ECREA WEEKLY digest ARTICLES

September 14-15, 2023

Cardiff University (UK)

Deadline: February 17, 2023

The Future of Journalism 2023 conference invites submissions on all aspects of journalism.  

The event is hosted by the School of Journalism, Media and Culture (JOMEC) and it takes place at Cardiff University on the 14th & 15th of September. 

The organisers especially encourage contributions addressing the theme of “Journalism in troubled times: threats, opportunities and research” 

 This includes, but is not limited to, papers addressing themes such as: 

• The role of journalists and journalism in covering conflict including war, repression, and political violence 
  
• The challenges created in reporting on authoritarian and/or populist political movements  
  
• In an age of Trump, Putin, Johnson, Bolsonaro and many more, the threat to journalism’s standards, normative behaviours, and the compromises to journalistic values in covering populism/authoritarianism? 
  
• The challenges created by reporting on and/or for minority communities  
  
• The challenges of reporting systemic or existential changes, such as climate change 
  
• The accommodations made by legacy news institutions under pressure and the impact on ideals of journalistic objectivity, quality, and fairness 
  
• The role of social media in shaping audience responses to journalism and news consumption 
  
• The impact of both online and physical abuse and threat to journalistic challenge to authority 
  
• Ongoing issues around the gendering of journalism and news 
  
• The tensions between the role of legacy media and alternative media in covering crises 
  
• The changing patterns of sourcing and roles of expertise in journalism 
  
• The implications for improving journalism education associated with these developments 

Confirmed keynote speakers include Professor Jane B. Singer of City, University of London and Dr Valérie Bélair-Gagnon, Associate Professor and Cowles Fellow in Media Management, Hubbard School of Journalism and Mass Communication 

The fee for the conference is £275 (£50 for students), which includes tea and coffee breaks as well as the conference dinner (to be held on the evening of 14th September).  

Please do not submit more than one abstract as first author, with no more than two abstracts in total. 

The deadline for abstracts (300 words maximum) is February 17th, 2023. Abstracts should be submitted online via the link on the page: https://cardiffjournalism.co.uk/foj2023/.  

Should you have any questions, please contact us at FoJ-conference@cardiff.ac.uk 

Drexel University

The Department of Communication in the College of Arts and Sciences at Drexel University invites applications for a full-time, tenure-track assistant professor position in Journalism, Artificial Intelligence and Digital Communication. The starting date for this position is September 1, 2023. This position is a 9-month contract with 40/40/20 responsibility in research, teaching, and service, including community outreach. The successful candidate will be reviewed for tenure after five years. Salary is competitive and commensurate with experience, and the position includes a generous startup package. 

We are seeking candidates that show a clear promise of a strong, active research program in journalism and communication in a digital media ecology driven by AI, algorithms and automation, with methodological expertise in AI and big data analysis, social media analytics, and broader, quantitative methods. We are looking for candidates who center on theories of digital media across questions of social, cultural and political issues. We invite candidates from diverse journalism and digital communication research interests, including topic areas that complement one or more of the research specializations in the department: social media and digital communication; political communication; international communication: popular and consumer culture; relationship management and corporate social responsibility; political communication; non-profit communication and advocacy.  While distinctly situated in communication studies, we welcome interdisciplinary perspectives.

The Department of Communication within the College of Arts and Sciences (CoAS) has an Undergraduate program in Communication, a Professional Master’s program in Strategic Digital Communication and a Master’s and PhD program in Communication, Culture and Media. With faculty members who are equally passionate about teaching and about cutting-edge research, the department is a leader in communication education, guiding the design of new curricular approaches to enhance student learning. The curriculum offers focus and flexibility, allowing students to define their path to success. Students learn through hands-on experiences gained in the classroom and co-operative education. 

The College of Arts and Sciences (CoAS) delivers a time-honored liberal arts education paired with Drexel’s renowned focus on applied learning. Research and scholarship in the College explore contemporary issues with an eye toward improving the common good. The College is home to a breadth of disciplines in the natural sciences, social sciences and humanities, and a focus on the now.

Required Qualifications

• PhD or Doctorate in journalism, communication, mass communication, political communication, or a related field at the time of appointment
  
• Demonstrable research profile centered around journalism and communication in an AI driven, digital media ecology, including expertise in relevant methodologies, including social media/data analytics, meta-analyses, network analysis, or other quantitative social science techniques pertaining to AI and big data. Subareas of particular interest include (but are not limited to) contemporary (e.g., AI, big data) media environment and journalism, platforms and publics (e.g., studies of mis/disinformation, civic engagement), ethics of AI and digital communication, and more
  
• Track record of publications in top academic journals and/or with top academic publishers
  
• Demonstrable network through engagement in recognized academic organizations (ICA, IAMCR, AoIR...) and international research collaborations
  
• Commitment to excellence in teaching
  
• Ability to teach undergraduate and graduate level courses in the field of journalism, digital communication, including expertise to teach advanced analytics methods
  
• Must be legally able to work in the United States
  

Preferred Qualifications

• A track record of grant application is strongly preferred but not required
  
• Teaching experience at the university level is highly desirable, and some journalism experience will be considered as a plus, but not required
  
• Online teaching experience desired
  

Location

University City- Philadelphia, PA

Special Instructions to the Applicant

Review of applications will begin December 15, 2022 until closing date of January 15, 2023. Interested candidates should submit the following materials:

• A letter of interest that describes the applicant’s program of research and other qualifications.
  
• A curriculum vitae that includes names and contact information for three references. 
  
• Two samples of recent research (i.e., journal articles, book chapters, conference papers).
  
• A teaching statement/philosophy and, if available, evidence of teaching effectiveness. 
  
• A one-page diversity statement that discusses the candidate’s skills, experiences and commitment to teaching about diversity and social justice, how the candidate’s past or future research addresses questions important to an increasingly diverse society, and any professional service that assists in achieving diversity, equity, and inclusion.
  

Please keep in mind that only applications submitted via Drexel Careers will be considered. You can find the link here.

Please address all queries to the chair of the search committee:  Dr. Asta Zelenkauskaite.

NECSUS (special section), Autumn 2023

Deadline: January 15, 2023

This special section invites submissions that engage with questions of cyclicality, circularity, and recursivity in relation to media. Film history is traversed by the serial logic of production (such as silent serials, B-movies, and ephemeral sub-genre cycles) as well as the embracing of tropes of circularity bound by the Deleuzian time-image. Well beyond this purview, the undoing of the finite work through the logic of migrating content also attests to the creative repositioning of authorship as rewriting and recycling across media, as the multiple rebirths of Irma Vep (as a character and as a concept in 1915, 1996, and 2022) suggest. 

More recent developments in predictive computation, algorithmic control, and machine learning have led to a renewed interest in cybernetics and systems theory among media scholars. One key interest in this area is how complex systems can potentially ‘regulate themselves’ through recursive feedback loops. In these accounts, the systemic feedback loop takes on a political efficacy that potentially undermines goal-oriented intentionality of the conscious human subject. This preoccupation also manifests in popular culture. The figure of the loop has become a staple technique of contemporary art. In streaming content such as Russian Doll, Dark, or Black Mirror: Bandersnatch time loops are often deployed to convey the slow violence of unsustainable habits and ‘history in a loop’. What is the meaning of these recursive aesthetic movements? How do the underlying principles of seriality enable these loops? Also: to what extent are serial production and consumption patterns themselves caught in unsustainable loops? 

Moreover, the figure of the loop connects cycles of destruction to what one might call cybernetic subjectivities. The cultural figure and meme of the NPC (non-playable character) is a good example of such a cybernetic subjectivity in current media discourse. One may also think of the figure of the sleepwalker that Tony Sampson deploys to think about the nonconscious and repetitive patterns of social media consumption. Recursive media aesthetics are perhaps most clearly present in video games, where gameplay and progression loops buttress logics of optimisation and improvement. Of course, videogames have also begun to reflect on this core dynamic of theirs in titles like Deathloop, Souls-like games, and the increasingly popular genre of rogue-like/lite games (such as Spelunky, Rogue Legacy, Dead Cells, and Hades). Following yet another line of thought, this looped construction of subjectivity can be extended to the digital mediatisation of the so-called cycles of life, through apps that track physiological cycles, such as menstrual or metabolic cycles. What does it mean that subjectivity is produced in and through recursive systems? How does this transform our understanding of subjectivity? Do (digital) media contribute to the articulation of a new, recursive understanding of subjectivity?

If the figure of the loop (often, not always) has dystopian connotations, the notion of the circle or circulation tends to carry utopian potential. Re- or upcycling practices and designs for circular economies are often invoked as ways to ‘break the loop’ of environmental destruction. How and what do media circulate? In what circular movements are media themselves embedded? In what ways can cycles of media production and consumption be said to be open or closed? The cyclicality that underpins posthuman and decolonial thought has echoes in filmmaking across the world from Zama (Lucrecia Martel, 2017) to Memoria (Apichatpong Weerasethakul, 2021). But the aforementioned also suggests that recursive or cyclical processes cannot be easily distinguished and opposed to linear models of (Western) thought. Capitalism’s insistence on linear progress and persistent growth relies on the operations of extractive cycles which, in turn, feed on natural cycles of seasons and life more generally, for instance in agricultural and livestock farming. How are these linear and recursive logics articulated to function together? What insights – regarding ecological, social, and political problems – can be gleaned from a method that pays attention to the imbrication of cyclical and linear aspects of time? The critical re-assessment of Western and colonial knowledge formations thus involves a reckoning with the linear and nonlinear models of time that support modern extractive economies.

For this special section of NECSUS we welcome contributions on #Cycles in different media forms, including but not limited to:

# cycles of production, distribution, and consumption 

# cycles of the Earth, social and political cycles in relation to media

# tracking metabolic, menstrual, circadian and other cycles

# cybernetic subjectivities

# circular (media) economies and re-/upcycling

# recursivity in media and media aesthetics 

# time loop media

# gameplay loops and progression loops

# ‘smart’ infrastructures and feedback loops

# new forms of non-linear temporalities in narrative film and media

We also invite submissions on the intersection between academic research and artistic practice – especially ones drawing circularity and/or seriality conceptually or methodologically. We look forward to receiving abstracts of 300 words, 3-5 bibliographic references, and a short biography of 100 words by 15 January 2023 to necsus.info@gmail.com. On the basis of selected abstracts, writers will be invited to submit full manuscripts before 1 September 2023 (5,000-8,000 words, revised abstract, 4-5 keywords) which will subsequently go through a blind peer review process before final acceptance for publication.  Please check the guidelines at: https://necsus-ejms.org/guidelines-for-submission/ 

NECSUS also accepts proposals throughout the year for festival, exhibition, and book reviews, as well as proposals for guest edited audiovisual essay sections. We will soon open a general call for research article proposals for the section Features, which are not tied to special section themes. Please note that we do not accept full manuscripts for consideration without an invitation.

12-14 September 2023

Porto, Portugal

Deadline: February 25, 2023 

The ECREA Audience and Reception Studies Section, in cooperation with SOPCOM Portugal, Lusófona University/CICANT and NOVA University/ICNOVA, is inviting you to the conference in Porto (Lusófona University), 12-14 September 2023.

Conference call

Unpredicted events have profoundly affected the lives of citizens around the world. The pandemic disrupted everyday routines and brought about rapid mediatization of numerous practices, from education and theatre-going, to therapy and fitness to name a few. After the first period of heightened orientation towards official information audiences developed different strategies and tactics for navigating the social and media environment – reaching personal networks, looking for alternative sources of news, creating their own content, campaigning or disconnecting from news flows. As we struggled to understand these varied responses to the pandemic, new crises entered the lives of citizens – war in Ukraine, energy and financial crisis, climate crisis, and political upheaval. These created different imagery, sources and relations to be woven into audience practices.

Such global occurrences pose unprecedented challenges and unforeseen human proximity to digital environments in an increasingly datafied, algorithmic world. As such, audiences are in a state between conformed and disruptive forms of thinking and acting, presenting themselves in between receptionist dynamics and (new) digital participatory habits. The conference intends to discuss these challenges in the context of our digitally saturated times

We therefore invite submissions that focus on audiences and touch on any of the following points:

-       Online hate speech

-       Online (dis and mis)information disorders

-       Privacy and surveillance

-       Trust in (datafied) media

-       Digital literacy

-       Audiences in a post-truth era

-       Digital disconnection

-       News consumption and participation

-       Ethic contexts on audience research

Application process

Proposals for papers can be submitted in the form of 300 words abstract through the online form available here.

The deadline for the submission is 25th February 2023. 

Submitted abstracts will be evaluated by the panel of reviewers consisting of Conference Scientific Committee, ARS and SOPCOM members.

Notification of acceptance will be sent to participants by 7th April 2023.

Authors of accepted abstracts are expected to attend the conference in person.

Participation fee (including coffee break and lunch) is 60 EUR for all participants. Each participant should cover their travel and accommodation costs.

For further information do not hesitate to contact conference organizers:

• Jelena Kleut, University of Novi Sad, Chair of Audience and Reception Studies Section ECREA, jelena.kleut@ff.uns.ac.rs
  
• Vivi Theodoropoulou, Vice-Chair of Audience and Reception Studies Section ECREA, vivitheodoropoulou@gmail.com
  
• Maria José Brites, Lusófona University, CICANT, Vice-Chair of Audience and Reception Studies Section ECREA, and Chair of SOPCOM WG Publics and Audiences, maria.jose.brites@ulusofona.pt
  
• Marisa Torres da Silva, NOVA University, ICNOVA, Vice-Chair of SOPCOM WG Publics and Audiences marisatorresilva@fcsh.unl.pt 
  

Edited by: Dalton, D., & Ramirez Plascencia, D.

Brill (2022)

https://brill.com/view/title/38449    

Imagining Latinidad examines how Latin American migrants use technology for public  engagement, social activism, and to build digital, diasporic communities. Thanks to platforms  like Facebook and YouTube, immigrants from Latin America can stay in contact with the  culture they left behind. Members of these groups share information related to their homeland  through discussions of food, music, celebrations, and other cultural elements. Despite their   physical distance, these diasporic virtual communities are not far removed from the struggles in  their homelands, and migrant activists play a central role in shaping politics both in their home  country and in their host country.

Table of Contents:

1 Introduction: Imagining Latinidad in Digital Diasporas. David S. Dalton and David Ramírez Plascencia

Part 1 Civic and Political Engagement    

2 Pleito y Piedad: Continuity in Religious Conflict and Identity in Rural Morelos and its Diaspora. Jason H. Dormady

3 Oaxacalifornia and the Shaping of Virtual Spaces for Collective Action. Anna Marta Marini

4 Exploiting Liminal Legality: Inclusive Citizenship Models in the Online Discourse of United We Dream. David S. Dalton

5 Digitizing Transit and Borders: Social Media Use during Forced Migration through Mexico to The United States. Nancy Rios-Contreras  

6 Latin Americans in London: Digital Diasporas and Social Activism. Jessica Retis and Patria Román-Velázquez   

7 Digital Diasporas and Civic Engagement: The Case of Venezuelan Migrants in Mexico. David Ramírez Plascencia

Part 2 Digital Media and the Construction of Diasporic Communities 

8 Solidarity and Mobility of Information among Brazilian Au Pairs in Online Forums. Amanda Arrais    

9 YouTube Channels of Mexicans Living in Japan: Virtual Communities and Bi-Cultural Imagery Construction. Yunuen Ysela Mandujano-Salazar    

10 Radio Haitiano en Tijuana: An Alternative and Aesthetic Communication Device on the Border. Diana Denisse Merchant Ley and Karla Castillo Villapudua  

11 Latinidad Ambulante: Collaborative Community Formation Week by Week. Carmen Gabriela Febles  

12 Public Engagement and the Performance of Identity on Instagram of Heritage Speakers of Spanish Studying in Spain. Covadonga Lamar Prieto and Álvaro González Alba  

13 Scientific Diasporas: Knowledge Production, Know-How Transfer and the Role of Virtual Platforms. The Case of Colombian Association of Researchers in Switzerland, ACIS. María del Pilar Ramírez Gröbli  

14 Latin American Diasporas amid a Pandemic, Hyperconnected and Polarized Context. David Ramírez Plascencia and David S. Dalton.  

Edited By: Tonny Krijnen, Paul G. Nixon, Michelle D. Ravenscroft, Cosimo Marco Scarcelli

https://www.routledge.com/Identities-and-Intimacies-on-Social-Media-Transnational-Perspectives/Krijnen-Nixon-Ravenscroft-Scarcelli/p/book/9781032169125

This edited collection illuminates the scope with which identities and intimacies interact on a wide range of social media platforms.

A varied range of international scholars examine the contexts of very different social media spaces, with topics ranging from whitewashing and memes, parental discourses in online activities, Spotify as an intimate social media platform, neoliberalisation of feminist discourses, digital sex work, social media wars in trans debates and ‘BimboTok’. The focus is on their acceleration and impact due to the specificities of social media in relation to identities, intimacies within the broad ‘political’ sphere. The geographic range of case study material reflects the global impact of social media, and includes data from Belgium, Canada, China, France, Germany, Greece, Italy, Portugal, Spain, Sweden and the USA.

This enlightening and rigorous collection will be of key interest to scholars in media studies and gender studies, and to scholars and professionals of social media.

The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

February 1-3, 2023

Nova University of Lisbon

Deadline: December 20, 2022

Open calls for communications and artist residencies

Call for papers, artist residencies and INN 2023 Awards – Media Innovation Awards (only for Portuguese context) are open until December 20th in the scope of INN 2023 – I International Conference on Media Innovation, which will be held at the School of Social Sciences and Humanities at NOVA University of Lisbon between February 1st and 3rd, 2023.

Dedicated to the theme “(Per)forming Innovation”, the first edition of this annual conference aims to explore the concept of innovation from a conceptual and performative point of view in the media sector and also the innovative use of digital media in other contexts (such as artistic, cultural or creative). The programme includes a makeathon for PhD students and young researchers, workshops and master classes, theoretical discussions, debates with professionals, hybrid sessions, artist residencies, and the first edition of media innovation awards.

Regarding abstract proposals, contributions that focus on various dimensions of innovation in the media and other creative industries are encouraged.

Concerningproposals for artist residencies, physical and virtual artistic experiences that concretize the “(Per)forming innovation” concept, capable of involving the public, are encouraged.

There are also two journals associated with the event for authors who wish to submit full papers after the conference:  Media & Journalism journal will host a limited selection of the best papers subject to a prior peer review process; Journal of Communication and Languages will edit a thematic issue dedicated to media innovation in artistic and cultural contexts, to be published in 2024, with a selection of the best articles subject to a peer-review process. Both are indexed in Scopus.

All information is available in the conference area, at https://obi.media/en/inn2023/

May 29-30, 2023

Toronto, Canada

Deadline: January 15, 2023

Novel Directions in Media Innovation and Funding is an ICA post-conference on innovation in journalism that will bring together global scholars and leading journalists to address three key areas:

• Analyze the impact of journalism funding and policy in different national contexts
  
• Consider innovative and successful funding solutions adopted by media outlets internationally
  
• Highlight the role of digital news start-ups and peripheral actors in reshaping journalism

Journalists will be invited to participate in the discussions to build bridges between academic researchers and practitioners. By assembling this shared expertise, this conference aims to galvanize those who seek meaningful repair, reform and/or transformation of journalism. 

The conference will be held in a central location in downtown Toronto on the evening of Monday May 29 and the day of Tuesday May 30, 2023. A registration fee of $75 Canadian ($25 for students and scholars from the Global South) includes two meals.

We invite submissions from scholars on topics related to journalism funding and media policy, innovative funding approaches, and on the role of digital news start-ups in reimagining journalism. Please submit using this form.

The deadline for submission is January 15, 2023. Submissions will be selected by the organizers, Alfred Hermida and Mary Lynn Young, University of British Columbia. Presenters will be notified by February 17, 2023.

Questions, comments or suggestions? Get in touch with us at journalisminnovationlab@gmail.com

Deadline for proposals: December 30, 2022

Call for Chapters

Published by Lexington Books, August 2023

Edited by Tomás Dodds (Leiden University)

VR, AR, and 360 videos are storytelling tools that require journalists to navigate new narratives and platforms. Immersive technologies can amplify feelings of presence for the audience, allowing for deeper emotional engagement and information recall. Therefore, immersive technologies present unique ethical and practical questions for journalism, as its production is linked to biometrical, sensory, and metadata collection. Consequently, conversations about future-proofing newsrooms for the metaverse have gained increasing academic and societal attention over the last few years. This edited book is one of the first to ask: How do immersive technologies affect newsmaking, and what impact do they have on journalistic norms, audience engagement, and data protection?

This volume will be divided into three sections. The first section looks at how the empathy- generating nature of 360-degree videos impacts journalists producing the news and which ethical norms and values media workers consider when making the news. The second section of this book delves deeper into platform infrastructures and the narratives allowed by their affordances. This book's third and final section explores how new users’ data is made available to journalists through these technologies and presents the ethical and regulatory challenges associated with this recent phenomenon.

• Content Production & Journalistic Cultures: This book's first section addresses how journalists use new platforms to create novel types of content. Immersive technologies allow the users to gain first-person experiences of the events presented by journalists, which radically transforms the reporters' role in constructing news narratives. This section describes how VR technologies are transforming working cultures within newsrooms, including the diversification of professional roles and the upgrade in the materiality required to produce 360-degree and VR content. Possible questions for this section include: (1) how newsrooms are adapting their infrastructure to produce VR content, (2) how journalists are navigating professional and ethical questions surrounding the production of immersive content, and (3) reporters' imaginaries about the future of the news industry across the world.

• Narratives & Platforms Infrastructures: Virtual reality has shown promising results in recent studies on information recall and emotional engagement. Unlike two- dimensional (2D) videos, immersive 360-degree videos using a VR headset impact the audience differently, even when the based content is similar between the two formats. This makes the role that third-party platforms play in constructing virtual worlds even more critical as journalists adapt to the affordances of these platforms to build the news. As journalists look for spaces in the metaverse, new processes of gathering, processing, and designing information emerge across newsrooms. Possible questions for this section include: (1) platforms' affordances and their impact on news production, (2) VR languages and platform narratives for the creation of immersive content, and (3) how immersive technologies could increase the dependency between newsrooms and third- party platforms like Facebook and Google in different countries.

• Audiences Metrics & Data Protection: The material design of virtual and augmented reality technologies allows platforms and third-party companies to collect, analyze and distribute unquantifiable amounts of individual user data. VR headsets, some of which include brainwave sensors and eye-tracking technologies, allow the collection of three distinct categories of data to create virtual worlds. Firstly, physical data, such as body motion or visual attention-cueing, is collected through new generations of headsets or hand-based inputs. Secondly, biometrical data is collected through sensors that measure and record voluntary and involuntary bodily signals. Thirdly, metadata is naturally also recorded by platforms in the metaverse. Everything becomes data points for media to better understand their users, from avatars to microtransactions to friends and interactions. Possible questions for this section include: (1) what type of ethical considerations journalists have when dealing with user data, (2) how journalists are using new types of data to construct news stories, and (3) how these new categories of data impact the construction of media’s agenda.

*Please email chapter proposals of up to 500 words in length, as well as a brief author biographical information (150 words) to Tomás Dodds (t.dodds.rojas@hum.leidenuniv.nl) – no later than Friday, December 30th. Please indicate for which section you are proposing your chapter.

*Notification of acceptance will be sent in January 2023.

*After feedback, complete chapters (6000-7000 words) are due on April 24th for editing. The book is expected to be published as a hardcover edition in August 2023.

A contract has been signed with Lexington Books (Rowman & Littlefield Publishing Group). No payment from the authors will be required.

Editor: Tomás Dodds is an Assistant Professor in Journalism and New Media at Leiden University and a Faculty Associate at the Berkman Klein Center for Internet & Society at Harvard University. He is also a researcher in the AI, Media & Democracy Lab in the Netherlands and the Artificial Intelligence and Society Hub [IA+SIC] in Chile.

May 4-5, 2023

University of Bologna, Department of Arts (Italy)

Deadline for proposals: 29 January 2023

Call for Paper and Panel Proposals

Website: https://eventi.unibo.it/creative-korea 

Result notification: 15 February 2023

In recent years, Korean cultural industries have established themselves as among the most dynamic and successful at the global level, both artistically and commercially. Supported by a series of worldwide successes in different areas, the Korean Wave has become one key example of non-Western cultural production that was able to engage global audiences and to influence the way in which they consume pop culture. In this process, Korean cultural production has been able to diversify its offer and to adapt to the transformative changes brought by new social and digital media technologies. 

The conference will focus on exploring the different aspects of contemporary Korean cultural production, with an inter-disciplinary and multi-disciplinary perspective, including the many different sectors that compose the Korean Wave: film and TV production; music; performing arts; visual art; comics, graphic novels and webtoons; animation; videogames and e-sports; fashion and food. The aim is analyzing the multiple factors that have made this growth possible, the specific characteristics of cultural industries and cultural production in the Korean context, the different influences that shaped this production and how Korea’s success is now influencing other contexts, the historical development and changes of the Korean Wave, the socio-political and economic effects and impact of the spread of Korean cultural products both inside and outside Korea. In particular, we welcome contributions dealing with recent developments and changes in Korean cultural production, the post-pandemic challenges and opportunities for cultural industries, the integration of culture and technology, new trends in the development of cultural production.

Submissions should include an abstract (300 words) and a short bio (100 words) and be sent to creativekorea2023@gmail.com before 29 January 2023. 

Proposals from PhD students, early career researchers and independent scholars are welcome. 

Publication plan: at the end of the conference, we will look for an opportunity to publish an edited volume.

Enquiries can be directed to: Dr. Mary Lou Emberti Gialloreti, University of Bologna, marylou.emberti@unibo.it

The event is funded by the Academy of Korean Studies.