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  • 19.11.2021 09:45 | Anonymous member (Administrator)

    April 29-30, 2022

    Örebro University, Sweden/online

    Deadline: December 1, 2021

    In Spring 2022, Örebro University will hold an international workshop focusing on the rich interpretations that Ingmar Bergman's work has been generating over the last seven decades, and on the impact of Ingmar Bergman on and in film history and in different cultural contexts.

    Being one of the main representatives of European modernist cinema, Ingmar Bergman’s oeuvre has been the subject of heated debate and various readings. The rapid canonization of his work after his international breakthrough in 1956 has tended to reinforce an interpretation of Bergman as "the auteur", usually written from a high art perspective. As Bergman-scholar Maaret Koskinen repeatedly pointed out, discourses around Bergman were always a mix between high art and the popular, both at home in Sweden and abroad. His films attracted a variety of audiences seeking redemptive messages, liberal agendas, religious transcendence, and/or eroticism. Beyond his titles, Bergman's strong public image as quintessential modernist filmmaker has usually functioned as a productive intersection of (sometimes contradictory) images, interests and discourses. Bergman has been alternatively seen as an artist, the main voice of Swedish cinema, a creative genius between cinema and other media, a transcendental artist or a clown, as well as a danger to the national youth, a source of moral disorder or a ‘too theatrical’ filmmaker. Given the different (national) contexts and time periods, one could argue that each audience has generated its own ‘Bergman’.

    This workshop aims to bring together scholars interested in shedding light on some of these contexts and film cultures, as we believe that understanding Ingmar Bergman’s interpretations is also a productive way of understanding how a significant part of film history has been seen and commented on, adopted and adapted, written and read. Bergman was a filmmaker, but for cinephiles, critics, and audiences around the word he was also more than that: the images projected on the Swedish auteur function as a telling example that film history can not be just reduced to a history of its films. In this regard, this symposium sees itself as a timely contribution to the analysis of film culture, that is, the institutions, discourses, places and practices that are not films but without which there would be no films. This relates, in the tradition of New Cinema History, to the cinema as a site of cultural exchange, but it also goes beyond and includes discourses in specialized magazines, practices at institutions such as film clubs, festivals, film schools etc. New Cinema History as a field is in nature transdisciplinary – a variety we wish to maintain in our workshop – such as memory and oral history research, social and economic historiography, geography, social anthropology, ethnography, cultural and memory studies, and area/urban studies. We therefore encourage participants from a variety of academic backgrounds to participate (such as, but not limited to, film and media studies, anthropology, art and cultural history). Additionally, we aim to include global, comparative, and/or peripheral perspectives on this topic.

    Considering these aspects, this workshop is interested in contributions that could, but are not limited to, illuminate some of the following subjects:

    • A Swedish auteur: Bergman’s reception in different local and/or national film cultures & political climates;
    • International, transnational, world cinema; Bergman as brand: commerce of auteurism;
    • Audience reception in terms of admissions, circulation, oral history, emotional experiences;
    • High and Low: Critical reception, cinephilic anxieties, canonisation;
    • Artistic reinterpretations of Bergman (adaptations and remakes);
    • Gendered audiences, gendered history; women portrayed by men;
    • Religious interpretations / catholic vs protestant;
    • Paratextual information informing the interpretations;
    • Beyond the auteur / back to the auteur? Contemporary readings on Bergman;
    • And Bergman in popular cinema, TV and other media.

    The workshop will take place 29 & 30 April 2022, and will be held at Örebro University, with the option of participating online. Jan Holmberg, CEO of the Ingmar Bergman Archive in Stockholm, will give a keynote presentation.

    In conjunction with the workshop, a follow-up volume in a leading academic publishing house is planned.

    Please submit full contact information, a short biography that explains your background and field (of no more than 300 words) and an abstract (of no more than 500 words) on the topic you would like to work on to the following address:

    The call for papers will close on 01.12.2021. The authors of selected contributions will be notified by 15.01.2022 if the proposal has been accepted.

    We are looking forward to your proposal!

    Jono Van Belle (Örebro University, Sweden)

    Fernando Ramos Arenas (Universidad Complutense de Madrid, Spain)

    María Paz Peirano (Universidad de Chile, Chile)

  • 19.11.2021 09:32 | Anonymous member (Administrator)

    December 9, 2022

    I am pleased to invite you to the next in the series of IPRA Thought Leadership webinars. The webinar Science based reputation management: insight, influence and persuasion will be presented by Ashwani Singla, founding managing partner at Astrum, India on Thursday 9 December 2021 at 12.00 GMT/UCT (unadjusted).

    What is the webinar content?

    The webinar will explore science-based reputation management considering aspects of insight, influence and persuasion. Drawing on examples from Asia we will consider the five aspects of reputation management which are:

    • Discover and define the persuadables
    • Discover and define the drivers of opinion
    • Define and develop sources of influence and information
    • Define and develop your Big Picture Story
    • Deliver your communication by being holistic yet focused.

    The webinar will be followed by an interactive Q&A session.

    How to join

    Register here at Airmeet.

    A reminder will be sent 1 hour before the event.

    Background to IPRA

    IPRA, he International Public Relations Association, is the leading global network for public relations professionals. Membership is individual not corporate. It aims to further the development of open communication and the ethical practice of public relations. IPRA fulfils this aim through networking opportunities, its code of conduct and intellectual leadership of the profession. IPRA is the organiser of the annual Golden World Awards for excellence – PR's global awards scheme. With 60 years of experience, IPRA, recognised by the United Nations, is now present throughout the world wherever public relations are practised. IPRA welcomes all those within the profession who share its aim and who wish to be part of the IPRA worldwide fellowship. For more information please visit:

    Background to the Golden World Awards for Excellence.

    The annual IPRA Golden World Awards (GWA) initiative, established in 1990, recognizes excellence in public relations practice worldwide in a variety of categories. Recipients of the award take particular pride in the recognition granted to their entry as meeting international standards of excellence in public relations. An overall IPRA Grand Prix for Excellence is presented each year to the entry judged as representing the highest standards that year. While there are many national and regional PR awards, there is only one truly global scheme: the GWA.

  • 19.11.2021 09:22 | Anonymous member (Administrator)

    May 26, 2022

    Paris, France

    Deadline for Abstracts: January 21, 2022

    The preconference will be held on-site in Paris the day before the main conference. The preconference explores convergent and divergent perspectives on digital disconnection across disciplines, media, and national borders and invites participants to a dialogue concerning the challenges and promises of digital disconnection research.

    Time and place: May 26, 2022 9:30 AM–5:00 PM, Paris, France

    The preconference is part of the International Communication Association Annual Conference, Paris, France. 


    The conference has three main objectives:

    • Expand scholarly discussions: how is digital disconnection understood and conceptualized within various contexts and across different levels of analysis? In what ways are conceptual underpinnings and understandings of the causes and implications of digital disconnection connected?
    • Promote collaborative and comparative scholarship: What are the similarities and differences of approaches to digital disconnection across country, discipline, and media?
    • Networking and career development: What are the emerging perspectives on digital disconnection provided by young scholars? How can new contributions deepen understandings of digital disconnection or expand existing knowledge?

    The preconference is sponsored by the following ICA divisions: Activism, Communication and Social Justice Interest Group; Mobile Communication Interest Group.

    Deadline for Abstracts: January 21, 2022

    The call for abstracts can be found here:


    • Trine Syvertsen, Professor, University of Oslo.
    • Anne Kaun, Professor, Södertörn University.
    • Ana Jorge, Associate Professor, Lusófona University.
    • Stine Lomborg, Associate Professor, University of Copenhagen.
    • Mariek Vanden Abeele, Associate Professor, Ghent University (Belgium)
    • Mehri Agai, PhD Candidate, University of Bergen.
    • Kari Spjeldnæs, PhD Candidate Kristiania University College.

    Organizer: digitox

  • 11.11.2021 10:40 | Anonymous member (Administrator)

    Syracuse University

    Syracuse University’s S.I. Newhouse School of Public Communications invites applications for either an Associate or Full Professor position with tenure or an advanced tenure-track Assistant Professor to begin August 22, 2022. Review of applications will begin December 1, 2021 and continue until the position is filled.

    The School is seeking applicants in the areas of media psychology and extended reality (virtual, augmented, and mixed reality). This recruitment is part of an ambitious Invest Syracuse Cluster Hire Initiative in the broad area of Virtual and Immersive Interactions. As an integral part of this investment, Syracuse University will recruit multiple candidates for faculty positions across departments for this cluster. Faculty hired into these positions will build on our existing strengths in the focus area and will participate in an organized research cluster that spans multiple departments in the Newhouse School, the College of Visual and Performing Arts, the School of Education, the School of Architecture, and other units across Syracuse University. Further information on the campus-wide hiring initiative can be found at

    The successful candidate will demonstrate their ability to bring national visibility to the school through academic scholarship with potential to gain extramural funds. Top candidates will have a well-defined and ambitious research agenda. The ability to secure grant funding is essential. Candidates will also need to indicate ability and aptitude for teaching through prior university teaching experience. They will have a track record of collegial collaboration and be expected to advise doctoral dissertations and master’s theses. A Ph.D. is required.

    In addition to completing an online application at, applicants should submit a cover letter of interest which includes three important areas:

    1. Research Activity – The Newhouse School values both scholarly research and creative activity. However, we look for colleagues to make substantial collegial contributions in sponsored research, thus the successful applicant must demonstrate a sustained scholarly agenda with potential to gain extramural funds. Please describe how your experience will help you contribute to the University and School’s commitment to research and creative initiatives.

    2. Teaching – The Newhouse School prides itself on the high quality of education it provides. We are especially interested in applicants with the ability to contribute to doctoral study. Please describe your teaching interests and philosophy of how students best learn.

    3. Diversity and Inclusion – Please describe how your past experience has prepared you to contribute to the School’s and the University’s strategic commitments to diversity, equity, inclusion, and accessibility in higher education.

    In addition to the cover letter, applications should include :

    • a curriculum vitae, and
    • list of four academic or professional references with contact name, title, address, and email/phone information. The search committee will only contact listed references for applicants who are finalists for the position.
  • 11.11.2021 10:29 | Anonymous member (Administrator)

    31 January - 4 February 2022 | Lisbon, Portugal

    NOVA University Lisbon

    Deadline: January 20, 2022

    iNOVA Media Lab invites for the SMART Data Sprint 2022, which will be held from 31 January to 4 February in a hybrid format — online and in-person, at NOVA University Lisbon. The Sprint is part of the Digital Media Winter Institute, an annual meeting focused on digital methods. The next edition theme is about the Discussing Methods Making.

    Participants from around the world will connect to attend keynote lectures, short talks and join applied research projects. We are glad to receive Deen Freelon (School of Journalism and Media, the University of North Carolina, USA) and Katrin Tiidenberg (Osaluskultuuri professor / Professor of Participatory Culture BFM, Tallinn University, Estonia) with keynote talks, a masterclass with Warren Pearce (iHuman, the University of Sheffield, UK) and an opening talk with Janna Joceli Omena (NOVA University Lisbon, iNOVA Media Lab & Public Data Lab).

    Applications open on November 15, 2021, and close on January 20, 2022.

    Main audience: doctoral students and scholars interested in developing research from the perspective of digital methods.

    See the call for applications on the #SMARTDataSprint research blog

  • 10.11.2021 18:35 | Anonymous member (Administrator)

    Soapbox Journal for Cultural Analysis

    Deadline: December 5, 2021

    For the upcoming issue of Soapbox, a graduate peer-reviewed journal for cultural analysis, we invite young researchers and established scholars alike to submit academic essays or creative work that critically engages with the theme of interface. We are inviting extended proposals (500-1000 words) that follow the MLA formatting and referencing style to be submitted to by December 5th, 2021.

    An interface is a space of contact and interconnection. Thinking within but also beyond a media studies framework, we can understand our lives to be constantly mediated by interfaces of one form or another. They can be understood to serve as an intermediary between individuals and cultural objects, or alternatively, between experience and infrastructure. Interfaces mediate between a body and its environment, the private and public, subject and object. In each instance, the interface enables interaction and activity.

    Consider the movement from print to digital media, the structural design of spaces and buildings, or the format of an academic paper: as we move through the world we encounter and interact with a range of interfaces that delineate the possibilities of experience and knowledge in profound ways. As such, interfaces are cultural as well as political: they connect us to a matrix of histories and structures while their imbrication in power can afford and advance the needs of one group at the expense of another.


    Interface (noun/verb)​

    in·​ter·​face | \ ˈin-tər-ˌfās \​


    In a highly mediated world, the most immediate image of an interface is as a programmed screen or device that facilitates a connection between a real-time user and a digital non-user. Media ecologist Marshall McLuhan describes the interface as a place of interaction between two systems (1967). In computing, a mediator pattern defines an object in such a way as to establish a behavioural directive for its interaction with other objects. In each case, the interface becomes a site of communication and interaction, but also the boundary that differentiates bodies, spaces, and phases.​

    We invite you to think through and beyond the somatechnic view of the interface, allowing perspectives that explore the material, aesthetic, affective, and political dimensions of the interfaces that give shape to contemporary experience. ​

    [Affect and Materiality]

    Interfaces mediate the aesthetic experience of cultural objects. Turning our focus towards the materiality of the written page, a digitised book, the cinema screen, or a streaming service, can inflect our reading of their content and our responses in illuminating ways. Affective experiences and attachments, for example, are intimately tied up with the materiality of these interfaces. Historicising these entanglements, we can ask, how are affective attachments to interfaces disrupted by medial changes (Pressman)? And how and why do we form attachments to some interfaces and not others (Felski)?

    [Infrastructure and il/literacies]

    Interfaces connect us to infrastructures and systems: front desks, government websites, a border checkpoint. In these instances, the interface acts as a threshold, and questions of access, dependence, and trust arise. Who can become adept at interacting with interfaces and by what means? How does the connection between interface and infrastructure shape the routes we take, and the experiences we make? Relatedly, il/literacies with interfaces are central to the formation of political communities. The role of the book and the newspaper in the emergence of nationalism provides a historic example (Anderson). Contemporary interfaces are thus entangled with local, national and global (pre-)formations in complex ways.

    [Sense and ecology]​

    The touch of a palm on damp grass, the sounds of typing on a keyboard, the taste of something sweet at the tip of your tongue: what is the interface and what is becoming interfaced? These are questions that are at once ethical and political. Amanda Boetzkes draws attention to the inevitable aporia that exists between the elemental world and the representational frameworks that we bring to it. This symbolic world is also necessarily material in its implications, and thinking through the interface allows us to probe the kind of relationships that we have constructed towards the elemental. How to move away from an incorporative logic that constructs “nature” as mere “tap” (resources) and “sink” (waste) (Moore)? Artistic practices that create “receptive surfaces” provide one such example of an ethical turn towards the elemental that aims to acknowledge and uphold fundamental alterity (Boetzkes).

    We encourage submissions relating to the themes above, as well as, but not limited to, the following:

    • Engagements with cultural objects that critically explore the concept of the interface.
    • Reflections on the interconnections between genre, narrative modes, and the aesthetic experience enabled by different interfaces.
    • Platforms and streaming services: economic imperatives and aesthetic possibilities.
    • Il/literacies, agency, and the politics of access.
    • The interface as a verb: what does it mean to interface with space, others, the world, and beyond?
    • Engagements with social interface theory and German media theory (Kittler et al.)
    • Meaning-making and translatability: the interface as a vessel for signs.
    • Epistemology and/of the interface: the interface as a hermeneutic tool.
    • Interfaces and perception of self/identity formation.
    • Biometrics and technology in border and domestic policing.
    • Interfaces in contemporary work environments and labour practices.
    • Interfaces in architecture, design, and AI.
    • Knowledge production and interdisciplinarity.
    • Devices, screen culture and history.
    • Remediation.

    We invite extended proposals (500-1000 words) that follow the MLA formatting and referencing style to be submitted to by December 5th 2021. Following conditional acceptance, an initial draft version (3000 words) would be due two weeks after the acceptance email. The editing process will take place over winter and early spring 2022. If you have any questions regarding your submission, do not hesitate to contact us. Editing and peer review guidelines will be sent to authors individually upon acceptance of their submission.

    Guidelines for creative submissions are more flexible and can be finished works, but please keep in mind spatial limitations: there is usually room for one longer or two shorter pieces in the print version. A sense of the formatting possibilities can be garnered from previous issues (open-access pdf versions are available on our website).

    We also accept submissions for our website all year round. We encourage a variety of styles and formats, including short-form essays (around 2000 words), reviews, experimental writing, and multimedia. These can engage with the theme of the upcoming issue but are not limited to it. Please get in touch to pitch new ideas or existing projects that you would like to have published by reading our submission guidelines and filling in the form.

    Soapbox Journal website

    Works Cited ​

    Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Verso Books, 1983.

    Boetzkes, Amanda. The Ethics of Earth Art. University of Minnesota Press, 2010.

    Felski, Rita. Hooked: Art and Attachment. University of Chicago Press, 2020. ​

    McLuhan, Marshall, Quentin Fiore, and Jerome Agel. The Medium Is the Massage. Bantam Books, 1967.

    Moore, Jason. Capitalism in the Web of Life. Verso Books, 2015.

    Pressman, Jessica. Bookishness: Loving Books in a Digital Age. Columbia University Press. 2020.

  • 10.11.2021 18:33 | Anonymous member (Administrator)

    April 28-29, 2022

    Roskilde University, Denmark

    Deadline: November 15, 2021

    Confirmed keynote speakers: Nancy Fraser (New School, New York)

    Noortje Marres (U. Warwick), Zizi Papacharissi (U. Illinois-Chicago), and Stefania Milan (U. Amsterdam).

    The notion of ‘publics’ or ‘the public’ is as well-known as it is elusive of exact definition. In everyday vocabulary, it is most often used in reference to a collection of people – for example, the listening or protesting public – and carries normative ideals of the importance of the public in democratic society. Within academia, the concept itself and the process of the formation of publics have been and continue to be highly theorised across disciplines and in the wake of societal changes, leaving a multitude of different conceptualisations behind.

    The conference invites for abstracts (500 words) addressing the following or related questions:

    • How are mediated publics forming and transforming in current media environments?
    • How are publics imagined, constructed, cultivated and segmented by legacy media, alternative media and datafied civic practices in the digital age?
    • How are processes of datafication and platformization affecting the formation of publics and the development of counter- publics?
    • How does media in its many forms sustain and contribute to public connection?
    • How do processes of digitalisation and datafication transform audience practices in various mediated publics?
    • How do these processes impact and bring about new forms of civic engagement and political participation, from connective action to dark participation to data activism?
    • What do these transformations look like across countries and continents, media systems, media organizations, platforms, beats, and/or different audiences, movements and publics?
    • How can we understand the current transformations and the role of the different media as cultivating publics in a historic perspective?
    • How can we methodologically investigate publics in transformation?
    • How can we – given these current developments – theorize concepts of publics and citizens’ mediated practices in its different forms?

    The conference will consist in a mix of keynote lectures and panels, and a number of thematic sessions. There will also be a digital track. The registration fee is 100 Euros (50 Euros for postgraduate students), which includes lunch, tea and coffee breaks as well as a pre-conference reception on April 27th and the conference dinner to be held on April 28th. Travel to Roskilde/Copenhagen and accommodation is not included.

    Read more about the conference here:

  • 10.11.2021 18:30 | Anonymous member (Administrator)

    We kindly invite you to participate in the 4th edition of the Young Media and Communication Scholars Mentoring Program of the Polish Communication Association. The Mentoring Program is addressed to Ph.D. and MA students who want to develop their research competencies under the guidance of an experienced mentor, being a PCA member. In the 4th edition of the Mentoring Program, the recruitment is in Polish and English.

    The deadline for applications is 10 December 2021. Application form and detailed information are available here:

    We are looking forward to your applications!

    If you have any additional questions, do not hesitate to contact the program coordinator, Roksana M. Zdunek:

  • 10.11.2021 18:27 | Anonymous member (Administrator)

    March 16, 2022

    Lund University, Sweden, Department of Communication and Media

    Deadline: December 14, 2021

    Organisers: Annette Hill, Hario Satrio Priambodho and Cheryl Fung

    Break up, break down, and break away: variations on media and the breaking down of infrastructures, technicalities, texts, contexts and social relations are the basis of this international symposium Media, Breakdown and Recovery. This event explores how we can understand media, culture and society as a site of collapse and repair, and as a place for theoretical and empirical analysis within media, communication and cultural studies.

    Breakdown signifies wearing down, collapse, and catastrophe; this meaning of breakdown relates to media technologies and services, representations and themes in factual and fictional genres, or broader issues such as a crisis of democracy, and a thin trust between politicians, the media and publics. The COVID-19 crisis has brought into sharp relief media power and inequalities during the global pandemic. Breakdown also signifies taking apart something to analyse and understand how it works; this meaning of breaking down relates to deconstructing a text and its internal workings and contradictions, or forensically analysing media systems, political economics and power structures. Moments of media breakdown can reveal that which is otherwise hidden. And breakdown can be related to processes of fluidity and renewal, in the breaking down of barriers and divisions.

    Originally slated for 2020 on the theme of breakdown, this international symposium returns in live and digital mixed mode to engage in dialogue on media, breakdown and recovery. We invite papers related to the following themes:

    • Media and crises of democracy
    • Media, COVID-19 and the global pandemic
    • Media, civility and incivility
    • Media misinformation, bias and fake news
    • Media and failure of institutions, infrastructures, and professionals
    • Media framing of catastrophe, crisis, and apocalypse
    • Media and breaking down genres and narratives
    • Media and cultural practices of collapse, repair and reconciliation
    • Media, arts and creativity on breakdown, dissolution and resolution
    • Media and cultural methods of deconstruction and reconstruction

    The research questions include: 1. How can we critically examine media, breakdown and recovery across news, radio and television, film, arts and museums, digital and social media? 2. In what ways can we understand breakdown and repair in our analysis of media and culture? 3. What methods can we apply to the study of media breakdown and recovery? Different disciplinary approaches to research on the theme have developed in a variety of subject areas such as media, communication and cultural studies, political communication, sociology and anthropology, cultural geography, media history, film studies, art and creative practice, and memory studies. The symposium offers opportunities to seek overlaps and connections in pursuing our topic.

    Confirmed speakers include Nico Carpentier (Charles University, Czech Republic), Simon Dawes (Université de Versailles Saint-Quentin-en-Yvelines, France), Christine Geraghty (Glasgow University, UK), Joke Hermes (InHolland University, Netherlands), Annette Hill (Lund University, Sweden), and Peter Lunt (University of Leicester, UK).

    Please submit an abstract of 300 words in English by December 14th 2021 to For further information please consult our website There is a registration fee of 850 SEK (90 Euros) that covers food and drink for the day and an evening buffet.

  • 10.11.2021 17:59 | Anonymous member (Administrator)


    Deadline: March 1, 2022

    Whatever we call image today has for sure a different definition than that of its previous definitions suggested in a number of study areas such as history of art, aesthetics, critical theory, media, and cultural studies. As a matter of fact, W.J.T. Mitchell presents us a quite broad perspective with his categorical distinctions about what we should understand by graphic, optical, perceptual, mental, and verbal images, and how we should connect the images in our minds with words and pictures. Moreover, with his conceptualization “pictorial turn”, Mitchell states that visual studies in this era have a different and special status in comparison to the past. Today, we live in a culture pretty much formed by a universe of images that goes far beyond the paintings of Giorgio Vasari in the 16th century.

    In light of the technological developments of the last four decades, visual culture comes into prominence more than before. It is an interdisciplinary study area that considers both traditional images and new technological appearances of images. As is very well known, the 1980s were the years of a paradigmatic change in social sciences and art studies in terms of methodology and perspective. In the same way, also the history of art has undergone a paradigmatic change. Accordingly, unlike the art historians of the Renaissance, the art historians such as Svetlana Alpers and Michael Baxandall argued that representations did not originate solely from a one-way relationship between the artist and the art. The common ground of both of these art historians was that productions of art were the consequences of the cultural features of their time. They argued that the Renaissance periods in the Netherlands and in Italy were stylistically and contextually sui generis experiences due to the cultural periods they were passing through. In view of this approach, pursuing the social life of images turned out to be more attractive than the images themselves. In other words, rather than centering the image as artwork and focusing on the production processes, how the images are looked at and perceived is questioned.

    We can definitely claim that the suggestions of Alpers and Baxandall are still relevant in this century. However, the greatest difference is that the image they focused on is still the object of the history of art. Whereas today we know by experience that our knowledge of seeing is not only limited to the universe of visual arts like the Dutch bourgeois of the 17th century. Then, we have been long ahead of the limited universe of images constituting the visual culture of the Dutch bourgeoisie, which is mostly comprised of oil paintings.

    Here we talk particularly about a visual life world that originated along with the modernization period, proceeded by means of the voyeuristic/scopic regime in the 19th and 20th century, and reached its peak in the era of converging communication and media technologies that juxtapose different images ranging from ultrasound to the images taken by Unmanned Aerial Vehicles.

    As Nicholas Mirzoeff points out, the period we live in has changed the spatio-temporal conditions where visual culture dwells, and transformed the production, distribution, and consumption practices of image making. According to him, the specificity of the field we call visual culture today should be elaborated even further. In the visual culture of the 1990s images were positioned within some specific spatio-temporal settings such as movie theatres, museums, galleries or even the living rooms of homes through television. Whereas today, images are limitless and everywhere. To put it explicitly, today there are more than 50 billion images shared only on Instagram, and 5 billion videos watched in 3.25 billion hours on YouTube. Comparing this visual flow to the golden age of the Netherlands between the years 1640-1659 in which almost 1.4 million paintings were produced, it is possible to claim that today the image has not only risen in quantity but also become highly varied, and has become an inseparable part of our personal and collective lives. In line with all these, we can also say that images alone constitute a visual culture that, alongside new media opportunities, rearranges our relationship to images. Not only do we go toward the images, but the images also come to us. Not only do we look at them, but they also look at us. As average people, we go beyond being only the consumers of images and become producers as well. Moreover, digital technologies have considerably destabilized the defining characters of the image. The issues of image authenticity and uniqueness, as well as ownership and copyright processes in digital media, are becoming increasingly complicated. Along with them, also the theoretical discussions regarding these issues flourish.

    In the same line, the questions regarding the power of ‘the gaze’ are constantly being reformulated as well. For instance, feminist and postcolonial approaches attempt to decode the asymmetry in the relationship between the ones that look and others that are being looked at. In coherence with this critical intervention, there are also certain approaches that read the current regime of the image with a critical point of view and

    call us to see the Eurocentric ‘gaze’ buried in images by exemplifying the fugitive colours and figures of the Eastern painting. They provide a never-ending discussion around visual culture and ideology with a new context and perspective.

    With this call for papers, we want to question the visual culture that completely inhabits and surrounds our lives. Below you can find the suggested topics for the Visual Culture issue. However, you may submit your papers on other topics provided that they are included within the theme of the issue.

    • Defining Visual Culture
    • Visual Culture and Ideology
    • Visual Culture and Gender
    • Visual Culture and Photography
    • Visual Culture and Cinema
    • Visual Culture and Art
    • Journalism and Photography
    • Television Narratives and Popular Culture
    • Visual Culture and Video Games
    • States of the Image
    • Photography and Digitalization
    • Digital Culture and Imagery
    • Social Media and Visual Contents
    • Relationship between Representation and the Other
    • Discipline, Surveillance and Panopticon
    • Western and Eastern Images
    • Visual Culture and the Body
    • Visual Sociology
    • Visual Anthropology
    • Visual Culture and (Post-Neo) Colonialism
    • Visual Culture and Memory
    • Technology and New Images
    • Relationship between the Image and Emotion
    • Imagery and Methodology
    • From Iconography to Iconology
    • Media Archaeology and Images

    You can submit your papers until March 1st, 2022:


    Unfortunately, we do not accept papers out of the theme.

    Theme Editors:

    Gülsüm Depeli Sevinç & Tolga Hepdinçler




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