ECREA WEEKLY digest ARTICLES

Queen’s University Belfast 

Queen’s University Belfast is one of the leading universities in the UK and Ireland with over 24,000 students, 4,200 staff and an annual turnover of some £300m. We offer generous terms and conditions of employment underpinned by excellent benefits including attractive well-being, family friendly and other lifestyle benefits.

Our five core values - Integrity, Connected, Ambition, Respect, Excellence - are shared by our staff and students, representing the expectations we have for ourselves and each other, guiding our day-to-day decisions and the way we behave as individuals in an international organisation.

The successful candidate will work as part of the team teaching at undergraduate and postgraduate level and will contribute to School administration and outreach activity.

The post is full-time and will be for 18 months.

The successful candidate must have:

• Relevant postgraduate degree in Film/Media/Visual Arts;
• Teaching experience to degree level in Screenwriting; and
• Teaching experience in concepts and practices of film editing.

Closing date: Monday 10 May 2021

For full job details and criteria please see the Candidate Information link on our website by clicking ‘apply’. You must clearly demonstrate how you meet the criteria when you submit your application. For further information please contact Resourcing Team, Queen's University Belfast, BT7 1NN. Telephone (028) 9097 3044 or email resourcing@qub.ac.uk .

The University is committed to equality of opportunity and to selection on merit. We welcome applications from all sections of society and particularly from people with a disability.

Fixed term contract posts are available for the stated period in the first instance but, in particular circumstances, may be renewed or made permanent, subject to availability of funding.

Candidate Information

About the School

Information for International Applicants

University of St Andrews

The University of St Andrews is seeking to enhance its research strength in Film Studies by appointing a new (full) Professor in Film Studies. We would welcome applications from candidates whose research could link with and add to existing strengths in the department (global screen cultures, new film and media histories & historiographies, audio-visual environments, non-fiction media). Our primary objective is to appoint an outstanding candidate who has experience of leading large research projects alongside a commitment to attaching students at all levels, strengthening research collaborations inside and outside the department, and developing public engagement projects. We are particularly interested in applications from those working in the Global South.

This role involves producing excellent research-led teaching and convening a range of modules at the undergraduate and master’s levels, supervising both undergraduate and postgraduate students, and contributing to the administration of teaching, research, and public engagement in the department.

For informal enquiries, we encourage those considering applying to contact the Head of Department, Dr Leshu Torchin (lt40@st-andrews.ac.uk ) or the Head of the School of Philosophical, Anthropological and Film Studies, Professor Mark Harris (mh25@st-andrews.ac.uk ).

Closing Date for Applications: 7th June

Interview Date: 6th July

Start Date: 5 January 2022 or as soon as possible thereafter

Details and further particulars can be found:

At Jobs.ac.uk :

https://www.jobs.ac.uk/…0sb

Or at University Vacancies Site:

https://www.vacancies.st-andrews.ac.uk/…0sb

Interfaces Numériques

Deadline for proposals (English or French): May 15, 2021

Issue edited by Eleni Mitropoulou and Carsten Wilhelm

Issue to be released in January 2022

Download PDF of the current call : shorturl.at/iFGHY

This issue of the journal Interfaces Numériques centers on the contemporary relationship between Technics and Culture against the backdrop of an (im)possible technicist culture (Ellul, 1988: 165-182) as well as the consequences of the technical as independent of (human) intentions (Jonas, 1979). This field of reflection is well established in the Information and Communication Sciences at an international level, including discussions of “mediatization/datafication,” “responsibility,” and “sustainability” in the face of the dynamics of highly technicized communication cultures (Couldry and Hepp, 2016; Waisbord, 2019). These dynamics are yet to be understood and analyzed more deeply. In the midst of the rise of digital technologies and in light of the seminal classic works on technics by Benjamin, Leroi-Gourhan, Simondon or De Certeau and works devoted to the relationship between technology and culture (Humbert, 1991; De Noblet, 1981), a multidisciplinary approach in the humanities and social sciences is needed on these questions. They are as urgent in the media industries, which are now resolutely digital, as in the creative industries (or those claiming to be such), defined by UNESCO (2009) and according to information and communication scholars’ works (Bouquillon, Miège & Moeglin, 2013).

The communication industries are mediated, creative, and by essence, cultural. They are industrial notably by “the repeated implementation of techniques to obtain a certain number of results” (Humbert, 1991, p. 54-55) or by the place that quantification and data occupy in its professional practices (Martin, 2020). The usual relations or ruptures between culture and technics will be summoned here to be exceeded in favor of a mutual recognition of their role in society: culture feeds on technics and technics has meaning essentially in its cultural context. This interaction produces pragmatic as much as symbolic results: tools, language, uses, relations, know-how, soft skills, materiality, representation: “[Humans] and technics form a complex, they are inseparable, [humans] invent themselves in Technics and Technics invent themselves in [humans]. This couple is a process where life negotiates with the non-living by organizing it, but in such a way that this organization makes system and has its own laws” (Stiegler, 1998: 190, our translation).

With the current issue, our aim is to question what configures culture and technology as a milieu. How do they hold together as they interfere (Ricœur, 1990)? The root of the word culture itself contains the idea of cultivation and at the same time of the transformation of matter (Williams, 1985). Is it technology that transforms the culture of communication at the risk of standardizing it or is it culture or rather cultural hegemonies that lead to technical transformations (Pignier & Robert, 2015) and their more or less diversified appropriations? And beyond that, how does technology relate to the transformations of objects and practices of culture (Doueihi, 2011)? The notion of transformation emerges as operational in this regard, especially if we approach the relationship between culture and technology through the example of communication between beings. A certain level of change is needed for a technical element to produce a cultural paradigm equivalent to the changes induced by the emergence of writing (Souchier, Jeanneret and Le Marec, 2003), industrialization or computational reason (Bachimont, 2010).

Technical culture.s thus expresses the situation produced by a technical irruption or the irruption of a technology when it takes root in a society at a socially and historically given moment, when it transforms the state of things and the states of mind proper to the devices and practices of communication by being included in those processes while at the same time finding in part its own sources in these same contextualized practices. It is the perception by society at this given moment of a discontinuity, and potentially of a disruption, that manifests the evaluation of a technology by its culture; this evaluation might, for example, be “innovative”. The situated character of the latter – manufactured, for example, by accompanying discourse (discours d’escorte) or encouraged by the doxa – will – in the scope of our special issue – imply a critical reflection, an openness to comparative perspectives on the social, cultural, local, historical or international level.

Producers just as much as users of technology are agents in the making of technical culture, of a culture of operations and projects, of promises and of feats of technology, planned or experienced, and of the dismissal and non-lieux of technology. It is depending on hopes, successes and failures that the cultures of the technical are at the same time something factual (because they manifest the production of technology in society) and something transcendent (because they invest the technical rationality with creativity and design).

The above questions can be explored within the humanities and social sciences by the following possible approaches:

• Design and industry

Design, today, is the object of vindication by designers themselves, but also of other actors who retain either its material dimension (Berrebi-Hoffmann, Bureau and Lallement, 2018), or the diversity of the methods (Beudon, 2017), the aura of creativity or a desired innovation (Jevnaker, 2010). But if we consider that a discipline is also instituted by the retrospectives that build and perpetuate its representation with a view to further developments, it is notable that design is constructed, mediated, through a staging of its artifacts and techniques. How to question the relation between culture and design? What can we say about its singular relationship to industry when design, a “project” discipline, is summoned, in a given cultural context, as a motif, as a figure within discourses on innovation, management or even organizations and in quite recent media conditions in and with “the digital”?

• Promises and practices of change

Whether culturally situated or cross-cultural practices are involved, technology is deployed through its promise of change, innovation and progress. These notions challenge the expectations and desires of a culture because not all cultures want the same thing (Duchamp, 1999: 183). How does technology fit in with the desire and/or imagination of a culture (Martuccelli, 2013), or even a doxa, i.e. a set of opinions received without discussion, as self-evident, in a given society? How does technology integrate into society or transform it differently according to its doxic or cultural motivation? Should we look for the problems for which technologies represent a solution in a given context and culture or are those contexts universal? Developing a reflection on the culture(s) of the technical allows us not to stray from an essentialist dimension for thinking about the technical: rather than pre-supposing change, innovation or progress, we can think about what makes (Simondon, 2001) change either effective, simulated or imagined at the heart of an ambient techno-enthusiasm, techno-criticism or techno-phobia (Treleani, 2014; Jarrige, 2014).

• Norms, uses and governmentality

Although technical tools have allowed humanity to progressively detach itself, albeit partially, from biological constraints and have thus favored the “fabrication” of culture (Leroi-Gourhan, 1945), the interdependence between technology and the living is strong. If the ecological crisis is the crystallization of this issue, the Corona-crisis brings a very concrete, additional proof, in our lives. One ground on which this relationship is negotiated and organized are the norms that frame and stabilize these developments. Collective negotiations of norms are inseparable from controversies about values and are never free of cultural subtexts. Underneath the apparent simplification and stabilization of processes of production and use, standardization is at the base of a number of communicational, industrial and commercial issues. An analysis of the culture of technology must be interested in both the regimes of governmentality (Rouvroy and Berns, 2013) that are expressed in technical norms and the anthropological norms of use. An expression of “care of the self (souci de soi)” (Foucault, 1984) of users, and their ambitions of “responsibility” (Jonas, 1979), this individual orientation is also accompanied, particularly in the context of global challenges and crises (pandemic, climate, scarce resources) by collective questioning (ethical issues of artificial intelligence, digital sobriety…). How does the culture of digital technology play the card of global challenges and crises (...) to impose itself? In doing so, does it not tend to exclude and obscure other technical cultures that can, and could, confront these challenges and the issues that are linked to them?

Bibliography

BACHIMONT Bruno, 2010, Le sens de la technique : Le numérique et le calcul, Belles lettres.

BERREBI-HOFFMANN Isabelle, BUREAU Marie-Christine et LALLEMENT Michel, 2018, Makers : enquête sur les laboratoires du changement social, Paris, Éditions du Seuil.

BEUDON Nicolas, 2017, « Mener un projet avec le design thinking », I2D – Information, données & documents, vol. 54, no 1.

BOUQUILLON Philippe, MIÈGE Bernard et MOEGLIN Pierre (2013), L’industrialisation des biens symbolique : Les industries créatives en regard des industries culturelles, Presses Universitaires de Grenoble.

COULDRY Nick et HEPP Andreas, 2016, The mediated construction of reality, Cambridge Polity.

DE NOBLET Jocelyn, 1981, Manifeste pour le développement de la culture technique, Centre de Recherche sur la Culture Technique.

DOUEIHI Milad (2011), « Un humanisme numérique », Communication & langages, vol. 167, n° 1, NecPlus.

DUCHAMP Robert, 1999, Méthodes de conception de produits nouveaux, Hermès Science Publications.

ELLUL Jacques, 1988, Le bluff technologique, Éditions Hachette.

FOUCAULT Michel, 1984. Le souci de soi. Histoire de la sexualité III, Gallimard.

HUMBERT Marc, 1991, « Perdre pour gagner ? Technique ou culture, technique et culture », Revue Espaces Temps, 45-46.

JARRIGE François, 2014, Technocritiques : Du refus des machines à la contestation des technosciences, La Découverte.

JEVNAKER Birgit Helene, 2010, « How Design Becomes Strategic », Design Management Journal, vol. 11, no1.

JONAS Hans, 1979, Le Principe responsabilité : une éthique pour la civilisation technologique, Éditions Cerf.

LEROI-GOURHAN André, 1945, Milieu et Techniques, Albin Michel.

MARTIN Olivier, 2020, L'empire des chiffres. Une sociologie de la quantification, Armand Colin.

MARTUCCELLI Danilo, 2016, « L’innovation, le nouvel imaginaire du changement », Quaderni [En ligne], 91, journals.openedition.org/quaderni/1007 ; DOI : 10.4000/quaderni.1007

PIGNIER Nicole et ROBERT Pascal (coord.), 2015, « Cultiver « le numérique » ?, revue Interfaces Numériques, vol. 4, n° 3/2015. Lien : https://www.unilim.fr/interfaces-numeriques/382

RICOEUR Paul, 1990, « Entre herméneutique et sémiotique – Hommage à A. J. Greimas », Nouveaux Actes Sémiotiques n° 7, Pulim.

ROUVROY Antoinette et BERNS Thomas, 2013, « Gouvernementalité algorithmique et perspectives d'émancipation. Le disparate comme condition d'individuation par la relation ? », Réseaux, n° 177, https://www.cairn.info/revue-reseaux-2013-1-page-163.htm

SIMONDON Gilbert, 2001, Du mode d’existence des objets techniques, Aubier.

SOUCHIER Emmanuel, JEANNERET Yves et LE MAREC Joëlle (2003), Lire, écrire, récrire – Objets, signes et pratiques des médias informatisés. Bibliothèque publique d’information.

STIEGLER Bernard, 1998, « Leroi-Gourhan : L’inorganique organisé », in Les cahiers de médiologie, 6(2), Cairn.info. https://doi.org/10.3917/cdm.006.0187

TRELEANI Matteo, 2014, « Dispositifs numériques : régimes d'interaction et de croyance », Actes Sémiotiques [En ligne] n° 11.

TRÉSOR DE LA LANGUE FRANÇAISE INFORMATISÉ, http://www.atilf.fr/tlfi, ATILF - CNRS & Université de Lorraine

WAISBORD Silvio, 2019, Communication. A Post Discipline, Cambridge Polity.

WILLIAMS Raymond, 1985, Keywords: A Vocabulary of Culture and Society, Oxford University Press.

Submission information

The Submission should be made in the form of a proposal delivered as an attached file (file name of the author's name) in rtf, docx or odt format. It consists of two parts:

- A summary of the paper of 4,000 signs maximum, not including spaces;

- A short biography of the author(s), including scientific titles, research field, scientific position (the discipline in which the researcher is located), the section of affiliation.

The file must be returned, by e-mail, by May 15, 2021, to eleni.mitropoulou@uha.fr and carsten.wilhelm@uha.fr. Reception will be acknowledged by e-mail.

Provisional schedule

- May 15, 2021: deadline for the reception of proposals;

- June 15, 2021: notification to the authors of the proposals;

- September 1, 2021: deadline for the submission of articles;

- September 1 to November 1, 2021: double-blind review and exchange with the authors;

- December 1, 2021: submission of final articles;

- End of January 2022: publication of the issue in both online (open access) and paper versions.

Selection process

The editorial committee will meet to select the abstracts and will give its answer in June 2021.

The complete article will have to be formatted according to the style sheet that will accompany the committee’s response (maximum 25,000 characters, including spaces). It should be sent by e-mail before September 1, 2021 in two versions: one completely anonymous and the other nominative.

A second international committee will organize a double-blind reading of the articles and will send its recommendations to the authors by November 1, 2021.

The camera-ready final text must be returned by December 1, 2021.

Please note that articles which do not meet the deadlines and recommendations cannot be considered.

Download PDF of the current call : shorturl.at/iFGHY

Contacts: eleni.mitropoulou@uha.fr or carsten.wilhelm@uha.fr

Interfaces Numériques is a scientific journal recognized as a qualifying journal in Information and Communication Sciences, and is currently under the direction of Nicole PIGNIER and Benoît DROUILLAT. Presentation of the journal ranked by the High Council for the Evaluation of Research and Higher Education (HCERES): https://www.unilim.fr/interfaces-numeriques/

Indexed at the DOAJ : 2258-7942 (Print) / 2259-1001 (Online)

Edited by: Kirsten Drotner, Vince Dziekan, Ross Parry, Kim Christian Schrøder

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground.

Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments.

The Routledge Handbook of Museums, Media and Communication will appeal to both students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today’s world.

The volume is NOW AVAILABLE AS OPEN ACCESS

https://www.routledge.com/The-Routledge-Handbook-of-Museums-Media-and-Communication/Drotner-Dziekan-Parry-Schroder/p/book/9780367580438

Nordicom Review 42 (Special Issue 3) 2021

Editors: Peter Jakobsson, Johan Lindell, and Fredrik Stiernstedt

Content

• Peter Jakobsson, Johan Lindell & Fredrik Stiernstedt

Introduction: Class in/and the media: On the importance of class in media and communication studies

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0023

• Ernesto Abalo & Diana Jacobsson

Class Struggle in the Era of Post-politics: Representing the Swedish port conflict in the news media

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0024

• Vladimir Cotal San Martin

Dismissing Class: Media representations of workers’ conditions in the Global South

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0025

• Yiannis MylonasI & Matina Noutsou

Interpolations of Class, “Race”, and Politics: Denmark’s Jyllands-Posten and its coverage of Greek national elections during the “Greek crisis”

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0026

• Tine Ustad Figenschou, Elisabeth Eide & Ruth Einervoll Nilsen

Investigations of a Journalistic Blind Spot: Class, constructors, and carers in Norwegian media

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0027

Michael Iantorno, Courtney Blamey, Lyne Dwyer & Mia Consalvo

All In a Day’s Work: Working-class heroes as videogame protagonists

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0028

• Semi Purhonen, Adrian Leguina & Riie Heikkilä

The Space of Media Usage in Finland, 2007 and 2018: The impact of online activities on its structure and its association with sociopolitical divisions

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0029

• Jan Fredrik Hovden & Lennart Rosenlund

Class and Everyday Media Use: A case study from Norway

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0030

• Martin Danielsson

Class Conditioning and Class Positioning in Young People’s Everyday Life with Digital Media: Exploring new forms of class-making in the Swedish media welfare state

Download the article via Sciendo: https://doi.org/10.2478/nor-2021-0031

Read more about the journal Nordicom Review here: https://www.nordicom.gu.se/sv/publikationer/nordicom-review

November 5-6, 2021

Online seminar

Deadline for submitting abstracts: 15 June 2021

Virtual Seminar of the ECREA Temporary Working Group „Communication and Sport" hosted by Aarhus University, Denmark (the seminar will take place online via Zoom)

Sport is an essential element of the culture around the world. As a growing social and economic phenomenon, it plays a key role in contemporary societies. This significance has become particularly obvious during the COVID-19 pandemic as measures prohibiting the performance of sports and on-site spectatorship have affected (and continue to affect) individual well-being as well as the function of sport in society including its health-related, educational, social, cultural, and recreational dimension.

The societal role of sport is historically and currently inextricably linked to mediated communication. Mediated sports increasingly form a constituent part of popular culture: Sport is distributed, consumed and even practiced via media. Hence, communication studies all over the world have witnessed a growing interest in mediated sport as an area of study and research. The virtual seminar of the ECREA Temporary Working Group “Communication and Sport” takes account of this significance and covers the nexus of mediated communication and sport in an inclusive way.

The seminar is dedicated to the theme of diversity – and this in two respects.

(1) First, it strives to reflect the diversity of European research on sports communication. By communication it understands mediated communication comprising phenomena ranging from publicly oriented mass media and social media to semi-public and personal communication efforts, e. g. via smartphone applications. Consequently, we invite submissions that address, but are not limited to, issues such as

• sports journalism,
• sports media content,
• strategic communication of sport-related issues,
• advertising in sports,
• mediatization of sports,
• sport and emerging technologies such as mobile media, e-sports, and virtual reality,
• patterns of media sports consumption,
• fan communication and mediated engagement with sport.

(2) Second, we especially invite submissions that address various aspects of equality and diversity in sports communication; e.g.

• diversity with regard to gender,
• diversity of sports disciplines and different types of sport such as high-performance sports, marginalized/minority sports, and leisure sports,
• sexual and race diversity in sport,
• disability sport,
• sport and social inclusion.

The TWG understands itself as interdisciplinary and wants to bring together scholars from all kinds of disciplines as well as practitioners that share the interest in the media-based communication of sport. Consequently, submissions may not only be rooted in communication studies, but also in the academic fields of sports politics, sports economy, sports management, sports technology, sports sociology, and sports practice itself.

In the seminar, we strive to include a diversity of theoretical and methodical approaches to sports communication and give voice to researchers from all parts of Europe.

Proposals for the conference should be submitted as abstracts via email to the chair of the TWG, Daniel Nölleke (daniel.noelleke@univie.ac.at). Abstracts should have between 350 and 500 words and must be submitted in English language. Abstracts should be anonymized and have a separate title page including the contact details of the authors.

Please note, that it is expected that authors will submit only one abstract as first author.

The deadline for submitting abstracts is Tuesday, 15 June 2021.

Should you have any questions, please contact us at daniel.noelleke@univie.ac.at.

October 15-16, 2021

Sapienza, University of Rome (online and in-person)

Department of Communication and Social Research

Deadline: May 15, 2021

KEYNOTE SPEAKERS

• Prof. Rosalind Gill, City, University of London
• Prof. Milly Buonanno, Sapienza University of Rome
• Prof. Paola Bonifazio, University of Texas at Austin

​ROUNDTABLES

• Gender and Media Studies in Italy.
• Gender and Media Studies in Europe and the Mediterranean Region.
• GeMMa Research Unit. Work in progress

CALL FOR PAPERS

Although there appears to be an abundance of literature and opportunities available for discussion on the topic of gender and the media, «researching the gender-media dyad is still an important project for media scholars» (Ross 2010, p. 3). This topic remains significant for several reasons. First is the complex and rapidly evolving nature of media products, technology and actors. The current media landscape and its cultural dimension are constituted by the accumulation and juxtaposition of content, media forms, production and consumption practices, and everything in between. Stale and stereotyped images continue to exist, alongside more innovative and critical content created through processes of remixing, sharing, co-creation and contestation (Banet-Weiser, 2018; Bolter, 2019).

Moreover, the field of studies that explore the complexity and variety of subjectivities, identities, orientations and social and sexual relations in the media universe, alongside more traditional analyses of media representations, is steadily growing. In the last two decades, there has been a significant growth of innovative theoretical reflections and empirical evidence on the relationship between gender and the media that has gone beyond mere media representation and binary, heteronormative approaches (Farris, Compton, Herrera, 2020; Gill 2007; Kay, 2020; Krijnen, 2020; Lotz 2006; Ross, 2012).

This trend is also fuelled by the ever-increasing centrality of gendered actors who make growing use of the media to gain visibility and voice in the discursive arena (Mendes, Ringrose, Keller, 2019; Jackson, Bailey, Foucault-Welles, 2020). Additionally, the importance of an ongoing reflection on the gender-media dyad stems from the advance of theoretical and empirical contributions from different countries with more recent experience of studying gender and media and with distinctive cultural perspectives (Buonanno, Faccioli, 2020; Cerqueira et al. 2016; Rigoletto, 2020). In particular, the field of gender and media studies in Italy has developed fairly recently, yielding valuable theoretical and empirical insights, but with few opportunities for international discussion.

Building on these considerations, we aim to organise an international (online and in-person) conference with the primary objective of advancing discussion and exchange among scholars from different countries. The conference will provide an overview of the most recent studies on gender and the media, and, most importantly, will give prominence to research strands that are not always visible in the international arena.

​The event is in line with the activities of the GeMMA Research Unit (Department of Communication and Social Research, Sapienza University of Rome) and of the PhD Programme in Communication, Social Research and Marketing (Sapienza University of Rome).

The conference welcomes paper proposals exploring the gender-media dyad in relation to media production, representations and the public, legacy and digital media, technology affordances and constraints. This includes a variety of viewpoints from across time and space. Particular attention will be given to contributions that focus on emerging trends on the innovation of images, production and consumption of media content, and, more generally, on new or lesser-known dimensions of gender and media studies.

ABSTRACT SUBMISSION

Please submit your 350-word abstract in English or Italian, together with a short bio (up to 150 words), including your contact details, before the 15th of May 2021.

Abstracts will be reviewed using a double-blind, peer-review process.

Please indicate in the file whether you prefer to participate in-person or online.

Please send your abstract and bio (in a unique file) to abstract@gemmaconference.com and name the file as follows: LastName_Name

Selected papers will be published in scientific journals such as About Gender, Comunicazionepuntodoc, H-ermes. Journal of Communication, Italian Journal of Cinema and Media Studies, Mediascapes Journal, Problemi dell’informazione, Sociologia della Comunicazione, and Sociologia Italiana-Ais Journal of Sociology.

For any further questions or information about the CFP please email: info@gemmaconference.com

SCHEDULE

• 15th February: Call for papers opens
• 15th May: Deadline for abstract submissions
• 15th June: Notification of acceptance/rejection
• 16th June: Registration opens
• 15th July: Deadline for conference registration

REGISTRATION

• Students-Phd Students: 60 € (in-person) 30 € (online)
• Regular registration: 100 € (in-person) 50 € (online)

HOST/LOCATION: Department of Communication and Social Research, Sapienza, University of Rome, Italy. Via

Salaria 113, Rome

​CONFERENCE MODE: Online and in-person

CONFERENCE LANGUAGES: English and Italian

CONFERENCE ORGANISER: Paola Panarese (Sapienza, University of Rome)

SCIENTIFIC COMMITTEE

-Prof. Emanuela Abbatecola (University of Genoa)

-Prof. Consuelo Corradi (Lumsa University)

-Prof. Charo Lacalle (Autonomous University of Barcelona)

-Prof. Pina Lalli (University of Bologna)

-Prof. Flavia Laviosa (Wellesley College)

-Prof. Janet McCabe (Birkbeck University of London)

-Prof. Claudia Padovani (University of Padua)

-Prof. Karen Ross (Newcastle University)

-Prof. Elisabetta Ruspini (University of Milano-Bicocca)

-Prof. Marco Cosimo Scarcelli (University of Padua)

-Prof. Juan Carlos Suarez Villegas (University of Seville)

-Prof. Tiziana Terranova (University of Naples "L'Orientale")

-Prof. Anna Lisa Tota (Roma Tre University)

WEBSITE: www.gemmaconference.com

CONTACT: info@gemmaconference.com

September 22-24, 2021

Pamplona, Spain

Deadline: June 15, 2021

JOLT - CICOM Conference

https://www.unav.edu/en/web/jolt-cicom

The Marie-Skłodowska-Curie European Training Network JOLT (http://joltetn.eu/) and the School of Communication at the University of Navarra (http://unav.edu/fcom) call for the submission of ABSTRACTS for their joint JOLT - CICOM Conference: Harnessing Data and Technology for Journalism, to be held on a hybrid format in Pamplona, Spain, on 22-24 September, 2021 (https://www.unav.edu/en/web/jolt-cicom).

Confirmed keynote speakers are Lucy Küng, professor, author and Google Digital News Senior Fellow at Reuters Institute, and Oscar Westlund, professor at the Department of Journalism and Media Studies at Oslo Metropolitan University and editor-in-chief of Digital Journalism.

Submissions on all aspects of technology and journalism are welcomed, but contributions addressing the theme of “harnessing digital and data technologies for journalism” are particularly encouraged. This includes, but is not limited to, papers addressing issues such as:

• Technological aspects of digital journalism:
• • Developments in artificial intelligence, Big Data, and algorithmic processing and what they mean for journalism.
  • Encouraging experimentation and innovation in journalistic practice.
  • Theoretical approaches that can help us understand technological changes in journalism practices.
• Business and organisational aspects of digital journalism:
• • Promising avenues for journalism business models and financial sustainability.
  • Research agendas and theoretical approaches to understand the future of journalism.
• Political, ethical, and social aspects of digital journalism:
• • Ethical challenges for reporting in the digital environment.
  • Industry and regulatory standards to ensure scrutiny, transparency and accountability.
  • Strengthening research-industry collaborations to support quality journalism.

Submission guidelines:

Abstracts should be written in English and sent in .doc format, maximum 800 words (including bibliography), to fcom@unav.es.

Deadline: June 15th, 2021

JOLT project aims to harness digital and data technologies for journalism by providing a framework for the training and career development of 15 Early Stage Researchers. JOLT addresses the global lack of a systematic, rigorous and innovative approach to digital and data journalism research and training by uniquely combining insights from computer science, data analytics, business, sociology, communication theory, journalism studies, and political science. JOLT is funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska Curie grant agreement No 765140.

Founded in 1986, the International Communication Conference (Congreso Internacional de Comunicación, CICOM) is the oldest academic conference held in Spain about media and communication research. Organised annually by the School of Communication at the University of Navarra, this event gathers international academics, media practitioners and researchers to discuss core issues in the field of Communication

May 5, 2021

The University of Surrey’s strategic research theme Technology and Society – welcomes you to the fourth of its series Keywords in Technology and Society- on 5th May at 2 pm. This event – titled CRIME – brings together three speakers from three diverse areas of the sciences and social sciences – to think about societal consequences of emerging technologies. The event includes some excellent talks on – online hate, romance fraud and cyberconflict.

Prof Nishanth Sastry, Distributed and Networked Systems Group, Surrey Centre for Cyber Security, Department of Computer Science. Nishanth will speak about “Can we agree on online hate? Lessons from Citizens-MP conversations on Twitter”

Dr Emily Finch, School of Law. Emily will speak about “He stole all my money and broke my heart and I don’t know which one has destroyed me the most”. The challenges of combatting online romance fraud.

Dr Michael McGuire, Surrey Centre for Cyber Security, Department of Sociology. Mike will speak about When Worlds Collide: Nation States, Cyberconflict and the Politics of Crime

The event will be chaired by Dr Suparna De.

We also welcome you to look at the wider series of events in Keywords in Technology and Society. You will need to sign-up, though attendance is free. Sign-up for Crime is available on this link: Crime Tickets, Wed 5 May 2021 at 14:00 | Eventbrite

VIEW, Issue 22 (special issue)

Deadline: June 15, 2021

Guest editors: Veronika Pehe, Sonja de Leeuw, Dana Mustata

Publication date: fall/winter 2022

This special issue of VIEW aims to shine a light on television satire in Europe during the period of state socialism and after. Satire has been studied as a vehicle for challenging political and religious power as well as established norms and values. Yet in the state socialist countries of the former Eastern Bloc, satire - including television satire - was also employed by the state apparatus to target ideological opponents. This issue looks into the complex and often subtle and contradictory ways in which satire has disputed the relations between television and power in this specific geopolitical region of Europe before and after the fall of the Iron Curtain.

We welcome contributions that look at satire through the lens of television programmes, production practices, audiences and their modes of spectatorship, programming and scheduling. Contributors are invited to submit articles or video essays dealing with the forms and functioning of television satire under state socialism, the development of new satirical formats and topics in postsocialist Central and Eastern Europe, as well as longue durée perspectives on satire before and after socialism.

Contributions on the following topics are welcome, while other relevant topics related to the satire and (post)socialist television will also be considered:

• television and satire before and after the fall of the Iron Curtain;
• formal and generic specificities of satire as a type of content revisited through the lens of (post)socialist television history and culture and through the lens of television as medium of communication;
• parody, news-parody, religious and political satire and their limits in the (post)socialist context;
• hybrid magazine formats (such as variety shows) that have accommodated satirical content;
• boundaries of satire as a genre negotiated within the national contexts of different television cultures in (post)socialist Europe;
• satire as a transnational phenomenon in European television;
• (self)censorship and ‘underground’ satire in (post)socialist Europe;
• television satire and taboos in the (post)socialist context;
• mapping out ‘satirical spaces’ of television in (post)socialist Europe;
• audiences and modes of spectatorship associated to satirical programmes;
• production practices, programming and scheduling of television satire, including issues of censorship.

Submission details

Deadline for abstracts (max. 500 words): 15 June 2021. Authors are encouraged to send in a short biography with their abstract.

Notifications of acceptance will be sent out to authors by 15 July 2021 at the latest.

Deadline for full articles (3000-6000 words) or video essays: 1 December, 2021.

Articles will be published in November/December 2022.

Proposals and inquiries about the issue can be sent to journal@euscreen.eu.