European Communication Research and Education Association
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:
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
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:
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:
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:
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:
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:
Abstracts to be submitted by 28 April 2020
Provide a single document with:
Please submit to: anna.coutinho@ulusofona.pt
Timeline for publication:
IJFMA Vol 5 No 1 (2020)
Deadline: February 28, 2020
Volume Guest Editors
The next chapter of IJFMA is dedicated for the contemporary culture of videogames, encouraging authors to present original studies oriented to this immersive media that have a huge impact in modern life.
IJFMA welcomes papers addressing one or more of the following themes:
Dates
May 28-29, 2020
Södertörn University, Stockholm
Deadline: March 15, 2020
News, for a long time considered a distinct commodity produced by journalists and established media organisations, is currently often considered a concept in flux. This is prompted by changes in news production, including altering practices of journalists and the opportunities for media users to produce and share their own content, but it is equally a result of novel forms of news distribution, where social media platforms, micro-celebrities and alternative and viral news sites have gained a prominent role in news dissemination.
Alongside transformations in the production and distribution of news have followed changing use patterns, leading to renewed questions about participation, trust and civic engagement in the public sphere. It is arguable, furthermore, that the altered context for news consumption interlinks not only with new behaviours around news, but also with more varied understandings of the concept itself – with a range of different sources of information competing for what is to be considered ‘news’.
While these developments have been widely discussed as impacting on democracy and the public sphere, they seem to necessitate a further re-thinking of the features and functions of news today, in relation not only to technological developments and the digitized media landscape, but also with regard to different kinds of societies and geo-cultural contexts for news.
The overall aim of this conference is to make a contribution to ongoing scholarly debates about news and democracy in digitized society, by providing a rethinking of the concept and societal role of news, from a range of analytical and geo-cultural perspectives. The conference aims to bring together researchers from different academic disciplines and geographical areas, with expertise that could bring new perspectives to the inherently Western field of news research, as well as advancing the research agenda around news both theoretically and empirically.
Papers may include, but are not limited to, the following topics:
The conference will entail a combination of keynote speakers, research dialogues with invited speakers and parallel papers sessions. Confirmed speakers include:
Abstracts for presentations are to be submitted by the 15th of March, for the selection of conference contributions to be confirmed by the 27th of March. Abstracts should be a maximum of 300 words, submitted alongside a short presenter’s bio of no more than 100 words.
Submit abstracts to: sofia.johansson@sh.se and stina.bengtsson@sh.se.
Conference registration will be open between the 30th of March to the 15th of April. Registration is free.
Hosted by the Department of Media and Communication Studies, Södertörn University, with funding by the university’s Centre for Baltic and East European Studies. For more information, please see: https://www.sh.se/english/sodertorn-university/calendar/events/2020-01-28-international-conference-new-perspectives-on-news-theoretical-and-empirical-challenges-to-contemporary-news-research
Nordic Journal of Media Studies 2021 (Special Issue)
Deadline for submission of extended abstracts: May 1, 2020
Editors: Risto Kunelius (University of Helsinki), Anna Roosvall, (Stockholm University)
As a complex and systemic problem of collective action (in the Anthropocene), the climate crisis poses challenges on a new scale. They range from translating scientific knowledge to sustainable policy, from debating radical changes in energy supply and infrastructures to discussions of everyday consumer choices, from dialogues about identity and historical justice to the risks and scenarios of the future (which has gained ever more immediacy).
Towards the end of the 2010s, the gap between hopeful scenarios and the real trajectories of climate change became increasingly severe. Politically, the short-lived optimism of the 2015 Paris Agreement waned under the pressure. As a result, national decision-making structures are weakened by a conjuncture of political polarisation where climate policies intersect with issues of immigration, identity, and inequality both between and within countries.The ambitious target of limiting global warming to 1.5 degrees Celsius seems to be slipping away – and the predictions of concerned scientists are increasingly pessimistic. At the same time, global media is filled with signs of the crisis: unforeseen fires, devastating floods and draughts – to name the obvious, dramatic examples – but also news of widening civic protests calling for climate action.
The climate emergency poses a fundamental challenge to the media, in all its contemporary plurality. The list of questions is long. How will the climate emergency shape the media institutions we inherited from carbon-driven modernity? What kind of professional practices and forms of reporting are needed? How will the new affordances of digital media networks enhance knowledge about the risks we face and help promote sharper critique of policies? What sort of opportunities for mediated activism for and against climate action will emerge? How will people use the wide array of media forms available today to make sense of their lives in the era of climate crisis? What is – or could be – the role of media studies in shaping this future?
The Nordic Journal of Media Studies is devoting its 2021 issue to cutting edge research tackling the role of the media (from social media to professional journalism and from everyday communication to high-level power politics) and the challenges of media research as a field in the context of the climate emergency.
We welcome contributions with themes such as (but not limited to) the following (in no particular order):
We welcome contributions offering new empirical insight into these and other crucial nodal points of analysing, understanding, and innovating on the role of different media. The Nordic Journal of Media Studies is not committed to any particular methods, materials, or theoretical approaches. We welcome suggestions for both empirical work that focuses on key moments of the contemporary media system but also hope to publish critical theoretical work that may help us to reconceptualise the urgent challenges of communicating the climate emergency.
Contact:
Risto Kunelius, University of Helsinki. e-mail: risto.kunelius@helsinki.fi
Anna Roosvall, Stockholm University, e-mail: anna.roosvall@ims.su.se
About the Journal
The Nordic Journal of Media Studies is a peer-reviewed international publication dedicated to media research. The journal is a meeting place for Nordic, European, and global perspectives on media studies. The editors stress the importance of innovative and interdisciplinary research, and welcome contributions on both contemporary developments and historical topics. The journal is open for theoretical contributions and empirical research, and combinations thereof. The editors also welcome critical approaches to media studies addressing questions of power, inequality, participation, and voice.
The Nordic Journal of Media Studies focuses on the interplay between media and their cultural and social contexts. We are interested in the media as industries and institutions of modern society, but also in how they are woven into the fabric of everyday life as mobile and interactive technologies. The emergence of new social networks, changes in political communication, intensified datafication and surveillance of human interaction, and new dynamics between media, popular culture, and commercial markets are important aspects of the changing relationship between media, culture, and society.
Nordic Journal of Media Studies
Editorial process
The Nordic Journal of Media Studies is published once a year and each volume focuses on a particular theme. An open call invites suggestions (extended abstracts) for contributions and, on the basis of this, invitations to write full-length articles are issued. All submitted articles are subject to double-blind peer review by two external reviewers.
Articles should not exceed 7,000 words, including references, and must contain an abstract of no more than 150 words. All articles submitted should be original works and must not be under consideration by other publications.
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