ECREA WEEKLY digest ARTICLES

July 18-19, 2022

Virtual conference

Deadline (extended abstracts): January 31, 2022

IMPORTANT DATES

Conference Date: July 18-19, 2022

Papers (Extended Abstracts) Due: Jan. 31, 2022

Workshops & Tutorials Due: Mar. 14, 2022

Panels Due: Mar. 14, 2022

Notification Due: Mar. 31, 2022

We are pleased to announce the Call for Papers for the 2022 International Conference on Social Media & Society (#SMSociety)! #SMSociety will be held virtually on July 18th & 19th, 2022. The conference’s two-day program will feature live panels and paper presentations, tutorials, and networking events.

In keeping with the conference’s inter- and transdisciplinary focus, we welcome both quantitative and qualitative scholarly and original submissions that crosses disciplinary boundaries and expands our understanding of current and future trends in social media research across many fields including (but not limited to): Communication, Computer Science, Education, Journalism, Information Science, Law, Management, Political Science, Psychology and Sociology.

ABOUT THE CONFERENCE

#SMSociety is a gathering of leading social media researchers from around the world. It is the premier venue for sharing and discovering new peer-reviewed interdisciplinary research on how social media affects society. Organized by the Social Media Lab at Ted Rogers School of Management at Ryerson University, #SMSociety provides participants with opportunities to exchange ideas, present original research, learn about recent and ongoing studies, and network with peers.

NEW FOR 2022

#SMSociety will switch from being an annual conference to a biennial conference. After 2022, the next iteration of #SMSociety will be in the summer of 2024 (exact date, location and format TBD).

The Program Committee for #SMSociety will be authors who have submitted their papers to the conference for consideration. For a submission to be considered, one author from each submission is required to peer review (double blind) three other conference submissions.

Instead of Full and WIP paper submissions, #SMSociety will now be inviting authors to submit extended abstracts with a 1k-1.5K word limit.

The program will be organized in a way to support attendance across multiple time zones and will allow our authors to safely connect. All presentations will also be recorded and made available to registered attendees for a limited time after the conference.

TOPICS OF INTEREST

• Cyberbullying, Trolling and Antisocial Behavior
• Digital Methods
• Discourse and Public Opinion
• Health and Wellbeing
• Marketing and Outreach
• Misinformation and Disinformation
• Online and Offline Communities
• Platform Governance and Regulation
• Politics and Policy
• Privacy, Security and Trust
• Use and Users

SUBMISSION DETAILS

https://socialmediaandsociety.org/submit/

PUBLICATIONS:

Publication of Pre-prints and Datasets: To promote your work during and after the conference, authors of accepted papers (extended abstracts) are encouraged to share their work as a pre-print via EasyChair Preprint. Preprint will be accessible via the conference online program and other channels. If you have a dataset to share, you can also upload it to one of many data repositories such as Dataverse or figshare. Authors of accepted papers will then have an opportunity to provide a link to their pre-print and/or dataset for inclusion in the conference program.

Journal Publications: We will circulate CFP to relevant journal special issues as they become available in 2022. (We hope that feedback received from other scholars during the review process and the Q&A part of your presentation will help you refine your ideas and develop your work into a full paper after the conference. Once ready, you are encouraged to submit your full paper to a journal of your choice.)

ORGANIZING COMMITTEE

Anatoliy Gruzd, Ryerson University

Philip Mai, Ryerson University

James Cook, University of Maine at Augusta

Zoetanya Sujon, London College of Communication

Chei Sian Lee, Nanyang Technological University

Jenna Drenten, Loyola University Chicago

Céline Yunya Song, Hong Kong Baptist University

Katrin Weller, GESIS – Leibniz Institute for Social Sciences

Felipe Soares, Ryerson University

Deadline: March 14, 2022

Call for Chapters for the 2nd volume of the series Reflections on Fashion Design and Media with the subtitle “Fashion Design and Media Arts Sustainability”.

CICANT is a Research Centre where both solid theoretical work and rigorous applied research at the cross-section of media, society, literacies, arts, culture and technologies is developed. Critical to its research mission are knowledge creation activities that are oriented towards expanded research on two main subject areas. In CICANT those areas are organised in Research and Learning Communities (ReLeCo).

The research group on Media Arts, Creative Industries and Technologies (MACIT) is focused on the socio-cultural and artistic uses of media technologies (visual, performative, photographic, cinematographic and sonic) at the intersection with the creative industries, both from a historical and contemporary perspective. The group has a robust research in the field and fosters a media practice-based artistic research in several areas and with a long and solid track on them.

Regarding this matter, we open a call for Chapters for the 2nd volume of the series Reflections on Fashion Design and Media with the subtitle “Fashion Design and Media Arts Sustainability”

Gradually, the fashion and luxury goods industry has been facing a sudden systemic change in the sector. Consumers have been changing their choice, looking more and more to live experiences and acquire “stories” instead of “things”. In this way, consumers inspire brands to invest more and more in hospitality and solidarity, in causes and ethical issues.

Issues such as environmental protection are on the agenda and make the fashion industry reflect on its role into the system. From now on, we will watch and follow the transition from circularity to the heart of the decision processes of the artifact production system into the fashion system. This growing trend due to environmental and social concerns is mainly due to changes on the part of consumers. This series seeks to be accessible to a broad range of readers, publishing several volumes and chapters with interest for the debate on Fashion Design and the Media Arts, looking for results or revolutionary and decisive visions for the success of the field. All the chapters proposed must reveal high capacity for critical and reflexive analysis on the topic addressed while submitting ideas, solutions or examples of good practices in the field under discussion.

Research topics:

• Sustainable Projects
• Education for Sustainability

• Social Sustainability
• Sustainable Brand Campaigns
• Sustainable Fashion Communication
• Sustainable Costumes
• Sustainable Industry in fashion and Media Arts
• Sustainable Techniques and Materials
• Fashion Sustainability
• Circular Fashion

Editors:

• Alexandra Cruchinho
• Manuel José Damásio
• José Gomes Pinto
• José Carlos Neves

Submission:

The chapter to be submitted must be original and unpublished. Interested authors must follow the norms for submitting full chapter.

The Full Chapters with 4000 to 7000 words must be submitted in editable text file (DOC. or DOCX.) with identification and numbers of the images to be inserted. Photographs, graphs, tables or other figures that complement the text must be submitted in a separate folder with the following features: 16cm width, 300PPI resolution, JPEG format (quality: 12/maximum).

All submissions of chapter proposals will be forwarded to at least two members of the Editorial Review Board of the Book Series for Double Blind Review.

The final decision on acceptance / revision / rejection will be based on the assessments received from the reviewers.

Deadlines

Full Chapters submission - 14 March 2022

Submissions & Informations

Ref: Cfc- Design & Media Book Series

cicant@ulusofona.pt

Edited volume (under discussion with Bristol University Press)

Submission deadline: January 10, 2022

The development of “Autonomous Weapon Systems” (AWS) has been subject to controversial discussions for years. Numerous political, academic or legal institutions and actors are debating the consequences and risks that arise with these technologies, in particular their ethical, social and political implications. Many are calling for strict regulation, even a global ban. Surprisingly, in these debates it is often unclear which technologies the term AWS primarily and precisely refers to. The associated meanings range from landmines to combat drones, from close-in weapon systems to humanoid robot soldiers or purely virtual cyber weapons. Besides this terminological ambiguity, it also remains inherently vague in what sense and to what degree these systems can be characterised as ‘autonomous’ at all.

It is this uncertainty, in which reality, imagination, possibility and fiction get conflated, that makes AWS highly momentous, in particular when political or military decision-making is being based on potential or virtual scenarios. Research publications on the topic of autonomous weapons usually focus on their legal, political or ethical ramifications. Necessarily, the foundation of these works is (at least in part) also based on those potential or virtual scenarios.

Against this background the publication project engages with the current social, political, cultural, ethical, security-related and military realities of autonomous weapons. The key proposition is that these can only be understood as a constant and complex dynamics between the actual technological developments and the potential futures that are associated with them. Only by reflecting and discussing fact, fiction and imagination, the real and the virtual, the full scope of this controversial technology becomes visible.

Submitted articles are expected to analyse the diverse meanings of AWS. The volume focuses especially on approaches which tackle the various practices, discourses and techniques by which AWS are imagined and created as a military and political reality.

Papers on the following larger themes are invited:

• Fictions and imaginaries around AWS, including both cultural texts that are marked as fiction (e.g. science-fiction films and novels etc.) and those marked as non-fiction in journalism, politics or research.
• A reflection of technologies and materialities, including specific human/machine entanglements of decision-making, technological agency or autonomy and ‘meaningful human control’. This reflection extends to larger philosophical motifs such as legal or moral responsibility, free will or consciousness.
• the specific understandings and interpretations of AWS that are applied in political and ethical contexts, with a particular focus on the ways these meanings are translated into a political course of action, thus creating a reality in their own right.

Relevant issues, phenomena and perspectives include but are not limited to

• the anticipated futures of AWS and their implications for global military and security policies, regulatory and legal initiatives or military operations, in light of their use by states as well as non-state actors (e.g. terrorist groups or companies).
• the historical perspectives (on imaginations and technological developments), political and military contexts and discourses (including policies and political communication) and representations in popular culture (e.g. killer robots or drone wars).
• the potentials, risks, narratives and aesthetics that are associated with AWS, including cross-cultural and historical differences that expressly include those of and from the global South.

We welcome contributions from scholars of diverse disciplines, such as (but not limited to) media studies, cultural studies, literature and film studies, media and communication studies, political science, security studies, science and technology studies or sociology.

Submission process

• Abstracts of max. 500 words in length (excl. references) should be submitted no later than 10 January 2022 to autonomous-weapons@hiig.de
• Invitations for the submission of selected full manuscripts are sent out in February 2022.
• Full manuscripts between 6,000 and 8,000 words (excluding references) to be submitted by June 2022.
• Comprehensive review returned to authors in September 2022; final papers due in December 2022.
• It is anticipated that the peer-reviewed edited volume will be published in 2023.

If you have any questions, you can contact the editors via autonomous-weapons@hiig.de

See also: https://www.hiig.de/autonomous-weapons-call-for-contributions/

Editors

• Dr. Thomas Christian Bächle, Alexander von Humboldt Institute for Internet and Society, Berlin
• Jascha Bareis, Karlsruhe Institute of Technology
• PD Dr. Christoph Ernst, University of Bonn

January 13, 2022

I am pleased to invite you to the next in the series of IPRA Thought Leadership webinars. The webinar EU opportunities: tapping into EU funds for your PR project will be presented by Jacqueline Purcell in conversation with Angele Giuliano on Thursday 13 January 2022 at 12.00 GMT/UCT (unadjusted).

What is the webinar content?

The webinar will adopt an interview format with Jacqueline Purcell drawing out information from EU specialist Angele Giuliano. We will learn about the approaches needed to qualify for EU funds, the multi-country approach required, as well as learning from successful case studies for EU funded grants and tenders. Many EU funded PR projects are relevant to countries outside of EU member states.

How to join

Register here at Airmeet. (The time shown should adjust to your device’s time zone.)

A reminder will be sent 1 hour before the event.

Background to IPRA

IPRA, the International Public Relations Association, was established in 1955, and is the leading global network for PR professionals in their personal capacity. IPRA aims to advance trusted communication and the ethical practice of public relations. We do this through networking, our code of conduct and intellectual leadership of the profession. IPRA is the organiser of public relations' annual global competition, the Golden World Awards for Excellence (GWA). IPRA's services enable PR professionals to collaborate and be recognised. Members create content via our Thought Leadership essays, social media and our consultative status with the United Nations. GWA winners demonstrate PR excellence. IPRA welcomes all those who share our aims and who wish to be part of the IPRA worldwide fellowship. For more see www.ipra.org

Background to Angele Giuliano

Angele Giuliano is CEO and managing director of AcrossLimits, a company that empowers pre-qualified public and private organisations to engage with the EU. Her expertise is on making the best use of European opportunities for business growth. She was appointed a member of the advisory board of the EU Horizon2020 programme and is also an Innovation Champion of the European Innovation Council.

Background to Jacqueline Purcell

Jacqueline Purcell serves on the IPRA board, is the UK and Ireland chapter chair and an IPRA GWA judge. A published author, she is a fellow of the UK’s Higher Education Academy, and an accredited international business consultant and trainer. Purcell is CEO and co-founder of Jasper Alliance London, a company that positions organisations to maximise international opportunities and funding of worthy projects.

Contact

International Public Relations Association Secretariat

United Kingdom

secgen@ipra.orgTelephone +44 1634 818308

Deadline: January 31, 2022

Ethan and Joel Coen’s The Big Lebowski (1998) is lauded as the first cult film of the internet age, due in no small part to the role played by online communities in its gradual rise to popularity. It sees a travelling festival dedicated to it, The Lebowski Fest, celebrated annually across various cities in the USA and the UK since 2002 and 2008 respectively. Over years, the film’s protagonist has garnered such adoration that it led to the formation of a contemporary religion, Dudeism, in 2005, with a community of more than 600,000 members worldwide ordained through its simple online procedure. After being trashed initially, the film has gone on to garner critical acclaim and was even added to the USA's Library of Congress’ National Treasury in 2014. It has also drawn a fair share of scholarly attention with time in critical anthologies such as The Year's Work in Lebowski Studies (2009), The Big Lebowski and Philosophy: Keeping Your Mind Limber with Abiding Wisdom (2012), and Fan Phenomena: The Big Lebowski (2014). However, these represent only a fraction of the vast body of literature on the film, with numerous (aca)fan books, fan theories, and online forums passionately dissecting it as well. The film seems to have sustained its cultural relevance over the years — as evidenced by a Super Bowl commercial featuring its protagonist as well as popular films like Avengers: Endgame referencing it, in 2019, and a spinoff titled The Jesus Rolls releasing in 2020. As recently as August 2021, a reddit user posited that the underlying message of The Big Lebowski is more relevant now than it has ever been.

As the 25th anniversary of its release draws closer, we look to revisit The Big Lebowski to facilitate and foster further scholarly dialogue on this film which seems well on its way to becoming a cultural artefact. For this, we seek original contributions of qualitative research that offer fresh perspectives on The Big Lebowski from a myriad of vantage points and analytical frameworks. Prospective strands of discussion include but are not limited to:

• Film theory and The Big Lebowski
• The filmography of the Coen brothers
• The Big Lebowski’s b(l)ending of conventional genre norms
• Cyberculture and The Big Lebowski
• Fan(dom) studies and The Big Lebowski
• The Lebowski lexicon
• Philosophical readings of The Big Lebowski
• Comparative studies of The Big Lebowski
• The Big Lebowski in and as adaptation
• Gender in The Big Lebowski
• Queer aesthetics in The Big Lebowski
• Reading The Big Lebowski through critical race theory
• The Big Lebowski beyond the anglophone world

We welcome interested contributors to submit Abstracts of around 250 words along with a bio- note of no more than 150 words as a single MS Word (.doc or .docx) file to cinej25yearsoflebowski@gmail.com by 31 January 2022. Authors of selected Abstracts will be invited to contribute full papers for a Special Section/Issue of the CINEJ Cinema Journal to be published around the 25th anniversary of The Big Lebowski’s release.

Key Dates:

• Abstract (250 words) Deadline: 31 January 2022
• Intimation of Selection: 1 March 2022
• Full paper (5,000-7,000 words) Deadline: 1 July 2022
• Publication: Early 2023

GUEST EDITORS:

• Elloit Cardozo, independent scholar, Mumbai, India
• Dr. Sachin Labade, Associate Professor of English, University of Mumbai, India

Vista

Deadline: April 30, 2022

Thematic editors: José Capela (School of Architecture, Art and Design/Lab2PT, University of Minho, Portugal) & Ana Cristina Pereira (CES, University of Coimbra)

The communication mechanisms have been a central theme of the so-called “conceptual art”. Within the broad theme of communication — and despite the porosity of artistic categories characterising this kind of art — the specific theme of visual representation assumed particular importance for artists. Millennia of pictorial figuration of reality, and decades of photography, were thus placed under scrutiny that, despite fitting into the work of art and not renouncing its artistic condition, is often close to the mission of art theory or of semiotics. Art was, accordingly, set to serve the consideration of the phenomena — namely those of communication — that underlie it. For that reason, it may be said to be a self-reflexive art: art about art.

In this new issue of Vista, we propose to focus on the entity linguistics has called “referent” and on the possibility of its resurgence beyond its mere representation — a territory that extends from the impossibility of absolute fidelity to the model (is it in the lack of fidelity that art may reside?) to the characterisations aiming at manipulating, distorting and abusing.

Much importance has been given to the most diverse form of art works’ receiver as a producer of meanings for those works. Importance is given to this phenomenon that lies downstream of the work and ultimately determines what it is to our eyes. The aim here is to highlight what lies upstream: the entity that precedes the representation and whose presence that representation intends to replace, in this case, in the specific context of the visual arts and images. This perspective may include themes such as:

• the representation of visual configuration mechanisms within artistic practices;
• the condition of the referent (absent or present) in the context of visual representation;
• the rights of the referent and iconographic ethics: between self-representation and appropriation;
• the possibility of inserting the readymade in a work/image;
• animism in visual representation;
• memory, trauma and the possibility of emancipation of the referent.

IMPORTANT DATES

Full article submission deadline: April 30, 2022

Journal publication date: continuous edition (January to June 2022)

LANGUAGE

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.

EDITING AND SUBMISSION

Vista is an open access academic journal following demanding peer-review standards, based on a double-blind review process. After submission, the papers will be forwarded to two reviewers, previously invited to evaluate them according to their academic quality, originality and relevance to the journal’s objectives and scope.

Originals must be submitted through the journal’s website. If you are accessing Vista for the first time, you must register before submitting your article (instructions for registration here).

The guidelines for authors are available here.

For further information, please contact: vista@ics.uminho.pt

No payment from the authors will be required.

Roel Puijk

Bristol: Intellect

Slow TV, developed by Norwegian public service broadcaster NRK, is broadcasting in which the event on television lasts as long as in real time, and has been adopted by others including BBC Four and Netflix. This unique study discusses concepts of slowness, innovation, genre, media event, reception, local and national identity. 56 col. illus.

Slow TV has become a familiar feature of broadcasting in Norway. It refers to a set of programmes produced by the Norwegian Broadcasting Corporation (NRK) since 2009, starting out with a seven-hour broadcasting of the train ride between Bergen and Oslo.

The concept of slow TV and ‘minute-by-minute’ broadcasting was developed so that the event on television lasts as long as in real time. Several broadcasters outside Norway, including BBC Four, YLE, SRF and Netflix, have now taken up the concept of slow TV.

The first study of this genre, this highly original book explores three different aspects of the phenomenon of slow TV: the perspective of the broadcaster, the perspective of the producers and other actors involved in the production of the programme, and that of the audience.

It goes beyond the question of genre and considers how slow TV fits into television scheduling and how the audience appeal can be understood within broader concepts such as media events, media tourism, reception and national identity. Public service broadcasters can be seen as having more opportunity to experiment, and slow TV can be seen as a good example of public service programming. What attracts viewers to the programmes is that they invite a contemplative mode of watching: there is a chance to see something unexpected, or to be introduced to interesting new things.

Illustrated throughout in full colour, using stills from broadcast programmes.

This book will appeal primarily to an academic readership, both researchers and students. Most readers are likely to be involved with media and communication studies, cultural studies and film studies. It will also be of interest more generally to the humanities and social sciences fields as it touches on topics such as national and local identity, popular culture, Nordic lifestyle, well-being, tradition, community and popular culture.

Edited by: Nelson Ribeiro and Christian Schwarzenegger

Part of the Global Transformations in Media and Communication Research.

Available here: https://link.springer.com/book/10.1007/978-3-030-84989-4

“This is an outstanding book which will be of interest to media historians and communications scholars around the world. It reveals how fear is incubated, spread and, sometimes, countered through the media in ways that are profoundly illuminating and relevant in the era of Covid.”

—James Curran, Professor of Communications, Goldsmiths, University of London

“This outstanding volume traces the impact of fear, uncertainty – and sometimes related – hope, historically, from World War I to the present and the COVID-19 pandemic. More specifically, media reporting is deconstructed in much systematic detail which allows understanding continuities and discontinuities of its complex role, locally, glocally, and globally. A must read for scholars and laypeople alike!”

—Ruth Wodak, Emeritus Distinguished Professor, Lancaster University

“Media and the Dissemination of Fear explores its workings across natural disasters, wars, conflicts and health crises over the past 100 years. Although circumstances may have changed, the exploitation of fear as a means of social control and intimidation has not, and this book speaks to the myriad ways in which its damaging currents destabilize individuals and communities, force widespread compliance and entrench enmity and otherness, particularly in association with populist regimes. A thoughtful, important volume that wrestles mightily with the centrality of fear in contemporary life writ large.”

—Barbie Zelizer, Raymond Williams Professor of Communication, Annenberg School for Communication, University of Pennsylvania

TABLE OF CONTENTS

Introduction: Media and Fear—Diachronic, Intermedia, and Transcultural Perspectives on a Toxic and Functional Relationship during Pandemics, Wars, and Political Crises

• Nelson Ribeiro, Christian Schwarzenegger

From Black Death to COVID-19: The Mediated Dissemination of Fear in Pandemic Times

• Anna Wagner, Doreen Reifegerste

Hebrew Popular Press, Catastrophe Stories, and the Instigation of Fear in Ottoman Palestine

• Ouzi Elyada

Fear-Relations: Word War I, Military Authorities, and the International Feminist Peace Movement

• Susanne Kinnebrock

Voices for a World In-Between? Exile Media as Transnational Fulcrums Between Confidence and Fear

• Christian Schwarzenegger, Gabriele Falböck

Terror, Fear, Disbelief, and Complacency in the Face of Evil: The Reactions of the Hebrew Press in Palestine to the First News on the Extermination of the European Jewry by the Nazis in 1942

• Gideon Kouts

The News Media and the Ever-Present Fear in the Israeli-Palestinian Conflict

• Thomas Birkner, Aysha Agbarya, Oren Meyers, Rachel Somerstein

Fear of the Spanish Red Danger: Anti-Communist Agitation and Mobilisation in Portugal during the Spanish Civil War

• Alberto Pena-Rodríguez

Nazi Broadcasts to a Neutral Country: Disseminating Fear in Portugal during the Second World War

• Nelson Ribeiro

Fear of Communism in the Twentieth-Century United States and the Vietnam War

• Paul Haridakis

“Beware of Terrorists, Spies and Chaos!”: Stabilization Techniques from the Arab Uprisings

• Hanan Badr

Educate Online Through Online Fear: Exploring the Chinese Rumours Online Phenomenon

• Gianluigi Negro

Media Logic, Terrorism, and the Politics of Fear

• David L. Altheide

ECREA Film Studies section conference

June 2-3, 2022

Institute of Social Sciences, University of Lisbon, Portugal

Deadline: March 11, 2022

Keynote Speakers: Erica Carter &Alexandra D’Onofrio

Although the Covid-19 pandemic has, among many other things, drastically changed global human mobility, migration remains a key phenomenon for the understanding of contemporary society. Sounds and moving images of migrants fill the small and large screens around us, with an urgency that has evident political, economic and social implications. The phenomenon of migration is also, of course, historical, which makes the archive an important actor in the current relationship between migration and cinema.

How can we make sense of the footage currently shot and screened, preserved and archived, lost and found, of past and current migration, and what consequences does this have for the understanding of film and moving image archives in the twenty-first century?

This conference brings together scholars and film practitioners working at the intersections between film, migration and the archive, to ask what can be learnt from the opening of private, regional, or national public archives, and from the creation of new image databases on migration, as well as the mobility of moving images themselves. The conference will include a visit to the film archive of Cinemateca Portuguesa – Museu do Cinema.

Discussion topics include, but are not limited to:

• Case studies of film archives or collections related to migration
• The role of the archive as history depository, tool or writing device, in relation to the topic of migration
• Newly created archives and the connection between migration and the digital humanities
• Ethical concerns about the use of migrant images in found footage films
• Methodological questions about the structuring of archives integrating films about human mobility, including matters of cataloguing, digitization and access
• Screening practices of archival films about migration
• New visual representations of migration, including self-representation
• Emerging migrant filmmakers, producers and storytellers
• Participatory cinema and migration

Please submit an abstract (max 300 words) along with key references, institutional affiliation and a short bio (max 150 words); or a panel proposal, including a panel presentation (max 300 words) along with a minimum of 3 and a maximum of 4 individual abstracts.

Submission deadline: 11 March 2022

Proposal acceptance notification: 8 April 2022

Please send your abstract/panel proposals to the conference email address: filmstudiesecrea@gmail.com

ECREA membership is not required to participate in the conference. The conference fee will not exceed 50 EUR and will include coffee breaks, lunches, receptions and the visit to the Cinemateca Portuguesa archive.

Conference organisation

The conference takes place in Lisbon and is hosted by the Institute of Social Sciences at the University of Lisbon. The conference is organised by the ECREA Film Studies Section in co-operation with ICS-ULisboa, the Research Project “Cartografías del Cine de Movilidad en el Hispánico Atlántico” (CSO2017-85290-P) at Universidad Carlos III de Madrid and the University of Antwerp.

Conference organisers: Mariana Liz (University of Lisbon), Miguel Fernández Labayen (Universidad Carlos III de Madrid), Gertjan Willems (University of Antwerp/Ghent University) and Pedro Figueiredo Neto (University of Lisbon).

University of Salzburg

The University of Salzburg (Dept. of Communication Studies) is inviting applications from qualified candidates for a faculty position at the level of PhD student [Dissertant/in]. The department looks for candidates who could contribute to the ongoing research project Euromedia Ownership Monitor (EurOMo), which deals with media ownership transparency in Europe and is funded by the European Commission. The dissertation should preferably address the same topic, but also closely related areas such as media and internet policy/governance, media economics and structure, political communication, critical political economy of media and communication, media systems in Austria and Europe.

Additional information:

Start of employment: 1st March, 2022

Duration of employment: 4 years

Weekly hours: 30 (20 for faculty projects and teaching, as assigned by the head of the unit)

Job description: scientific support of research, teaching (from year 3) and administrative tasks; own research/PhD dissertation, cooperation with research proposals (conceptualisation, writing, and submission), support of planning and conducting conferences.

Supervision by Prof. Josef Trappel

Requirements:

• Diploma or Master in communication studies or related social sciences
• Fluency in English
• Willingness to learn German within 2 years (fluency by the time of application is an asset)

Desired qualifications:

• Previous experience in researching issues of media policy and economics
• Knowledge of the relevant literature
• Knowledge of the methods of communication science
• Publications of scientific papers on these topics

Remuneration: € 2.228,60 (gross, 14× year)

Submission by email – including CV, letter of motivations and relevant documents – to bewerbung@plus.ac.at with reference to GZ A 0133/1-2021, on or before 22 December 2021.

For information, please email Sergio Sparviero, at sergio.sparviero@plus.ac.at

Official announcement: https://kowi.uni-salzburg.at/stellenausschreibungen-2-2/#1639405098248-ebb67644-dc5c