università della Svizzera italiana and Locarno Film Festival, in collaboration with the Semaine de la critique. The DSS offers places for up to 30 university students in the fields of cinema, media and communication. Graduated students, early doctoral students and emerging filmmakers are also welcome to apply. The DSS explores different research and production relevant issues concerning documentary cinema. A special attention is devoted to ethical questions.

DSS Website: https://www.locarnofestival.ch/pardo/professionals/summer-academy/documentary-summer-school.html

APPLICATIONS AND ENQUIRIES TO:

Documentary Summer School - Organizing committee

Università della Svizzera italiana

Via Buffi 13, 6900 Lugano

Tel. +41 (0)58 666 4814

documentarysummerschool@gmail.com

DSS 2019 PROGRAM

CONTENTS

Now in its 20th edition, the Documentary Summer School (DSS 2019) is jointly organized by the Università della Svizzera italiana and Locarno Film Festival, in collaboration with the Semaine de la critique.

The DSS explores different research and production relevant issues concerning documentary cinema. Given the great pervasiveness with which currently images and representations spread, for some years the DSS has decided to focus on the theme of ethics in documentary filmmaking. This year the DSS will be held on 11-18 August and will reflect upon the representations of people and issues we do not experience directly: "the others". The respectful coexistence between people different in terms of culture, sexual choices, origin, religion is becoming an issue of crucial importance. The aim of the DSS will be to investigate this issue in the context of audiovisual representations - such as documentaries, but also reportages. Which forms of communication could build bridges among people? Which ones can reduce fear, distrust, rejection? Which ones are at risk of dividing people?

SPEAKERS

Prof. Maria Cristina Lasagni, the DSS director, lecturer in cinema and documentary at USI with more than 20 years' experience in teaching and researching documentary filmmaking and media ethics.

Prof. Nevina Satta CEO of the Sardegna Film Commission and a board member of Cineregio, the EU network of Regional Film Funds;

Andrea Segre an award-winner filmmaker who has directed over twenty films of documentary and fiction genre exploring issues such as ethnic and cultural identity, migration, social and economic crisis.

Prof. Gail Vanstone a well-known researcher in the field of Feminist Cultural Production with an emphasis on Literature and Film, Canadian Cultural Production, Contemporary Critical Cultural Theory;

Prof. Brian Winston founding director of the Glasgow Media Group and founding chair of the British Association of Film, Television and Media Studies. Among the DSS guests also professional documentarists from Semaine de la critique selection.

CONDITIONS OF PARTECIPATION

The Documentary Summer School is open up to 30 undergraduate students in the fields of film, media and communication studies. Graduate students, early PhD students and emerging filmmakers are also welcome to apply. No geographic restrictions apply.

The participation fee is of 550 CHF and it covers:

• Lectures, public talks and meetings with directors (from 12 to 17 of August)
• Bed and breakfast accommodation for 7 nights at the Locarno Youth Hostel (arrival on 11 – departure on 18 August 2019)
• Accreditation valid for Festival screenings (11-17 August and free access on 18 August 2019)
• Closing dinner with participants from all the Summer Academy programs (16 August 2019)

Meals other than breakfast and travel to and from the Festival are at the expense of participants.

Please note that the Festival provides participants with a shuttle service free of charge between Milano Malpensa airport and Locarno, prior booking.

SUBMISSIONS 2019

Deadline for submission is 16 June 2019 for students who do not need a visa, and 31 May 2019 for students who needs a visa to come to Switzerland.

Candidates shall submit via email the following documents:

• Personal CV
• Brief motivation letter
• Passport-size digital photo (max 1MB)

Submitted dossiers will be evaluated by the scientific board, and selected participants will be notified via email within three weeks after the deadlines for submission.

University of Technology, Tallinn

Deadline: June 15, 2019

Interviewing starts June 15 2019. Priority will be given to applications received on or before June 15 2019.

Ragnar Nurkse Department of Innovation and Governance (RND) is one of the largest, most internationalized and leading social science research centres in Estonia. As part of Tallinn University of Technology (TalTech) and its School of Business and Governance, RND functions at the intersection of technological and social science research.

The emergence of big data era has led to serious discussions about social datafication – i.e. the socio-cultural consequences of big data on societies, individual lives, and governmental organizations. Positive consequences like control of spatial mobilities through algorithms and negative consequences like discrimination through datafied decisions are central in these discussions. Estonian society with its contradictions – a highly digitalized environment, moderate use of open data, low awareness of algorithmic control and privacy concerns – offers a highly attractive environment for studying the societal consequences of big data, algorithms, and AI.

Key tasks:

• The main task of the doctoral researcher is to carry out research in data studies in the field of spatial mobilities (e.g. refugees, highly skilled immigrants, e-residents, ‘data rich’ and ‘data poor’ mobile groups).

• Participation in the research activities in the domains of

(1) data justice - how to avoid discrimination through data, automatized inequalities, racial bias, and movement towards more just data practices;

(2) awareness of algorithmic control (the perspectives of data subjects from the Global South, data rich and data poor ethnic / mobile groups),

(3) data governance (use of social scoring, AI, machine learning methods in governmental institutions for controlling mobility).

• Participation in the teaching activities of the research group, including supervision of students;

• Participation in the administrative functions of the research group;

Qualification requirements:

• MA or equivalent in social sciences (in the fields of sociology, public administration, media and communication, human geography, or a related discipline);

• Excellent knowledge of research methods, including quantitative (survey, mobility tracking, basic and advanced statistics, social networks analysis) or qualitative methods (interviewing, textual analysis, visual analysis methods). Knowledge of digital or computational research methods are advantageous.

Specifics & Benefits:

We offer the chance to do high-level research in an internationally recognized research team; opportunities for conference visits; networking with leading universities in the field of data studies; publishing in high-level journals in the field.

• The position is fixed-term (4 years)

Start date: 1 September 2019 (or as soon as possible).

• The position is financed from the state scholarship and from the projects, which in total provides monthly income up to 1200 EUR net (including 20% national income tax, Estonian national health, social security and pension payments).

Application requirements:

• Cover letter

• Curriculum vitae

• Research proposal (5 pages)

• When applying for the 1st time for a position in TalTech, duplicate of the required diploma (MA) or other document providing evidence of the necessary qualification.

For more information on TalTech, see www.taltech.ee

For more information on RND, see www.taltech.ee/nurkse

University of West London

Deadline: May 29, 2019

UWL is inviting a new round of applications for PhD scholarships featuring a fees waiver and a stipend of £15,000 pa. The call is for applications across the whole university and competition is initially at subject and then at University level.

The call is open until Wednesday May 29th. Among the wide range of fields in which applications are sought to work with supervisors from the School of Art, Design and Media are:

• Adaptation Studies, Film Studies, Genre Studies, Genre Theory, Popular Fiction
• Creative Writing, Screenwriting
• Filmmaking, Film Theory, Film and Philosophy, Screen Studies
• Gender, Technology and Work
• Media Arts, Art and Design History, Cultural History, Communication Design, Design and Visual Literacies
• Media History and Theory, Media Archaeology, Gallery and Museum Studies
• Media Studies, Media Transformations, Branding, Public Relations, Television, News and Journalism
• Modern Literature, Literary Theory, Literature and Philosophy
• Photography History and Theory, Media and Photography Practice,
• Photography and Philosophy, Literature and Photography - Thinking the Image

Summaries of areas of research expertise linked to specific areas and specific supervisors may be found at: https://www.uwl.ac.uk/academic-schools/film-media-design/mphil-and-phd

Details of how to apply are here: https://www.uwl.ac.uk/research/graduate-school/applications-and-entry-requirements

The call is posted here https://www.uwl.ac.uk/research/graduate-school/vice-chancellors-phd-scholarships

Potential applicants are invited to contact any of the supervisors or mailto:garin.dowd@uwl.ac.uk and/or mailto:michelle.henning@uwl.ac.uk

Call for Chapters

Deadline for Submission of Abstracts: June 30, 2019

Editor: Karen McNally

Donald Trump’s emergence in the field of American politics has had an undeniable and wide-ranging impact on contemporary American television. As a medium television has been quick to respond to the extraordinary climate and fast-paced news environment created by the roller-coaster of events and political strategies that have defined the Trump administration. CBS drama /The Good Fight/, for example, explicitly ties the unfolding events of the Trump presidency to its characters’ professional and personal lives, while the dystopian narrative of /The Handmaid’s Tale/ seems an updated warning of the continuing threats to women’s legal and cultural rights. Each genre from the satirical show to reality television has demonstrated the centrality of contemporary politics to viewers’ everyday experience, assuming an atypical awareness of current events amongst diverse members of the American public. At the same time, television has been forced to confront its role in the construction of a media-driven celebrity presidency, as it provides 24-hour breaking-news coverage and makes celebrities out of the various press secretaries entering and exiting Trump world. Whether it’s the challenge of depicting the fictitious car crash politics of /Veep/ with the backdrop of a White House reportedly in disarray, or news analysis shows wading through the concepts of ‘fake news’ and ‘alternative facts’, the balance between representation, critique, entertainment, fiction and fact has become the site of television’s negotiation with the current era.

This volume seeks a range of essays aiming to address the ways in which the political climate of the Trump era has revealed itself on American television. The political setting might be defined as much by movements such as #MeToo, Time’s Up and Black Lives Matter as by the various branches of federal government, or political moments such as Charlottesville or the release of the Mueller Report. Similarly, authors might choose to examine individual television shows or particular genres, and themes including celebrity politics, backlash culture, journalism as entertainment, genre hybridity, amongst a variety of topics.

Chapter proposals should be submitted as a 300-400 word abstract by 30 June 2019 to the editor, Karen McNally, at TrumpEraTelevisionthebook@gmail.com . Please include a full author biography and contact details. Final chapters will be 5,000 to 6,000 words and due by 15 November 2019. Please feel free to email also with any queries prior to submission of abstracts. A major publisher is being sought for the volume.

Dr Karen McNally is a Senior Lecturer in Film and Television Studies at London Metropolitan University and a specialist in Hollywood cinema and American television and culture. She is the author of /When Frankie Went to Hollywood: Frank Sinatra and American Male Identity /(University of Illinois Press, 2008) and /The Stardom Film: Hollywood and the Star Myth/ (Columbia University Press, forthcoming). She is also the editor of /Billy Wilder, Movie-Maker: Critical Essays on the Films/ (McFarland, 2011) and co-editor of /The Legacy of Mad Men: Cultural History, Intermediality and American Television /(Palgrave Macmillan, forthcoming).

Contact Details: TrumpEraTelevisionthebook@gmail.com

November 20-22, 2019

Valencia, Spain

Deadline: July 15, 2019

The European elections of May 2019 take place in a scenario of  particular uncertainty. The rise of populist movements of different  ideologies, often linked to Eurosceptic positions, is combined with a  crisis situation in the European Union. Institutional crisis, deriving  fundamentally from the consequences of Brexit, the exit from the United  Kingdom, scheduled for October of this year. But there is also an  economic and political crisis, in a world where Europe's influence is  tending to decline. 

This International Conference aims to analyse the European Parliament  Elections from different points of view, which could be summarised in  the following topics: 

• New populisms and traditional parties in the elections to the European 
• Parliament. - Neoliberalism and the crisis of representative democracy 
• The role of social networks in elections. Fragmentation of the  electorate and polarization 
• The theme of the election campaign. What do the candidates talk about  and what do the media focus on? Is there a European campaign or many  national campaigns? 
• The impact of Brexit on the European election campaign. European  perspectives from the United Kingdom and image and references about the  United Kingdom in the European Union 
• Comparative electoral studies between different countries 
• Europeans vs. European Union. European Elections and Euroscepticism 
• Diachronic studies. Evolution of the European Parliament Elections 
• The European Union from outside. Follow-up of the campaign from non-EU  countries 
• “New” and “old” media in the election campaign 
• Fake news and disinformation 
• Citizen Mobilisation and Political Activism in the European Parliament Elections 
• Stateless Nations and European Elections: Nationalist Movements to the EU 

Regarding the abstract submission, All proposals will be sent in  English, in .doc, .docx., .odt or .pdf format, through the form of the http://congreso2019.mediaflows.es website.

Proposals should include title, keywords and abstract (250-300 words). 

The abstract should present the aim/objectives of the work, the  methodological approach, the results, and the conclusion. Proposals  should focus on the topics indicated above. 

The Scientific Committee of the Congress will announce in advance which  proposals have been accepted for presentation at the Congress. The five  best evaluated proposals -not belonging to researchers from Spanish  universities- will receive a 400€ grant to cover travel, accommodation  and registration of the communicator(s). 

Deadline & Dates: 

• 15 July 2019 – Deadline to submit abstracts 

• 31 July 2019 – Notification of accepted proposals and award of grants  to the five best-rated proposals 

• 31 October 2019 – Deadline for full paper submission 

• 20-22 November 2019 – Conference 

Fees: 

The registration fee is €80, covering access to all sessions, coffee  break, and conference material. 

For further information, please consult the Mediaflows web page. 

November 22-23, 2019

Ghent, Belgium 

Deadline: June 30, 2019

Keynote speakers: 

• Prof. Judith Thissen (Utrecht University) 
• Prof. Allyson Nadia Field (University of Chicago) 

In 2002, Annette Kuhn reflected, in /Dreaming of Fred and Ginger: Cinema  and Cultural Memory/, that in regards to 1930s British cinemagoers, “we  hardly know these people at all” (2002, 3); Jackie Stacey (1994, 49)  focusing on British female movie fans of the 1940s and 1950s, made a  similar observation in 1994, when she noted that “there is a history of  female cinematic spectatorship which has yet to be written.” In their  respective works, both scholars used sources such as magazines,  questionnaires and interviews to begin to write exactly that history. 

This conference wishes to build upon this observation that “we hardly  know these people at all” by expanding its meaning in terms of the  people involved, both in terms of time and in terms of demographics. We  therefore invite papers focusing on marginalised female audiences in the  broadest sense, and interpret this in two distinct ways. Firstly, we  seek to hear from scholars focusing on rediscovering or uncovering  particular audiences, marginalised vis-à-vis the texts they consumed  through racial, ethnic or religious identity, through geographic or  linguistic distance, through sexual orientation or gender identity,  through disability status, through social class, etc. This includes a  demographic analysis of such audiences, an examination of their specific  and varied fan practices and attitudes, the intersectional identities of  certain audience members, etc. 

It also includes, however, broader contemplations on the very notion of  the “marginalised” audience. 

Firstly: if we are indeed all, as Henry Forman wrote in 1933,  “movie-made”, what, then, does it mean to be “made” by movies or media  texts specifically aimed at demographic groups with a privilege  inaccessible to many other audience members? Secondly, we are keen to  acknowledge and discuss the methodological challenges involved in  studying such audiences, and the ways in which difficulties in terms of  scholarly research may essentially serve to marginalise the group in  question further. Thirdly, we wish to invite auto-ethnographic  reflections from scholars working on such research topics, while also  members of one or more marginalised groups themselves. 

While the organisers’ own research is rooted within a film-historical  context, and indeed we are very interested in hearing from those engaged  in rediscovering lost historical audiences, we also invite submissions  from those working on contemporary LGBTQ+, disabled, or  racial/ethnic/religious minority women spectators. We particularly hope  to reach out to scholars working within the multidisciplinary field of  fan studies, where much fascinating work has been done, in recent years,  on examining the practices of such audiences, as well as their  relationship to traditional conceptions of fandom (such scholars include  Kristen J. Warner, Rukmini Pande, Julie Levin Russo, Eve Ng, and  others). While film and television history and fan studies have largely  operated in distinct and separate spheres from one another, we believe  the disciplines can come together in fruitful and methodologically  interesting ways in order to allow us a more complete picture of these  often invisible fans. 

Potential topics can include, but are not limited to: 

•       Historical perspectives on cinemagoing in ethnic communities 

•       Immigrant spectatorship 

•       The consumption of Hollywood movies by minority women 

•       LGBTQ+ fandoms 

•       Methodologies to access historically lost audiences 

•       Film archives and the marginalised audience 

•       Black women as movie fans 

•       Disability and spectatorship 

•       Studies of film reception amongst specific religious groups 

•       Women-only film screenings and film clubs 

•       Characteristics of marginalised spectatorship 

•       The methodological challenges in examining female audiences 

•       Theorising lesbian spectatorship 

•       Working class women and the movies 

•       Women and film criticism 

•       Gender and race-specific viewing pleasures 

•       National minorities and cinema culture 

•       Girlhood and fandom 

•       Geographically specific viewing practices 

We invite abstracts of no more than 300 words for 20-minute papers, as  well as panel proposals for pre-constituted panels (consisting of three  papers). Conference attendance will be free of charge.  Send your proposal and a short bio to Lies Lanckman and Agata Frymus at  womenspectatorship.conf@gmail by 30 June 2019. The conference website can be found at https://audiencelost.wordpress.com/

YECREA seminar

October 21-22, 2019

University of Helsinki, Helsinki, Finland

Deadline: June 15, 2019

The Young Scholars Network of ECREA (YECREA) is happy to invite all young scholars – doctoral students, post-docs, junior scholars, and other early-career scholars – to participate in two seminar sessions, organised as part of the joint conference on ‘Infrastructures and Inequalities: Media industries, digital cultures and politics’ in Helsinki.

This is a joint initiative of three YECREA Sections: Communication and Democracy; Digital Culture and Communication; and Media Industries and Cultural Production.

Details:

• Date: 21-22 October 2019
• Location: Metsätalo, University of Helsinki
• Two parallel sessions (1.5 hours each)
• The deadline for applications is 15 June 2019

Topics this workshop will cover:

• Strategies for building researchers networks – exploring research communities, the potential of digital platforms
• Broadening scholarly communication – engaging with social media

Seminar description:

Scholarly communication is undergoing significant changes and evolutions, particularly in today’s shifting media landscape. For young scholars and early career researchers in particular, issues of disseminating our research on social media platforms, creating alternative communication forms, and establishing sustainable researcher communities are particularly relevant.

The shift towards a more diverse array of scholarly communication has already begun. Scholars now share their research and connect with each other on platforms such as Academia.edu, ResearchGate and LinkedIn. As well as these outlets, the traditional article format is being altered by including blog posts, interactive graphics and video. And perhaps most significantly, scholarly conversations are now taking place on social media platforms such as Twitter and Instagram.

These seminars aim to help young scholars navigate the process of sharing their research within this digital media environment.

21 October 2019

The first seminar, facilitated by Professor Kirsi Pyhältö, explores the issue of “How to build and sustain researcher networks”.

This workshop, intended for PhD students and young career scholars, aims to facilitate use of researcher communities as a resource for doctoral research and career development, by analyzing the potential of these communities, exploring one’s own communities, and discussing them with peers. The workshop addresses the function of researcher communities in early career researchers’ daily lives, and their role as a central resource for their careers after a doctoral degree.

22 October 2019

The second seminar, facilitated by Dr. Salla-Maaria Laaksonen, explores the topic “Why bother? Expert communication on social media”.

This seminar addresses the issue of the growing diversity of digital platforms for research dissemination, scholarly conversation, and alternative academic networking. It explores how early career researchers can engage with social media, the opportunities and also the pressures that these digital platforms afford, inquiring how young scholars and researchers can benefit from them.

Please submit a brief expression of interest (max. 200 words) providing a short description of your research interests and why you are interested in attending the seminars.

Additionally, please provide a short bionote stating your name, email, affiliation and position, and country.

Please be aware that participants commit to attending both seminars.

Please send in your expressions of interests and personal information, no later than 15 June 2019, to:

• Ally.Mccrowyoung@hum.ku.dk
• AnaSofia.PereiraCaldeira@ugent.be
• Giulia.Manica@nottingham.ac.uk

Selected participants will be notified by the 15th of July 2019

Participation in these seminar sessions is free of charge.

THE ORGANISING TEAM:

• ALLY MCCROW-YOUNG (YECREA REPRESENTATIVE OF COMMUNICATION AND DEMOCRACY SECTION)
• GIULIA MANICA (YECREA REPRESENTATIVE OF MEDIA INDUSTRIES AND CULTURAL PRODUCTION SECTION)
• SOFIA CALDEIRA (YECREA REPRESENTATIVE OF DIGITAL CULTURE AND COMMUNICATION SECTION)

We encourage workshop participants to also submit a proposal for the main

conference. Please submit your abstract also by 1 June 2019 (300-word abstract for individual proposals; or 300-word panel rationale plus individual 200-word abstracts from a minimum of four speakers for panel proposals). All abstracts for individual as well as panel proposals should be submitted through EasyChair: https://easychair.org/conferences/?conf=infrastructuresandin

For more information, please consult the conference website: https://www.helsinki.fi/en/conferences/infrastructures-and-inequalities

Biannual Conference of the Television Studies Section of ECREA (European Communication Research and Education Association)

October 24-25, 2019

University of Groningen

Deadline (EXTENDED): May 31, 2019

Confirmed keynote speakers:

• Prof. Jeanette Steemers (King's College London)
• Dr. Vilde Schanke Sundet (Inland Norway University, Lillehammer)

Television is constantly testing its definitional boundaries. What was formerly defined by ways of transmission and screen technology, is more and more in dissolution in today's mediated landscape. Young people, especially, are turning away from traditional broadcast television - and turning towards other screens and formats. This development is forcing established structures to react and adapt to this new viewing culture. Novel formats, such as the Norwegian teen drama series 'SKAM' or the Spanish talent show 'Operación Trriunfo/Star Academy', proved to be extremely successful in overcoming the traditional boundaries of the medium, amongst others by including multi-platform technology and storytelling via social networks.

How can we understand television today as a 'young' medium and audiovisual culture? As a connected screen culture, not constrained anymore by a singular screen and fixed location in households, the medium continues to play a key role in people's everyday lived realities. How is television understood by young audiences as part of their wider screen culture? A clear contradiction seems to be a part of this trend, with older viewers leading traditional television audiences, and younger populations increasingly connected through other audiovisual devices and contents.

And how should scholars of audiovisual culture try and make sense of television production and use by/for these younger audiences? The conference 'The Youthification of Television and Screen Culture' therefore also provides a platform to reflect on 'young', contemporary, and intersectional approaches to the study of television and connected audiovisual media on multiple platforms and screens. The conference has as its key goal to overcome 'narrow' definitions of the medium television, inviting reflections from wider and intersectional perspectives studying the medium's production, reception and/or cross-platform programming in different European contexts.

We invite papers addressing comparative studies of television, audiovisual culture and screen culture, international research on new and/or multi-platform modes of production, distribution and consumption; and related to challenges of television (studies) in Europe, including:

• Formats for young audiences
• Specific challenges that come in connection with 'young TV'
• New practices of traditional TV channels in platforms, apps and social networks
• 'Young' approaches to studying television and screen culture as media in transition
• Examples of past collaborations, present and future of European co-productions for younger audiences
• Intersectional approaches to studying youth screen culture, platform culture, gender and ethnicity
• New 'young' methods and recent approaches to the medium, including digital humanities, in order to clarify the medium's relevance among the youngest audiences
• Storytelling across media and mobility of screens for younger viewers
• Media literacy: tech skills of youngsters and adults
• TV and education in the era of streaming and cross-platform culture
• Beyond the thematic specific contributions we invite papers that deal with:
• Theoretical and methodological approaches to the study of European television, especially devoted to the new era of audiovisual consumption
• Production Studies, specifically how television content creators currently do audience studies, and broadcasters and content creators are at present part of academic research
• Reflections on the future of television

Special panel hosted by ECREA Film Studies:

The conference will also host a special panel organized by the ECREA Film Studies section. The section invites paper proposals devoted to explore new film-TV hybrid forms boosted by young people. The section welcomes submissions that explore theoretical explorations, comparisons of case studies and innovative approaches, in order to shed light on the future of film and cinema in its merging with TV platforms and the new cultural practices emerging within the new generations.

Proposals for individual papers or panels can be submitted to the ECREA Television Studies Vice Chair, dr. Berber Hagedoorn at b.hagedoorn@rug.nl until 13 May 2019. Abstracts should be written in English and contain a main question/argument, theoretical framework, methodology, results and reflection on key conference question(s). The length of individual abstracts should be between 300 and 500 words maximum plus key references, institutional affiliation and a short bio (max 150 words). A panel proposal should include a panel presentation (max 300 words) along with four or five individual abstracts and a short biographical note of each author.

Key dates

• Deadline for submissions: 31 May 2019
• Notification of acceptance: 2 July 2019
• Registration: until 15 September 2019
• ECREA TV Studies Section Conference: 24-25 October 2019

For more information visit our conference website at https://ecreatelevisionstudies2019.wordpress.com

Conference organizers: Berber Hagedoorn (University of Groningen, the Netherlands), Juan Francisco Gutiérrez Lozano (University of Málaga, Spain), Susanne Eichner (Aarhus University, Denmark).