ECREA WEEKLY digest ARTICLES

De Montfort University

De Montfort University (DMU) is offering fully-funded 3-year PhD scholarships (pro rata for part-time study), for Home and International students with a stipend of £15,009 per annum. The scholarships take effect from 1 October 2020. DEADLINE for applications: 9 March 2020.

Initial applications should be made via this link: https://www.findaphd.com/phds/program/de-montfort-university-phd-scholarships/?p4826.

and must include:

1. A CV attachment.

2. Details of the proposed research project and how it maps onto DMU areas of research excellence (see below).

3. Name of a potential De Montfort University supervisor (please indicate if contact has been made).

https://www.dmu.ac.uk/research/centres-institutes/cathi/members.aspx

DMU’s Cinema and Television History Research Institute (CATHI) is a centre of excellence in archival screen heritage. It specialises in evidence-based and oral history methods to inform ground-breaking interdisciplinary research and RCUK-funded international collaborations  CATHI is home to the cross-faculty Centre for Adaptations (with the Andrew Davies Archive ) and houses a growing number of other unique collections including the*Hammer Films Archive, the Sir Norman Wisdom Collection, the Palace Pictures and Scala Productions Archive, the Cinema Museum’s Indian Cinemas Archive,**the Zee TV (UK) Collection and the Peter Whitehead Archive . We host the annual UK Asian Film Festival, the BFI British Silent Film Festival and the post-graduate conference CATHICon, and promote practice-based research via the DocHub@DMU. CATHI invites applications from well-qualified students whose research interests connect with our expertise in:

• Women’s film and television history
• British Cinema and Film Culture
• Italian Cinema
• Transnational Cinema
• Silent Cinema
• Cult Cinema
• Bollywood and Independent Indian Cinema
• Transmedia Adaptations
• Heritage Cinema Culture and Period Television Drama
• Film Ephemera and Material Culture
• Audiences, Reception Studies and Memories of Cinemagoing
• Film Fandom, Fanworks and Social Media
• Film exhibition and Cinema History
• Film Festivals
• Documentary theory and practice
• Screen performance and star studies
• 1960s and the counterculture

We especially welcome proposals on the following archival projects:

1. Leicester’s Phoenix Art Centre: regional arts provision since the 1960s. An interdisciplinary PhD embracing theatre, music, performance, film and community arts.

2. Andrew Davies: Adapting the Classics

3. Palace Pictures: Independence and Innovation

4. Indian Cinema’s Diaspora and Distribution

For informal enquiries and advice on developing proposals please contact: Professor Justin Smith (Justin.Smith@dmu.ac.uk).

Central European University

Application deadline: March 31, 2020

Available scholarships: 2 (one in Political Science, one in History)

The joint doctoral fellowship program Populism, Nationalism, and Authoritarianism: Mobilization Strategies and Discursive Repertoires brings together students and faculty researching nationalism from different disciplinary perspectives, with a particular focus on the complex and ramified relationship between authoritarianism and nationalism. The main objective of the interdepartmental cooperation is to integrate different disciplinary approaches in order to facilitate the regional, comparative, and global study of populist strands of nationalist politics. The study plan is designed to help students combine conceptual and methodological tools to generate conceptual and methodological tools to generate new insights into the discursive repertoires of political actors as well as the use of populist frames and topoi in everyday political interaction. The fellowship is intended to facilitate the combination of macro-institutional (top-down) and micro-political (bottom-up) perspectives on populist mobilization.

On the Political Science track we are particularly interested in project proposals that deal with the intersection of authoritarian and nationalism discourses, the interactions between dynamics of authoritarian regimes and their nation-building policies, the construction and application of nationalism ideas for authoritarian legitimation and consolidation. On the History track we deal with questions such as the historical relationship of nationalism, populism and authoritarianism, historical instances of mobilization of ?uncivil societies?, the reconstruction of ideological traditions of authoritarianism and corporatism, as well as the morphology of authoritarian nationalist regimes and movements. We are open to both quantitative and qualitative methodological approaches as well as to in-depth regional studies and/or comparative research. Candidates should have an interest in theoretical problems related to populism, nationalism and authoritarianism.

Each student will have two supervisors, one from his or her ?home? department, and the other from the Nationalism Studies Program. The Ph.D. program consists of two major phases: coursework and examination, and dissertation research and writing. Within the coursework, the PhD students will take core courses in the Nationalism Studies Program, including a Ph.D. seminar on populism and neo-nationalisms, with the aim of familiarizing themselves with various historical and normative approaches to a common field of inquiry. They will also have to satisfy the course and examination requirements of their respective doctoral programs, i.e. the Doctoral School of Political Science, International Relations, and Public Policy, and the Department of History.

Candidates must indicate their interest in the fellowship in their application submitted to the Doctoral School of Political Science, Public Policy and International Relations or the Doctoral Program in Comparative History.

Further information:

Doctoral School of Political Science, Public Policy and International Relations: https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fdsps.ceu.edu%2F&data=02%7C01%7Cr.wodak%40lancaster.ac.uk%7Cc41c98d21a4a4454fc2008d7acd457d8%7C9c9bcd11977a4e9ca9a0bc734090164a%7C1%7C1%7C637167900320569840&sdata=aNMnKhjLtPG%2FPfkf558gBLcoxpIy34WwQXlJyEKyQ7k%3D&reserved=0

Doctoral Program in Comparative History: https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fhistory.ceu.edu%2Fnode%2F19&data=02%7C01%7Cr.wodak%40lancaster.ac.uk%7Cc41c98d21a4a4454fc2008d7acd457d8%7C9c9bcd11977a4e9ca9a0bc734090164a%7C1%7C1%7C637167900320569840&sdata=K1HMquhK4Z9px%2F1eaoFSpH%2B3JpTqXeMP0n%2B4cJcInrM%3D&reserved=0

General information on the application procedure: https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.ceu.edu%2Fapply&data=02%7C01%7Cr.wodak%40lancaster.ac.uk%7Cc41c98d21a4a4454fc2008d7acd457d8%7C9c9bcd11977a4e9ca9a0bc734090164a%7C1%7C1%7C637167900320569840&sdata=on6yspwBcYqXpXfNyVU8PEyZppuVu5vE%2BX3jMHV0Qs4%3D&reserved=0

CEU Online application form: https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fsits.ceu.edu%2Furd%2Fsits.urd%2Frun%2Fsiw_ipp_lgn.login%3Fprocess%3Dsiw_ipp_app_crs&data=02%7C01%7Cr.wodak%40lancaster.ac.uk%7Cc41c98d21a4a4454fc2008d7acd457d8%7C9c9bcd11977a4e9ca9a0bc734090164a%7C1%7C1%7C637167900320579842&sdata=qyP3AH8kkLt8MTboecFbtWR4H2eXnBK%2FNycfaOe3W8U%3D&reserved=0

For questions on organizational issues please contact the respective doctoral tracks:

Dr. Inna Melnykovska, (melnykovskai@ceu.edu), Political Science track

Monika Nagy (history@ceu.edu) History track

September 3-5, 2020

La Sorbonne, Paris

https://www.movementis.com/

From “Brain Body Cognition” at Oxford University in 2017 to “Movement and Cognition” at Harvard Medical School in 2018 and at Tel-Aviv University in 2019, our previous conferences have brought together researchers, clinicians and therapists from the fields of education, medicine, sports and rehabilitation sciences, as well as from occupational, physical therapy and psychology.

Attendees are coming from all parts of the world, and we invite you to join us in September 2020 at the World Conference on “Brain, Body, Cognition” at La Sorbonne University in Paris, France. This site will give you all the needed information for your registration, and for abstract submission, if you wish to present your work and research.

TOPICS

• Therapeutic Exercise
• Ergonomics
• Kinesiology
• Motor Learning and Behavior
• Sport and Exercise Psychology and Physiology
• Biomechanics of Movement
• Technology and Movement Sciences-Instrumentation
• Developmental Aspects of Cognitive-Movement Interaction
• Movement Disorders
• Motor Control
• Coordination and Vestibular Function Neuromodulation
• Gait
• Rehabilitation of Motor Dysfunction
• Neuroscience of Dance
• Optimizing Human Motor Performance
• Cognitive Movement Interaction
• Aging and Cognitive-Movement Interaction

ABSTRACTS

We welcome your participation in the conference on Movement and Cognition as a delegate or as a presenter.

If you have relevant new and important research to share with the scientific and clinical communities (either as an oral presentation, symposium, workshop or as a poster), we encourage you to submit an abstract forthwith.

Full papers of accepted abstracts will, pending additional review, be published in the journal Brain, Body Cognition published by Nova Scientific Publishers. While full papers are welcome, they are not mandatory. Details will follow after acceptance of the submitted conference abstracts. So first submit your abstract.

Additionally, abstracts will be printed in the book of abstracts available at the conference and separately all abstracts will be published in the text Movement and Cognition-2020 also to be published by Nova Scientific.

For general knowledge: Last years conference proceedings is available at a discount from the publisher for Movement and cognition conference attendees for $US100 (https://novapublishers.com/shop/movement-2018-brain-body-and-cognition/). Subscription to the journal Brain, Body, Cognition is also available at a discount from the publisher for conference attendees at $US100/volume.

Abstract submission:

Please, read the instructions CAREFULLY before submitting your abstract.

Instructions for abstract submissions

for Oral, Poster or Workshop presentations:

(Symposium proposal format is presented under the symposium tab on the conference webpage):

Each presenter may submit only One (1) abstract

The presenter’s name must be underlined

Submit your abstract in Microsoft Word format (.doc, docx).

Abstracts are to be written in English only. All presentations will be in the English language.

Authors’ names should be provided in the format: Hillary Clinton, Donald John Trump. Do not add Dr, Prof, Mr., Mrs., degrees

The title should have a maximum of 150 characters.

Affiliations should be included inline 1. If authors’ affiliations are different, you should indicate them filling 2, 3, and 4 lines.

The presenting author’s name and email address must be included and marked as “presenter” by underlining the name.

The abstract should have a maximum of 350 words.

Indicate at the bottom of the abstract whether the abstract is intended for oral or poster presentation or either, or as a workshop proposal.

The abstract for oral and poster presentations should be structured using the following headings: Keywords (up to five), Objective, Methods, Results and Conclusions.

The abstract should be as informative as possible, including statistical evaluation.

Statements such as “results will be discussed” or “data will be presented” are not acceptable.

Standard abbreviations such as: PVS, MCS, EEG, MEEG, MRI, etc., may be used. Others should be described in full when first mentioned followed by the abbreviation in parenthesis.

Do not include tables, photographs, figures or references in your abstracts.

Include a one-paragraph bio of yourself with the abstract submission on a separate page.

UNDER NO CIRCUMSTANCES WILL SELF-PROMOTING METHOD DESCRIPTIONS BE ACCEPTED.

While you can submit multiple abstracts, only one presentation per presenter will be allowed, as there is significant pressure on time.

Incomplete Submissions without the required materials will not be processed.

SUBMISSION:

Submission of abstracts: Abstracts for the conference should be submitted directly to professor Joav Merrick responsible for all abstracts for this conference, at email jmerrick@zahav.net.il

Submission of full papers: Full papers should be submitted directly to professor Gerry Leisman, chair of the conference scientific committee, at email g.leisman@edu.haifa.ac.il

CONFIRMATION OF ABSTRACTS RECEIVED:

You will be notified via e-mail to confirm that your abstract has been received with a number that you must use in further correspondence with the conference secretariat or committee.

If you do not receive a confirmation within two weeks please contact the Conference Secretariat.

The Scientific Committee will assign referees to review abstracts.

Within 5 weeks you will be notify if your abstract was accepted for presentation in the conference and in which format. If you didn’t receive the notification please check with our office.

Some very high-quality abstracts offered for oral presentation might be included in satellite symposium or courses. Symposia proposal instructions are provided elsewhere on the website.

A competition will be held for the best poster presentations.

ABSTRACT FORMAT:

Title: XXXXXXXXXXX

Jon Smith1 and Peter Stubble 2

1Department of Applied Science, Auburn University, Boston, Massachusetts and 2Department of Psychology. Augustus University, Pembroke, Alabama, UnitedStates of America

Email: js@au.edu

Keywords (up to five):XXXXXXXXXXXXX

Objective: XXXXXXX XXXXXXXXX XXXXXXXXXX XXXXXXXXXX XXXX XXXXXX XXXX XXX XXXX XXXXX XXXX XXXXX XXX

Methods: XXXXX XXXX XXXXX XXXX XXXX XXXXX XXXX XXXX XXXXX XXXXX X XXXXX XX XXXXXXX XX XXXXXXXX XX XXX XXXXXXXXXXXXXXX

Results: XXXX XXXXX XXXXXX XX XXXXX X X X X X XXXXXXX XXXXXXX XXXXX XXX XXXXXX XX XXXXXX XXXXX XXXX

XXXXXX XXXXXXXXXXXXXXX XXXXXXX XXXX XXXXXXXX XX

Conclusion: XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

Choose one of the following presentations format: Oral or Poster or Workshop

Bio: Please add a short bio (few lines) of the presenter

Posters: You can see the instructions for poster preparation. Go to: POSTER

Symposiums: Instructions for symposiums. Go to: SYMPOSIA

October 2-4, 2020

Minneapolis, Minnesota (USA)

Deadline: April 30, 2020

2020 Midwest Popular Culture Association / Midwest American Culture Association Annual Conference, especially for the Wrestling Studies Area. This conference will occur Friday-Sunday, 2-4 October 2020, at the Westin Minneapolis in Minneapolis, Minnesota.

Minnesota is famous for its impact on professional wrestling. Minnesota has produced many classic superstars like the Road Warriors, Larry Hennig, the Andersons, Bob Backlund, and Molly Holly, as well as new stars like Curtis Axel, the Daivaris, Chad Gable, and Erick Rowan. In many ways, Verne Gagne and the American Wrestling Association (AWA), both based out of Minneapolis, helped establish modern professional wrestling. After wrestling for AWA and WWF, Jesse Ventura made headlines when he became Minnesota’s 38th governor. Minnesota matters in professional wrestling.

For this year’s conference, along with regular proposals related to professional wrestling, we’re interested in any that focus on the relationship between Minnesota and professional wrestling. We’re especially interested in proposals that consider the “places” of professional wrestling: from physical places like event halls and wrestling schools or cities, states and territories, to digital places like social media and websites. Minnesota is an important place in professional wrestling, so let’s talk more about why “place” matters as a concept in pro-wrestling studies.

Submit paper, abstract, or panel proposals (including the title of the presentation) to the appropriate Area on the Submissions website (submissions.mpcaaca.org). Individuals may only submit one paper, and please do not submit the same paper to more than one Area.

Deadline for receipt of proposals is April 30, 2020.

For more details, visit: https://mpcaaca.org/minn-2020.

April 4, 2020

Worldwide

The Professional Wrestling Studies Association (PWSA) invites anyone interested in professional wrestling to attend their first annual online symposium, WrestlePosium I. This symposium will occur on Saturday, April 4th, from 8am to 4pm Central Time and will be completely online so that anyone around the world can attend. Registration is necessary to access the online meeting space, but registration is free.

The symposium will consist of academic presentations, an Academic Keynote from Eero Laine, and a Professional Keynote from professional wrestler Terrance “Spider Baby” Griep.

Anyone interested in attending can visit this link to register: https://dom.zoom.us/meeting/register/u5wpcuiurzkuL41Nani5ZPR1wRcqJpnlyw. After registering, you will receive a confirmation email containing information about joining the meeting.

More information, including the schedule of talks, is available at PWSA’s website https://prowrestlingstudies.org.

July 8-9, 2020

Sheffield, UK

Deadline: March 13, 2020

www.thechildrensmediaconference.com

The CMC Research Sub-Committee is delighted to announce this year’s call for papers to be presented at the 2020 Children’s Media Conference in Sheffield on both the 8th and 9th July.

The Research Strand of the Children’s Media Conference (CMC) is a crucially important and popular part of this annual event, which attracts over 1,200 children’s media professionals to Sheffield every year. The conference will take place from the 7th to the 9th July in 2020. The Research Sessions will be held on both the 8th and 9th July.

The content shared in the research sessions is eagerly anticipated by delegates and the research strand’s role is to provide valuable insights and thought-provoking research to the children’s media community. The research presented may also be incorporated into other related conference sessions, to disseminate it more widely.

The wide variety of topics discussed at the conference can be seen in last year’s programme: https://www.thechildrensmediaconference.com/events/cmc-2019/sessions/

2020 Conference Theme: Right Here Right Now

The conference theme for 2020 is Right Here Right Now. The theme is a response to challenges set by the Changemakers at CMC last July - not only on climate change, but also diversity, inclusion and empowerment of new and young voices. It reflects the speed of change in the kids' content business landscape. New platforms, new funding, new approaches to IP, new tech, new regulatory issues, new business consolidation and continuing audience fragmentation - it's all Right Here, Right Now, and CMC will address it, not as future forecasting but "in the moment" right there, in Sheffield.

We’re especially interested in research that will help delegates achieve their creative and commercial goals. Insight into children’s behaviours and perspectives as well as data that helps to inform decision-making and strategy will be particularly useful. Our aim is to present a varied menu of research sessions, appealing to delegates from all corners of the industry and so welcome submissions from academic, institutional and commercial sources. We are keen to hear your thoughts of suitable, relevant and thought-provoking content that can be shared.

Submission Criteria

Over the years we have been able to identify the types of sessions that achieve the most success with the audience at the conference. Below is an outline of the submissions considerations we ask of our research agencies and academics and where possible your submissions should reflect the following:

• Relevance to the audience (please look at the delegate guide from last year to give you an impression of the wide range of delegates who attend CMC): https://www.thechildrensmediaconference.com/wp-content/uploads/2019/08/Final-Website-Delegate-List-2019-.pdf
• An emphasis on findings, not methodology (this is the key to a successful presentation). Each research session lasts only 30 minutes, presentations need to move directly to “value added” outcomes

• Clear and concise action points for the audience to take away and be able to use from the research
• Long-term research which enables us to understand the past better and explore and project the future better
• Wide research which brings good statistical evidence to bear and provides a good basis for market understanding
• Fresh insights which are relevant to today’s children’s media landscape
• A unique angle/area which has not yet been explored
• Academic research that will have completed [at least data collection] by May/June 2019, at the latest, in time to be integrated for the conference
• We are open to submissions relating to children aged 0-16 years of age

For the purposes of contrast you can also compare the sessions headed “Research” in the 2018 and 2019 programmes (audio and in some cases video versions of the sessions are available on these pages):

http://www.thechildrensmediaconference.com/events/cmc-2018/downloads/

https://www.thechildrensmediaconference.com/events/cmc-2019/downloads/

Research sessions from Wednesday 8th July will be repeated on Thursday 9th July and so you must be available to present on both days.

Submission Process and Deadlines:

Please submit a 600-word abstract detailing your proposed research topic including where appropriate objectives, methods and potential outcomes.

Submit your entry to Shazia Ali/Btisam Belola, the CMC Research Strand Producers, at the following email address research@thechildrensmediaconference.com by Friday 13th March.

Submissions will be reviewed by the CMC Research Advisory Sub-Committee. The committee members are from a variety of backgrounds; Research, industry, academia, client-side and agencies. Successful applicants will be notified by Friday 27th March.

If you are selected, your session producer will need a summary of the key findings and insights from your presentation by Tuesday 26th May.

Your final presentation will be required by Friday 18th June. This is to allow the producers to identify any other sessions that the research content may be further utilised. This will increase the coverage your research session will have across the conference.

All organisations offering research for this strand are offered an in-kind sponsor status at CMC. The presenter of the research is provided with one free pass to the whole conference, plus one further pass in recognition of the sponsorship status. The CMC Operations Manager will email you with an in-kind sponsorship agreement. By Tuesday 26th May you need to send Lauren Bartles lauren@thechildrensmediaconference.com one jpeg company logo and one eps company logo for use in print and on the CMC website.

Research sessions will take place on Wednesday 8th July and will all be repeated to maximise their potential audience, on Thursday 9th July.

Key Dates – 2020

• Proposals to be received by Friday 13th March
• Successful Applicants notified by Friday 27th March
• Top-line Findings and key insights Tuesday 26th May
• Logos submitted Tuesday 26th May
• Final Presentations submitted Friday 18th June
• Presentations at Conference Wednesday 8th and Thursday 9th July

NB.

We will publish all the presentations and associated audio recordings on the CMC website immediately after the conference. Please tell us if any elements of your planned presentation will not be suitable for this. We can accept a redacted version of your presentation to remove images or video of children, for example, but if you are unable to share the bulk of your presentation on the CMC website, we will not be able to accept your submission.

The CMC research sessions will benefit from full technical support. This means that all presentations will be stored centrally and so you will not be able to present from your own PC or Mac. The deadline for submission of final presentations is Friday 18th June to allow the conference organisers to upload and check the presentations.

The CMC PR agency DDA Blueprint will be seeking new research, which stimulates press interest in the run-up to the conference. Again it is important for us to know if your research is embargoed or should not be featured in this way.

It is your responsibility to clear with research subjects and partners your right to present the research at the conference (and if possible online) and to clear all content in your presentation for display at the conference to a live audience.

Please ensure you are able to present on both Wednesday 8th and Thursday 9th July. If you have any issues with availability then please let us know when you submit your abstract.

For further clarification please email:

Shazia Ali (Producer, CMC Research Strand) and Btisam Belola (Producer, CMC Research Strand)

research@thechildrensmediaconference.com

SUBMISSIONS: to research@thechildrensmediaconference.com

By Friday 13th March 2020

Carmit Wiesslitz

This book examines to what extent the democratic potential ascribed to the Internet is realized in practice, and how civil society organizations exploit the unique features of the Internet to attain their goals. This is the story of the organization members’ outlooks and impressions of digital platforms’ role as tools for social change; a story that debunks a common myth about the Internet and collective action. In a time when social media are credited with immense power in generating social change, this book serves as an important reminder that reality for activists and social change organizations is more complicated. Thus, the book sheds light on the back stage of social change organizations’ operations as they struggle to gain visibility in the infinite sea of civil groups competing for attention in the online public sphere. While many studies focus on the performative dimension of collective action (such as protests), this book highlights the challenges of these organizations’ mundane routines. Using a unique analytical perspective based on a structural-organizational approach, and a longitudinal study that utilizes a decade worth of data related to the specific case of Israel and its highly conflicted and turbulent society, the book makes a significant contribution to study of new media and to theories of Internet, democracy, and social change.

More here: https://rowman.com/ISBN/9781498539791/Internet-Democracy-and-Social-Change-The-Case-of-Israel

Deadline: May 31, 2020

Monica Dall’Asta, Jacques Migozzi, Federico Pagello, Andrew Pepper eds.

To talk about the crime genre—as opposed to detective or spy or noir fiction—is to recognise the comprehensiveness of a category that speaks to and contains multiple sub-genres and forms (Ascari, 2007). In this volume, we want to uncover the ways in which the crime genre, in all of its multiple guises, forms and media/transmedia developments, has investigated and interrogated the concealed histories and political underpinnings of national and supranational societies and institutions in Europe, particularly after the fall of the Berlin Wall in 1989.

Two most popular expression of the crime genre, the detective novel and the spy novel, have long been identified as ‘sociological’ in their orientation (Boltanski, 2012). These forms often tackle enigmas or uncover conspiracies that are concealed by and within states, asking searching questions about the failures of democracy and the national and international criminal justice systems to deliver just societies. Similarly, following the example of U.S. hard-boiled fiction, the ‘noir’ variant of the genre has also established itself as a ‘literature of crisis’ (according to Jean-Patrick Manchette’s formula), where the shredding of official truths and of ‘reality’ itself ends up revealing dark political motives that elicit an even starker set of ethical and affective interrogations (Neveu, 2004). While the obvious links between the ‘noir’ and the ‘hard-boiled’ traditions of crime fiction (e.g. between Manchette and Hammett) suggest an American-French or trans-Atlantic connection, we are keen to stress that the sociological and political orientation of the European crime genre—especially since 1989 and the corresponding opening up of national borders and markets—requires examining both global/glocal and multi-national (and state-bound) issues and challenges. It is here that the European dimension of the proposed volume is best articulated because, to do justice to this context, we need to pay attention not just to discreet national traditions, but the ways in which contemporary iterations of the genre interrogate the workings of policing, law, criminality and justice across borders and nations (Pepper and Schmid, 2016).

The transnational framework of the DETECt project (Detecting Transcultural Identities in Popular European Crime Narratives) is necessarily and acutely concerned with civic and ethical issues linked to the construction of new European new identities. The proposed volume aims to explore the ways in which these new identities are formulated and thematised in European crime novels, films or TV series, particularly in relation to the interrogations raised by the uncovering of hidden aspects of both the historical past and the contemporary political landscapes. Contributions are encouraged which look at particular case studies or identify larger national and/or transnational trends or synthesise the relationship between individual texts and these larger trends. It is envisaged that the volume will be organised into the three sections outlined below. Prospective contributors are invited to identify where their articles might sit within this structure as well as to outline the particular focus adopted by their essay in relation to the general topic. The list of topics in each section is to be regarded as indicative rather than exhaustive.

1. Crime Narratives and the History of Europe

European crime narratives from the last thirty years have frequently referred to collective traumas and conflicts that have torn European societies apart throughout the 20th century. Contributions are invited that look at the ways in which these fictional works have restaged and critically reinterpreted some of the most tragic pages in European recent history, including (but not limited to) the following iterations of violent rupture and social breakdown:

• The Civil War and Francoist dictatorship in Spanish crime narratives (e.g. Montalbán, La isla minima);
• Fascism, surveillance and the police-state (e.g. Lucarelli, Gori, De Giovanni) and the role of oppositional memory (e.g. Morchio, Dazieri) in Italian detective fiction;
• Fascistic/right-wing nationalist movements in interwar Scandinavia (e.g. Larsson, Mankell);
• The Third Reich as the historical biotope of crime fiction (e.g. Kerr, Gilbers);
• The constant presence of wars as a breeding ground for crime in French crime novels: World War I and II, collaboration, the Algerian War, colonisation, post-colonisation (e.g. Daeninckx, Férey);
• The heavy presence of Cold War images and axiology in spy novels and films, including those appeared after the fall of the Berlin Wall, both in Western and Eastern Europe (e.g. Kondor, Furst);
• The ‘Troubles’ in Irish and British crime fiction (e.g. Peace, McNamee).

2. Crime Narratives and the Present of Europe

Our present time is characterized by a number of social, political, financial/economic crises that threaten the construction of a cosmopolitan pan-European identity in line with the EU’s founding ideals. Crime narratives attempt to offer realistic representations of such contemporary crises by putting in place a number of ‘chronotopes’ that symbolise social divisions and peripheral and marginalized identities. We encourage essays that examine the ways in which post-1989 European crime narratives have represented the emergence of nationalisms, xenophobia, racism and other threats to the social cohesiveness of European democracies. We also invite contributions that use the trope of the crisis to explore how the links between crime, business and politics have polluted or corrupted the democratic imperatives of European social democracies and institutions from the outset. Topics might include:

• The Kosovo War, and more broadly the Balkan conflicts of the 1990s, as the first signs of a generalised geopolitical chaos (e.g. in French noir novels);
• The financial crisis of 2008 and its devastating consequences for individuals, communities and whole societies (e.g. Bruen and French in Ireland; Markaris in Greece; Dahl in Sweden; Lemaître in France);
• The migrant crisis (within and outside the EU) and the emergence of new anxieties about belonging and/or otherness (e.g. Mankell, Dolan, Rankin);
• Climate change, pollution, and environmental destruction (e.g. Tuomainen, Pulixi);

• The blurring of crime and capitalism and the depiction of crime as a form of social protest vis-à-vis the effects of global capitalism and neoliberal deregulation and privatisation (e.g. Manotti, Carlotto, Heinichen, the TV series Bron);
• Inquiries into the effects of contemporary forms of patriarchy, gendered violence and misogyny and their links to other forms of oppression and domination (e.g. Lemaître, Slimani, Macintosh, Gimenez-Bartlett Larsson, McDermid).

3. Crime Narratives and the Future of Europe

European crime narratives explore a broad range of social and cultural identities across different scales: from the more stable identities attached to local contexts through the new mobile, precarious and mutating identities fostered by the dynamics of globalization. This section will look into how these different identities and their complex interplay can suggest ways to frame the future of Europe. Contributions could address how crime narratives try to make sense of the complex, if yet perhaps contradictory, set of representations circulating across different European public spaces and collective imaginaries. On the one hand, we might ask whether something like a European crime genre even actually exists, given that these works typically demonstrate suspicions about ‘outsiders’ and only rarely offer positive representations of post-national transcultural identities. On the other hand, however, the genre does give us glimpses into what might be achieved through cross-border policing initiatives, organised under or by Interpol and Europol, in the face of organised crime gangs involved in transnational smuggling and trafficking networking. Contributions to this final section are encouraged to reflect upon how crime narratives produced by and in between the discreet nation-states frame the hopes and limits of European cohesiveness and the continent’s future or futures. Essays could focus on one or more of the following topics:

• The interplay between local, regional, national and transnational identities as represented through specific narrative tropes, such as in particular the local police station, the interrogation room, the frontier or border, and so on;
• The connection between social deprivation at the local end of the geopolitical scale and different global systems and networks at the other end;
• The role of borders, cities, violence, rebellion, policing and surveillance in producing new identities and subjectivities not wholly anchored in discreet nation-states. Attention could also be given to formal innovations insofar as these allow or enable the expression of new identities;
• The hope and consolation offered by the resilient community or village (Broadchurch, Shetland) or the extended family (Markaris’s Kostas Charistos series) in the face of the messy, brutal contingencies of a world ruled by criminal and business elites;
• Social banditry as a form of contestation directed against social inequalities produced by capitalism (Carlotto’s Alligator series; La casa de papel).

If you are interested in submitting a proposal to be considered for inclusion in this volume, please send an abstract of no more than 300 words and a short biography to info@detect-project.eu by May 31, 2020. We would encourage you to identify the section of the proposed volume where your essay would be best situated. We are looking to commission up to 14 essays in total of 7000 words each including footnotes and bibliographic references.

May 18, 2020

Nottingham, UK

Deadline: March 2, 2020 (4:00 PM)

Taking place across the week commencing 18th May 2020, this festival will feature a programme of live cinema screenings, leading academic research, master classes, workshops, an exhibition and demonstration track, Q&A sessions, and world premieres of new artistic commissions and exclusive live events.

Live Cinema III will showcase the creative and critical advances in the multi-faceted field of live cinema which encompasses a diverse range of forms. These include experimental expanded cinema, the global live-casting of cultural and entertainment events and live performance during film screenings - indeed any instance of the live augmentation of screen spectatorship. This festival marks a unique historical juncture and provides an opportunity to draw together and reflect upon the many landmark and contemporary moments where the trajectories of liveness and emergent screen technologies have intersected. It is 50 years since the touchstone publication of Gene Youngblood’s book ‘Expanded Cinema’ which revolutionised notions of cinema-making and viewing through its pioneering consideration of videos, computers and holography as cinematic technologies. Furthermore, it is 30 years since the publication of Philip Auslander’s influential ‘Liveness: Performance in a Mediatized Culture’. The combination of the central ideas of these two works resonate more than ever when considering the new chimeras of contemporary live screen experience. Take for example, Netflix, and their recent purchase of a physical cinema venue. This was clearly a commercially strategic move, as was their partnership with UK-based organisation Secret Cinema on an elaborate immersive experience based around the series ‘Stranger Things.’ These hybrid forms - which blend the live and the mediated, the cinematic with the televisual and with the theatrical - are symptomatic of the enduring significance of collective viewing experiences, despite the predominance of individualised screen consumption perpetuated by the streaming revolution. Moreover, these complex moments of convergence where commercial, technological and artistic imperatives collide and coalesce - underscore the important need for the ongoing study of live and experiential screen-based phenomena.

We are currently seeking contributions for the two-day academic programme which will commence on Thursday 21st May. These contributions may take any presentation format; traditional academic papers, workshops, pre-constituted panels, practice-based contributions, technical demonstrations and alternative formats are very welcome. We welcome proposals from a broad range of disciplinary contexts such as arts and humanities, computer science, social science, leisure studies, cultural geography, organisation and management studies – including contributions that consider the impact of Live Cinema on other disciplinary fields and approaches. We particularly welcome interdisciplinary enquiries which embrace methodological innovation. Areas of significant contribution will be focussed on instances where the live and digital coalesce in the formation of live screen experiences. These may include, but are not limited to, the following themes:

• Live Cinema and the conceptual relationship to meta-cinema, post-cinema, expanded cinema
• Liveness, mediation and presence: rituals and happenings; individualisation versus collectivity
• Geographies of liveness: local, national and global exhibition and distribution infrastructures, livecasting of cultural and entertainment experiences, tours, touring, pop-ups, mobile exhibition, site-specificity in an arts context;
• Convergence and intermediality: Intersections between stage, screen and television;
• Media spectacle: Event Cinema, Event Films, Media Events, ‘Eventization’ and the new screen experience economy, theme parks, installations;
• Audience participation and interaction: Hecklevision, ‘barrage cinema’, sing-a-longs, cult movie practices, ‘call backs’, Secret Cinema, Punchdrunk, audience creativity, fan created content, cos play, role play,
• Embodied experience: affect, cognition, haptics, bio-tech, AI and algorithms, biofeedback, wearables, gestural interfaces, visual tactile integration and proprioceptive devices;
• Performance and Performativity: VJ, live remix, live soundtrack scoring, immersive theatre;
• New Screen Technologies: 4DX, 3D, Magic Leap; Motion Capture, Immersive Sound, XR, Mobile screens;
• Immersion and interactivity: Second screen, dome screens, digital engagements, E-sports, accessible, sensory and inclusive technologies and experiences;
• Organisations and infrastructures: festivals, cinemas, distributors, new business models, IP, economic considerations, policy dimensions and brand engagement, labour markets, models of working in the screen experience economy;
• Activist and political uses of cinema: guerrilla screenings, interrupted screenings, radical, alternative events, film forums;
• Innovations in experience design: game hybrids, pervasive gaming, Alternate Reality Games (ARGs);
• Placemaking and collective experiences: Film festivals, public screens, tourism, leisure industries and ‘destination events;’
• Newness, novelty, exclusivity and scarcity: experiential ephemera, promotional screenings, materials and paratexts, historicisation;

Potential contributors should submit a 300 word abstract and a short 100 biography to LiveCinemaFestival2020@gmail.com by 4pm on March 2nd, 2020. Decisions will be sent out on week commencing 16th March, 2020.

Live Cinema III: Festival of Research and Innovation is a collaboration between Live Cinema UK, Live Cinema Network, King’s College London and University of Nottingham. The LCF2020 academic strand is convened by Sarah Atkinson & Helen W. Kennedy. For further information contact Professor Kennedy, Department of Cultural, Media and Visual Studies at the University of Nottingham.

Helen.Kennedy@Nottingham.ac.uk

International Journal of Film and Media Arts, Vol 5 No 2 (2020), GEECT Special issue

Deadline: April 28, 2020

Issue editors: Manuel José Damásio & Jyoti Mistry

Artistic Research is the proposition of artistic practice and systematic reflection through art itself. It is an epistemic inquiry directed towards advancing knowledge, insight, understanding, and competences that are explored from within inside the discipline even though it mobilizes inter-disciplinary and cross disciplinary approaches to research enquiry. Furthermore, artistic research combines artistic methods with methods from other research traditions facilitating many dimensions of research about/for/through art and draws from research strategies from the empirical sciences and the humanities. Artistic practice and its focus on research must be distinguished from artistic development where artistic research typically supports the further development of art practice but aims at topics of enquiry with a broader socio-political, cultural and economic significance.

While artistic research (AR) has been acknowledged for over two decades as a significant knowledge base for education in the arts in Higher Arts Education Institutions (HAEIs), its import in film education and media arts has only gained increased momentum over the last several years. To this end, AR has become a relevant and urgent topic due both to external processes (i.e. accreditation) and internal pressures (i.e. staff capacitation) making it increasingly relevant for film schools.

A special issue on artistic research in film schools is an opportunity to reflect on the multivalent challenges, opportunities, potentialities and possibilities for collaborations that AR affords film schools. The special issue aims to also encourage reflections through case studies of AR projects and PhD supervision experience in film research and film education.

International Journal of Film and Media Arts invites papers that deal with but are not limited to the topics of:

• Examples of creative practice and research in film schools
• Role of critical and contextual theory in film related to artistic research
• The relationship between teaching and research
• Challenges with creating a research dynamic environment in film education
• The relationship between professional practice and artistic research
• Creating or developing doctoral education with a film focus in artistic research
• Any related topics that broadly deal with the role of artistic research in film schools

Abstracts to be submitted by 28 April 2020

Provide a single document with:

• ABSTRACT, no longer than 500 words with 5 keywords
• BIO, no longer than 300 words
• Name, Email address and institutional affiliation

Please submit to: anna.coutinho@ulusofona.pt

Timeline for publication:

• Feedback on abstracts – 10th May 2020
• Submission of full paper – 30th July 2020
• Final revisions – 30th September
• Publication date – 30th October