European Communication Research and Education Association
University of Fribourg (Switzerland)
The Faculty of Management, Economics and Social Sciences of the University of Fribourg (Switzerland) invites applications for the full-time position of Professor (tenured) in Communication Studies. The professorship is with the Department of Communication and Media Research DCM and comes with one fully funded PhD position. The appointment begins in early 2022.
The position requires a specialization in individual (micro-level) issues of communication and media research from a social scientific perspective. This includes but is not limited to research fields like media exposure, media use and media effects and/or audience studies and/or media and online communication content. Moreover, candidates should be able to contribute to teaching in other areas on the Bachelor level, for instance journalism research or media economics and media management.
Finally, they should also take the digital transformation of communication and media into account in their current and/or future research and teaching activities.
Candidates must have completed a Ph.D. in communication studies or a closely related discipline (with proven experience in media and communication). They need a strong publication record (including peerreviewed articles in international journals) as well as positively evaluated teaching experience in the required specialization. Experience in acquiring competitive third-party research grants is desirable.
Moreover, candidates should have some international academic experience and sound skills in (quantitative and/or qualitative) social scientific research methods.
The teaching load is 6-7 hours per week and includes courses in the French-language Bachelor program “Sciences de la communication et des medias” as well as in the bilingual French/English Master program “Business Communication”. The position thus requires proficiency in French and English. Administrative languages at the University of Fribourg are German and French. A passive knowledge of German is expected in the medium term.
The salary is competitive. The University of Fribourg provides equal opportunities for women and men and aims at achieving gender balance.
Candidates should send their complete application in a single PDF file that includes
to the dean’s office (decanat-ses@unifr.ch) and to Ms. Nadège Rives (nadege.rives@unifr.ch), administration secretary at the DCM, until 1st of March 2021.
Authors: John Hartley, Indrek Ibrus, Maarja Ojamaa
It is only since global media and digital communications became accessible to ordinary populations – with Telstar, jumbo jets, the pc and mobile devices – that humans have been able to experience their own world as planetary in extent. What does it mean to be one species on one planet, rather than a patchwork of scattered, combative and mutually untranslatable cultures? One of the most original and prescient thinkers to tackle cultural globalisation was Juri Lotman (1922-93). On the Digital Semiosphere shows how his general model of the semiosphere provides a unique and compelling key to the dynamics and functions of today's globalised digital media systems and, in turn, their interactions and impact on planetary systems.
Developing their own reworked and updated model of Lotman's evolutionary and dynamic approach to the semiosphere or cultural universe, the authors offer a unique account of the world-scale mechanisms that shape media, meanings, creativity and change – both productive and destructive. In so doing, they re-examine the relations among the contributing sciences and disciplines that have emerged to explain these phenomena, seeking to close the gap between biosciences and humanities in an integrated 'cultural science' approach.
Purchase here: https://www.bloomsbury.com/uk/on-the-digital-semiosphere-9781501369223/?fbclid=IwAR0o5LSDdhk5L6sLcRT6qEHo8qvtGuShDCl-dKFJ5a-x8rx-tRsssg7MBrc
Special Forum of Communication, Culture & Critique (Vol. 15, No. 3, September 2022)
Contribution Deadline: June 1, 2021
Contribution Length: 1000-2000 words inclusive of all notes and references
Editors: Jamie J. ZHAO (Xi’an Jiaotong-Liverpool University) and Eve NG (Ohio U)
In the past decade, TV representations of female masculinity have proliferated and diversified worldwide. Notable examples include the white lesbian landowner Anne Lister in the historical drama Gentleman Jack (BBC/HBO, UK/USA, 2019-), the African American lesbian Denise in the web series Master of None (Netflix, USA, 2015-2017), the tomboyish participants of the girl group elimination shows Youth With You 2 (iQiyi, China, 2020) and Sisters Who Make Waves (Mango TV, China, 2020), the cross-dressing female protagonist raised as a boy in the drama Bromance (SETTV, Taiwan, 2015-2016), the butch lesbian beauty contest segment, “That’s My Tomboy,” in the Philippine daytime variety show It’s Showtime (ABS-CBN, Philippines, 2009-), and the Taiwanese-American K-pop girl band member, Amber Liu who has been famous for her gender-nonconforming persona and homosocial-natured group singing and dancing performances on Asian TV in the early 2010s.
Along with this surge in masculine female TV culture, there has been a growing body of scholarship on media and public imaginaries of female masculinity in different geo-locales since the late 1990s. J. Jack Halberstam (1998) famously noted that “far from being an imitation of maleness,” female masculinity is one of many “alternative masculinities” that manifests a continuum of various masculine traits and identities embodied or enacted by cis-females, such as tomboyism and butchness, the definitions and calibration of which are often socioculturally and racially modelled (p. 1). Moreover, the culturally specific understandings and imaginaries of female masculinity have been important threads in world gender studies and global queering theory, as research by Helen Leung (2002), Audrey Yue (2008), Todd A. Henry (2020), and others has discussed.
With a specific focus on global TV cultures in the 2010s, we intend this Forum of Communication, Culture & Critique to initiate a productive transnational, cross-cultural conversation about the variety of ways in which female masculinity has been imagined, idealized, troubled, deconstructed, and remodified on contemporary TV, and the relation of these representations to the sociocultural contexts from which they emerge. We aim to explore the following questions:
Entries dedicated to non-Anglo-American cultures from a de-Western-centric perspective are especially welcomed.
Potential forum entry topics may include but are not limited to:
Submission Instructions:
The Forum section of the Journal of Communication, Culture & Critique aims to publish short, commentary pieces exploring contemporary issues in communication, media, and cultural studies for an international readership.
Please submit the full entry (1000-2000 words, including notes and references), in Word format, following the 6th APA style, as well as a short bio (max. 75 words, including current status, contact email, and affiliation), by June 1st, 2021 to the co-editors of this Forum section at jingjamiezhao@gmail.com and nge@ohio.edu.
Notifications of acceptance will be sent out by August 1st, 2021. If you have any further questions, please do not hesitate to contact the co-editors at the above two email addresses.
NOTE: Accepted Forum submissions will be published in the same Communication, Culture & Critique issue as the related special issue topic of “Centering Women on Post-2010 Chinese TV.” There is a separate CFP for those full-length papers.
Special Issue Editors:
Jamie J. Zhao is a global queer media scholar and currently Assistant Professor of Communications at the Sino-UK collaborative institution, Xi’an Jiaotong-Liverpool University. She holds a PhD in Gender Studies from the Chinese University of Hong Kong and another PhD in Film and TV Studies from the University of Warwick. Her research explores East Asian media and public discourses on female gender and sexuality in a globalist age. Her academic writings can be found in a number of journals and edited volumes, such as the journals Feminist Media Studies, Celebrity Studies, Continuum, Critical Asian Studies, and Transformative Works and Cultures, and the anthologies Global Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and
Queer (LGBTQ) History (Charles Scribner’s Sons, 2019) and Love Stories in China (Routledge, 2019). She also coedited the anthology, Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan (HKUP, 2017).
Eve Ng is an associate professor in the School of Media Arts and Studies and the Women’s, Gender, and Sexuality Studies program at Ohio University. Her research includes work on cultural production and viewer engagement around LGBTQ media, social media and participatory practices, and LGBTQ advocacy, and has appeared in Communication, Culture & Critique, Development and Change, Feminist Media Studies, Journal of Film and Video, New Review of Film and Television Studies, Popular Communication, Television and New Media, Transformative Works and Culture, and the Routledge Companion to Media and Human Rights (2017).
International Journal of Communication
Deadline: February 15, 2021
The International Journal of Communication will publish a Forum timed to appear with the 120-year anniversary of Paul Lazarsfeld’s birth, in August 2021. We are inviting contributions of 1500- to 3000-word essays that reflect on the late sociologist’s legacy for communication research and for empirical social research more broadly.
Topics may include, but are not limited to:
We aim to publish 4 to 5 open access essays in late summer 2021. Potential contributors should write to the Forum editors (Hynek Jeřábek and Jeff Pooley) with a 150- to 200-word abstract, by February 15, 2021. The deadline for completed drafts (1500 to 3000 words) is April 15, 2021.
Timeline
Forum Editors
Hynek Jeřábek (Charles University) - hynek.jerabek@fsv.cuni.cz
Jeff Pooley (Muhlenberg College) - pooley@muhlenberg.edu
Special Issue of Communication, Culture & Critique (Vol. 15, No. 3, September 2022) Call for Papers
Paper Abstract Deadline (500 words): March 1, 2021
Complete Manuscript Deadline (6000-7000 words): August 1st, 2021
Since the beginning of China’s self-modernizing process and the birth of Chinese feminist movements in the first decade of 20th century, women’s bodies and desires have frequently been marshaled in service of male-dominated nationalistic and (post-)socialist discourses of China and Chineseness. The ideological-political mobilization of female gender, sexuality, and subjectivity has considerably transformed and complicated contemporary Chinese televisual representations of women. In the 21st century, Chinese cyberspace, along with its flourishing creative and media industries, has witnessed an unexpected “boom in women-oriented literature and culture” (Sun & Yang, 2019, p. 28). Notably, the rise of local media and literature produced by and/or for women, along with flows of feminist and LGBTQ movements within and beyond China in the new millennium, first nurtured the cyber literature genre of “matriarchal fiction.” Such fiction is often “set in a society ruled by women … [and] describes a woman’s ascent to power in the public arena, or her success at establishing and heading a happy domicile including one or more male sexual partners” (Feng, 2013, p. 85). This matriarchal narrative maneuver later led to the widely popular “big heroine dramas” of Chinese TV in the past decade, the narratives of which focus on the life trajectories, professional obstacles, familial relationships, and romantic lives of female protagonists living in either the contemporary era or a temporally and spatially remote world (Sun & Yang, 2019, pp. 26-28). At the same time, a growing number of reality shows, talk TV shows, dating programs, and lifestyle shows in the post-2010 years have addressed themes related to women’s socio-cultural roles in both professional and private milieus, such as parenting skills, same-sex friendships and homosociality, and marital-familial issues in contemporary China characterized by cosmopolitanism, post-feminism, digitization, (post-)globalization, and deterritorialization.
Situated within this intriguing context, this special issue of Communication, Culture & Critique explores images, imaginaries, and performances of women that have dominated the post-2010 Chinese televisual screen. Seeing televisual spaces as a locally, transculturally, and globally mediated ground for the subject formation of “Woman” during this digital, globalist age, the issue aims to consider the following questions:
This call invites proposals concerning critical, interdisciplinary research dedicated to explorations of the mutually implicative relation between womanhood and television in post-2010 China. We conceptualize “China” in a critically expansive way, one that exceeds Mandarin-speaking, Han-Chinese culture. Thus, we especially welcome topics concerning Chinese TV representations of non-Chinese, and/or non-Mandarin-speaking, and/or non-Han women. We are also interested in representations of cross-cultural or transnational familial-marital relationships relating to women’s roles as daughters, mothers, and wives; non-heteronormative women; or male-to-female (MTF) or female-to-male (FTM) transgender and cross-dressing personas and performances. Thus, we seek studies of women’s TV culture from a decolonial, de-Euro-American-centric, and de-Han-centric perspective. The goal is to unveil the intricacies, possibilities, and controversies of identity and agency within a largely authoritarian, patriarchal party-state, thereby helping to establish new theoretical and methodological frameworks at the intersection of Chinese TV studies, China studies, and Chinese gender, feminist, and queer studies.
Potential topics examining TV in China may include but are not limited to:
Please submit a 500-word abstract as well as a short (2-page) CV by March 1st, 2021 to the co-editors of the special issue at jingjamiezhao@gmail.com and nge@ohio.edu.
Authors whose abstracts are selected will be notified by April 1st, 2021 and asked to submit complete manuscripts (6000-7000 words, including notes and references), in Word format, following the 6th APA style, by August 1st, 2021.
Acceptance of the abstracts does not guarantee publication of the papers, which will be subject to double-blind peer review. If you have any further questions, please do not hesitate to contact the co-editors at the above two email addresses.
NOTE: Accepted full-length paper contributions will be published in the same Communication, Culture & Critique issue as a Forum section on the related topic of “Global TV Images of Female Masculinity in the 2010s.” The Forum, which seeks shorter essays, has a separate CFP.
Jamie J. Zhao is a global queer media scholar and currently Assistant Professor of Communications at the Sino-UK collaborative institution, Xi’an Jiaotong-Liverpool University. She holds a PhD in Gender Studies from the Chinese University of Hong Kong and another PhD in Film and TV Studies from the University of Warwick. Her research explores East Asian media and public discourses on female gender and sexuality in a globalist age. Her academic writings can be found in a number of journals and edited volumes, such as the journals Feminist Media Studies, Celebrity Studies, Continuum, Critical Asian Studies, and Transformative Works and Cultures, and the anthologies Global Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer (LGBTQ) History (Charles Scribner’s Sons, 2019) and Love Stories in China (Routledge, 2019). She also coedited the anthology, Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan (HKUP, 2017).
Intercultural and interdisciplinary approaches to understand social impact and license to operate of media business around the globe
Eds. Franzisca Weder, Lars Rademacher, René Schmidpeter
Wiesbaden: Springer Gabler 2021
Management-series
“Corporate Social Responsibility”:
http://www.springer.com/series/11764?detailsPage=titles
Focus
Corporate Social Responsibility (CSR) is an established management focus of todays’ corporates and organizations of various kind, scope and size. This is supported by the book series on CSR by Springer Gabler, in which the planned volume is embedded in.
The social impact (SI) on the society and the key publics for which they function is lately debated in various fields of (mostly strategic) communication research (Rasche et al., 2018; Morsing 2018, Diehl et al., 2017; Allen 2006; Heath, 2018; Johnston et al., 2018; Saffer, 2019). Alongside, the idea that organizations need the permission, the license to operate (SLO) (Hurst & Ihlen, 2018), challenges all kind of business, but media corporations in particular. Unlike CSR initiatives in other industry sectors, CSR and Sustainability communication practices and related research in the media industry is still underdeveloped. This may be
- Firstly, due to the fact that until recently the media industry has not been challenged to introduce sustainable and responsible business models anyway.
- Secondly, the watchdog-role that media play in observing traditional businesses and politics has provided a general legitimacy for a long time.
- And thirdly, the debate about the media’s public value has covered questions about responsibilities towards the society and related impact so far.
However, in an era where fake news is constantly spread and algorithms co-decide the media agenda, the question about the impact on the public sphere, the public value of media products and the license to operate are becoming prevalent with a new normative framework of sustainability. In this book we will bridge the “former” debate on public value with the current debate about social impact and the social license to operate in the media industry. In the focus is the double nature of producing economic and cultural goods at the same time (Bracker et al., 2017; Karmasin & Bichler, 2017) which leads to the assumption that media companies have a double responsibility for the way they present reality (in their products) and with this controlling and criticizing economic and political developments and raising ethical concerns in the public debate on the one hand (SOCIAL IMPACT), and for their own activities as a CSR & Media Management 2 corporation on the other hand (LICENSE TO OPERATE).
The guiding question for contributions to this volume is the following: How do media corporations deal with their twin responsibility of holding society responsible and being responsible themselves? A second set of questions guides the inputs from various theoretical as well as cultural perspectives:
We are seeking for global perspectives on the issue that will stimulate a conversation about innovative approaches in an industry where a stronger focus on sustainability as normative framework to discuss the public value is increasingly converging with economic goals. The European perspective with a historically strong role of public broadcasting should be contrasted with an Oceanian as well as US-perspective. Furthermore, there is a specific outlook to the challenges of cross-border management.
We are interested in “easy to read” contributions written in German and English from academics (on all levels) and practitioners in the areas of
Schedule
Evandro Oliveira: oliveira.evandro@gmail.com
COMPARATIVE CINEMA 17 (Fall 2021)
Deadline: April 30, 2021
https://www.raco.cat/index.php/Comparativecinema/announcement/view/88
The analysis of colour as a key component of cinema has particularly animated film studies scholarship in recent years, with interest in colour encompassing among other dimensions its connections with aesthetics, affect, history and politics. Research in this area has ranged across more than a century of the medium’s existence: from the manifold possibilities of colour in the silent era in Sarah Street and Joshua Yumibe’s 'Chromatic Modernity: Color, Cinema, and Media of the 1920s' (2019), to the most recent digital developments as captured in Carolyn Kane’s 'Chromatic Algorithms: Synthetic Color, Computer Art and Aesthetics after Code' (2014), colour is a property of the film image that has remained a constant even as it has undergone dramatic changes over time.
While colour has been mined by a number of scholars for its specific national, industrial and technological potentials, the 17th issue of 'Comparative Cinema' invites contributors to approach colour for its comparative possibilities, broadly conceived. The perspective of comparison encourages contemplation at the level of close analysis, but also gestures towards larger cultural-historical questions. Sergei Eisenstein (1957) once argued that specific hues do not have absolute correspondences with isolated values or meanings, but that the significance of a particular colour is relational, ‘dependent only upon the general system of imagery’ in a given film. But beyond the systemic relations of colours within a film, the importance of colour as an element on screen might also be viewed in comparison with colour outside of cinema altogether, in other media or in terms of the sundry ideological uses to which it has been put.
This issue of 'Comparative Cinema' will be devoted specifically to the uses, effects and experiences of colour with respect to comparative film analysis. Topics may include, but are by no means limited to:
'Comparative Cinema' invites the submission of complete articles addressing colour from a comparative perspective, which must be between 5500 and 7000 words long, including footnotes. Articles (in MS Word) and any accompanying images must be sent through the RACO platform, available on the journal website.
In addition to articles that respond to this particular topic, 'Comparative Cinema' is also accepting submissions for ‘Rear Window,’ a miscellaneous section of the journal that will include articles focusing on other aspects of cinema by using a comparative methodology. Please indicate in your submission if you wish to be considered for this section of the journal.
Timeline for Issue 17:
Deadline for submission of complete articles: 30/4/2021
Peer review: 30/4/2021-30/6/2021
Final copy deadline: 31/7/2021
Publication: Fall 2021
Contact: comparativecinema@upf.edu
University of Brighton
The University of Brighton, through the South Coast Doctoral Training Partnership (SCDTP), offers ESRC-funded studentships in a range of social science areas and disciplines. These studentships comprise institutional projects and an open call in which we invite highly motivated applicants to suggest their own projects. The University of Brighton has a strong commitment to cutting-edge research and community engagement and there is a particular focus on trans- and interdisciplinary research. As an ESRC-funded student, you will join a vibrant group of PhD students who meet regularly to discuss their projects. You will be working with academics who have developed cutting edge approaches to research and will gain experience of how to influence policy and practice through academic research.
Centres of Research and Enterprise Excellence
Funding
SCDTP studentships cover the cost of programme fees and provide an annual stipend (UKRI rates). SCDTP students will also have access to a Research Training Support Grant for activities such as carrying out fieldwork within the UK, purchasing essential equipment and attending conferences. See the SCDTP funding page for details.
How to apply
Visit the University of Brighton website for full details and to submit your application. You can contact a project lead or potential supervisor directly. You can also email us if you have any questions.
DEADLINE FOR APPLICATIONS: Monday 04 January 2021
Interviews: 25 January – 05 February 2021
Applications from both Home and non-UK residents can be accepted.
Studentship Projects for October 2021
Project lead: Anne Daguerre
Project lead: Matt Adams
Project lead: Eugenia Markova
Project lead: Phil Haynes
Project lead: Maria Sourbati
Studentship open call for October 2021
See our SCDTP open call and explore the range of supervisors interested in supporting applications in their research areas
University website
For more information, please visit our University of Brighton PhD programmes page or contact Phil Haynes at or Fiona Sutton.
www.massmediaculture.com
Your voices as subject matter experts on these issues are missing in the global stream of conversations. These and other questions and concerns elevate the power of the era in which we now live—The Turing Galaxy—the age of the networked computer.
Greetings, I trust you are well. I’m writing you because I am seeking a community of like minded co-curators and cocreators who are also change agents and are willing to share expertise and counsel. Together we will offer thought leadership and resolution to these and other questions concerning the Media and Culture industries.
My startup, www.massmediaculture.com, an Internet Protocol TV network, WebPortal and Advertising Medium is the forum to be operationalized. Based on my 20 years of experience directing public health communication science initiatives, we’ve developed a science-informed theory, framework and business model to offer solutions to the era’s consequential challenges and opportunities.
I’d like to know who in the MEDIA INDUSTRIES AND CULTURAL PRODUCTION SECTION is interested in joining me to help operationalize the platform. We aim to apply the powerful pedagogical approach where students and teachers produce work and learning together with the MassMediaCulture team including other private and public sector associates. The environment I seek is one where the professor is more of a mentor or coach helping students achieve the learning goal using real world examples in the classroom.
We will discuss next steps such as developing a concept paper; creating a global Cultural Big Data Research initiative; and operationalizing an Internet Protocol TV Network an interactive Webportal focused exclusively on all that matters in the Mass Media and Culture industries.
June 24-26, 2021
Online
Deadline: March 31, 2021
The Centre for Communication and Media Research (based at the Institute of Communication Studies in Lille) is pleased to announce its inaugural annual conference entitled “The Network Society: Re-evaluation and Applications of a Concept” set to take place on the 24th , 25th and the 26th of June, 2021.
Please submit your abstracts, in English or French, of no longer than 300 words as well as a short biographical note to Dr Mehdi Ghassemi (mehdi.ghassemi@istc.fr ) and Dr Camila Pérez Lagos (c.perez-lagos@ucolaval.net).
Deadline for abstract submission: March 31st , 2021. Post-conference paper submissions will be considered for publication. Announcements regarding this will follow.
https://www.istc.fr/…ch/
The Centre for Communication and Media Research (based at the Institute of Communication Studies in Lille) is pleased to announce its inaugural annual conference entitled “The Network Society : Re-evaluation and Applications of a Concept” set to take place on the 24th, 25th and the 26th of June, 2021.
2021 marks the 25th anniversary of the publication of the first volume of Manuel Castells’ trilogy The Information Age that charts the social, economic and cultural transitions from industrial to network societies. The advent of the network as the dominant form of social structure, according to Castells, brings about a “new social morphology” that substantially modifies “the processes of production,
experience, power, and culture” where a “global information economy” and a “culture of real virtuality” underlie every aspect of human life. (Castells, 1996, 1998). Since then, Castells’ ground-breaking body of work has inspired many scholars to use The Network Society as both a powerful metaphor as well as a nuanced model for understanding the social, the cultural, and the political aspects of the digital age.
Our aim is to address not only the relevance and contemporary applications of the concept of the Network Society as it has been elaborated by Castells, but also to engage with its limits as an explanatory framework and to examine the ways in which other scholars have built upon Castells’ theory of The Network Society.
We are pleased to announce that the plenary talk will be given by Professor Manuel Castells himself. We hope that this will encourage colleagues from around the world to contribute to the discussions around The Network Society. We therefore invite scholars from diverse disciplinary backgrounds to present papers related to any aspect of the conference theme.
Possible topics may include, but are not limited to :
Submission guidelines
Please submit your abstracts, in English or French, of no longer than 300 words as well as a short biographical note to Dr Mehdi Ghassemi (mehdi.ghassemi@istc.fr) and Dr Camila Pérez Lagos (c.perez-lagos@ucolaval.net).
Deadline for abstract submission : March 31st, 2021
The conference will be held online using the platform Livestorm.
Post-conference paper submissions will be considered for publication. Announcements regarding this will follow.
Scientific committee
SUBSCRIBE!
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