PT/EN

A AIM - Associação de Investigadores da Imagem em Movimento é uma associação que procura reunir os investigadores e promover a investigação da "Imagem em Movimento". O VI Encontro Anual irá decorrer de 4 a 7 de maio de 2016, na Católica Porto. Conheça também a Aniki : Revista Portuguesa da Imagem em Movimento, uma publicação científica da AIM.
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NOTÍCIAS

DOC'S KINGDOM 2015 - Seminário Internacional sobre Cinema Documental
Encontram-se abertas as inscrições para a 12.ª edição do Doc’s Kingdom – Seminário Internacional sobre Cinema Documental, que este ano se realiza de 20 a 25 de Setembro pela primeira vez em Arcos de Valdevez, no Alto Minho. Encontra-se disponível a inscrição de €25, dando acesso a todas as sessões e debates do seminário.

Este ano o seminário convida a uma rota por "Todas as fronteiras" – geográficas, geopolíticas, entre pobres e ricos, vítimas e carrascos, entre quem filma e quem é filmado, entre o púbico e o privado, entre o visível e o invisível, entre o som e a imagem – contando com as presenças de Adirley Queirós, Catarina Mourão, Eloy Dominguez, Eric Baudelaire, Eyal Sivan, Filipa César, Joana Pimenta, Nelson de los Santos Arias e Salomé Lamas, entre outros. Também Robert Kramer, a quem o seminário deve o nome, estará em foco nesta edição.

O Docʼs Kingdom é organizado desde 2000 pela Apordoc ‒ Associação pelo Documentário, visando promover o diálogo entre realizadores consagrados e novos autores, estudantes, críticos e investigadores, estando aberto a todos os interessados independentemente das suas profissões e áreas de formação. Cada dia do seminário é composto por sessões de visionamento com início pela manhã, seguidas de debates colectivos em atmosfera informal com a presença dos realizadores.

Página oficial: www.docskingdom.org
Página no Facebook: https://www.facebook.com/docskingdom00
Mais informações: docskingdom@docskingdom.org
(info atualizada em 29/08/2015)

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Children's and young people's rights in the digital age
Call for papers for a special issue of /NEW MEDIA & SOCIETY/
Editors: Sonia Livingstone and Amanda Third
Abstracts due (400-500 words): 15th September 2015

In 1989, Sir Tim Berners Lee released the code that would form the
foundation of the World Wide Web, which now boasts an audience of three
billion users worldwide. The same year, the United Nations adopted the
Convention on the Rights of the Child (UNCRC), the most widely ratified
human rights treaty in the history of the UN. The trajectories thereby
set in motion have recently become explicitly intertwined, with growing
momentum behind calls for the recognition of the potential of online and
networked media for promoting children’s rights. At the same time,
researchers, child rights’ advocates and internet governance experts,
among others, are concerned that children’s rights are being newly
infringed rather than enhanced in the digital age.

While the past quarter of a century has seen the emergence of a
significant literature examining the broad issue of children’s rights
and, in parallel, a burgeoning field of research on children’s new media
and digital practices in a variety of national and international
contexts, the question of children’s rights in the digital age has yet
to receive sustained scholarly attention, especially compared with the
attention paid to adult rights online. Within popular discourse,
children and young people are frequently configured as riding at the
forefront of the ‘digital revolution’. Nonetheless, as high level
debates about global internet provision and governance extend their
geographic, political and economic scope, the position of children and
young people is barely acknowledged. Further, in the twists and turns of
often heated policy debates, children’s own experiences, voices and
interests are vastly under-considered. This special issue thus seeks to
contribute to the definition, empirical evidence base, and theorisation
of the field internationally.

Not only are children’s needs and experiences in the digital age often
treated as merely a minority interest but they are also often seen as
essentially problematic, as demanding exceptional treatment from adult
society or causing unwarranted restrictions on adult freedoms. It is
important to recognise the fundamental nature of the challenges – this
is not just a matter of ‘digital rights’ but of all children’s rights as
they may be being transformed in a ‘digital age’. Nor is it just a
matter of the exceptional circumstances that apply to children, for
addressing the rights of children and young people also has implications
for adult rights in a digital age. How does a consideration of children
compel a wider re-examination of the concepts both of the digital and of
human rights?

If children’s rights in the digital age have yet to receive attention in
the global North, this is even more acute in the global South. The
tipping point has already passed, with two thirds of the world’s nearly
three billion internet users living in developing countries, many of
them children. At present, the evidence regarding their online
activities is very patchy, too often drawing on anecdote, practitioners’
observations and institutional reports or media accounts. There is thus
an urgent need for a scholarly focus on the rights of children and young
people within this larger picture of expanding connectivity in the
global South. This is vital to foster debates about children’s rights
informed by dialogues among diverse epistemologies, experiences and
normative frameworks.

This special issue seeks to unpack the ways digital media are
impacting – both positively and negatively – children’s rights today
and, in doing so, to reflect on the ways that children’s rights might
provide a meaningful counterpoint from which to consider the role of
‘the digital’ in advancing human rights more broadly. Assembling
contributions from leading scholars and practitioners in the field
internationally, this special issue seeks to bring fully into view the
ways in which children’s rights – indeed rights generally – may be being
reconfigured by the appropriation of digital networked technologies
around the world. Submissions will critically examine the normative and
socio-technological assumptions embedded in conceptual, policy and
practitioner perspectives. To catalyse the debates, we now call for
*reflective papers of 6000-7000 words analysing key dilemmas or tensions
shaping children’s rights in the digital age, as well as shorter
empirical or practitioner pieces (3000-4000 words each)*.

Papers on key dilemmas or tensions that respondents to the call might
address include:

* The tension between universal or fundamental human rights and the
specific rights demanded by the digital age
* The tensions between ‘adult rights’ and ‘children’s rights’
* The relationship between children’s rights and their citizenship
* Collective rights versus individual rights
* The tension between ‘adult power’ and ‘children’s rights’
* The tension between the universal (‘the child’, ‘rights’) and the
specific (the lived experiences of children)
* Hierarchies of children’s rights in the digital age
* Children’s rights in the digital age in the global North and global
South

Empirical or practitioner pieces might address:
* Children’s privacy rights and the role of peers and peer culture
* Youth participation rights in the mediated public sphere
* Historical shifts in children’s communication rights
* Child protection in the global South: is the internet helping or
hindering?
* From principles to practice: applying arguments about digital
rights in particular domains
* Who is (or should be) ensuring children’s rights online – parents,
government, industry?
* Children’s creative workarounds to gain health resources online
* Evaluating initiatives for e-learning and other digital educational
programmes
* How are children’s rights represented or abused in ‘big data’
* Digital exclusion as a barrier to children’s communication rights
* Rethinking possibilities for children’s identity and expression in
the network society
* Problems of reputation for networked youth
* Public policy /multi-stakeholder governance regarding children’s
rights in the digital age
* Children’s information rights: what are the dilemmas?
* Education for all – newly possible in the network society?
* Grooming, hacking, cyberstalking, trolling and other crimes against
children online
* Meanings/limits of “voice” in participatory research on children’s
rights in the digital age
* The intergenerational dimensions of children’s rights

Please submit abstracts for either the ‘dilemma’ papers or
‘empirical/practitioner papers’ by *15th September 2015 to both
editors – Sonia Livingstone (s.livingstone@lse.ac.uk) and Amanda Third
(A.Third@uws.edu.au A.Third@uws.edu.au>)*.

The editors will invite full papers from selected submissions by early
October, with *full papers to be submitted for independent review by
1^st Feburary 2016*. It is anticipated that the special issue will be
published via Online First by late 2016.
(info atualizada em 28/08/2015)

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InVisible Culture Issue 25: Security and Visibility
For its twenty-fifth issue, /InVisible Culture: An Electronic Journal
for Visual Culture/ invites scholarly articles and creative works that
explore the concept of security and visual culture.

For almost two decades, both scholarly and public interests in matters
of national security and the corresponding surveillance of public space
have increased immensely. Notions of visibility figure prominently in
these discussions. The expanding academic fields of Security and
Surveillance Studies have successfully engaged with the multiple layers
connecting (national) security, surveillance, and the visual. Focusing
on present-day phenomena, sociologists, political scientists, and
culture and media scholars have already developed an integrative
perspective when it comes to relating issues surrounding security to the
field of visibility. Consequently, newer research on security has
focused on decentralized practices of security, encompassing much more
than just “official” government agencies and their mediaries.

For this issue, we seek to engage a historical perspective on issues of
security and visibility through a close reading of texts in contemporary
social sciences and cultural studies. With a special insert edited by
scholars Barbara Lüthi and Olaf Stieglitz at the University of Cologne,
this issue will focus on visual material as a source of meaning and
power, this issue will function as a broad investigation of both stable
and changing notions of security over time and place. By bearing social
and political dimensions of visibility in mind, a turn to images may
prove helpful in asking how their performative power invokes
securitization processes through immediacy (Moeller 2009; Mirzoeff 2011).

We welcome papers and artworks that further the various understandings
of securitization through a consideration of the visual. Possible topics
of exploration include, but are not limited to:
•methodological debates on using visual material
•the ethics of surveillance, big data, and the right to privacy
•history of national securities and surveillance
•counter-visibilities, hacking, and the critique of security

Please send completed papers (with references following the
guidelines from the Chicago Manual of Style) of between
4,000 and 10,000 words to ivc[dot]rochester[at]gmail[dot
]com
by September 20th, 2015. Inquiries should be sent to the
same address.

Creative/Artistic Works
In addition to written materials, InVisible Culture is accepting work in
other media (video, photography, drawing, code) that reflect upon the
theme as it is outlined above. For questions or more details concerning
acceptable formats, go tohttp://ivc.lib.rochester.edu/contribute
<http://ivc.lib.rochester.edu/contribute/> or contact
ivc[dot]rochester[at]gmail[dot]com.

Reviews
InVisible Culture is also currently seeking submissions for book,
exhibition, and film reviews (600-1,000 words). To submit a review
proposal, go tohttp://ivc.lib.rochester.edu/contribute
<http://ivc.lib.rochester.edu/contribute/> or contact
ivc[dot]rochester[at]gmail[dot]com.

Blog
The journal also invites submissions to its blog feature, which will
accommodate more immediate responses to the topic of the current issue.
For further details, please contact us at
ivc[dot]rochester[at]gmail[dot]com with the subject heading “blog
submission.”

* InVisible Culture: An Electronic Journal for Visual Culture (IVC) is a
student run interdisciplinary journal published online twice a year in
an open access format. Through peer reviewed articles, creative works,
and reviews of books, films, and exhibitions, our issues explore
changing themes in visual culture. Fostering a global and current dialog
across fields, IVC investigates the power and limits of vision.
(info atualizada em 28/08/2015)

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Virtual Cultural Studies Conference
1^st International Virtual Conference on Cultural Studies on the
topic of * "*Languages, Literature and Cultural Studies: Sites and
Insights" from January 15 - 17, 2016
Deadline for Abstracts: September 10, 2015

*Call for Papers *for the**1^st International Virtual Conference on
Cultural Studies on the topic of * "L**anguages, Literature and Cultural
Studies: Sites and Insights*” to be held from January 15 - 17, 2016

The conference is organized by North American Literary and Cultural
Studies at Saarland University (Germany) and Black Sea State University
(Ukraine).

Registration and Abstract Submission Deadline: *September 10, 2015*
Full Paper Submission Deadline: *October 31, 2015*

/This virtual conference focuses on collaborative transnational cultural
studies and wants to investigate how encounters with the English
language and ‘American culture’ have shaped European identities. Sites
of these encounters span literary and cultural texts (e.g. novels, short
stories, plays, films, TV series), corporate mass culture (e.g. Social
Networks, technological products or fashion items) as well as
countercultural phenomena (e.g. social movements).//‘America’ in this
project is an object of study that functions as a cultural process of
translation. //The //primary research question is to examine how the
signifier ‘America’ functions as an intermediary in the production of
transnational civic European cultures./

The conference will gather researchers from universities, colleges and
companies from all around the globe. The event will connect different
cultures and knowledge, thus contributing to the improvement of
intercultural communication and research skills.

For more information, see: http://cultural-studies.chdu.edu.ua
Contact us at: cultural.studies.conference@gmail.com

Selected papers will be published in a conference proceedings.
There is no participation fee.
(info atualizada em 27/08/2015)

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Stephen King and Science Fiction on Film and TV
A Special Issue of the journal /Science Fiction Film and Television/.

From the publication of his first novel, /Carrie/ (1974), Stephen King
has been inextricably linked to the horror genre. The same is true for
the film and television projects that have been adapted from his work,
beginning with /Carrie /(1976), and the mini-series of /Salem’s Lot/
(1979). Yet King is not, and never has been, purely a horror writer. One
genre to which he has returned throughout his career is that of science
fiction (SF). Alien invasion narratives such as /The Tommyknockers/
(1987), /Dreamcatcher/ (2001) and /Under the Dome/ (2009) stand
alongside time-bending stories like /11.22.63/ (2011) and /The
Langoliers/ (1990), the dystopian future of Richard Bachman’s /The
Running Man/ (1981), and tales of science and technology run amok, for
example /Trucks/ (1977), /The Mangler/ (1977), /Firestarter/ (1980) and
the horror/SF hybrid novel /Cell /(2006).

Each of these has been adapted for the big or small screen, meaning
despite his reputation for being solely a ‘master of the macabre’,
King’s work has, over the past twenty years, made an undeniable
contribution to the SF genre on film and television. With the success of
the SF television series /Haven/ (2010-) and /Under the Dome/ (2013-)
prompting a revival of interest in adapting King’s work for the screen,
the time is right to explore the relationship between adaptations of
Stephen King and the SF genre. To this end the Journal/Science Fiction
Film and Television/ will be publishing a special issue devoted to the
SF adaptations of King’s work, guest edited by Simon Brown and Regina
Hansen. The aim of this issue is to examine King’s relation to SF, to
consider the adaptations within the context of the film and/or TV SF
genres, and to examine the relationship between the two.What kind of SF
does King write, how is it adapted, and how do those adaptations relate
to, draw on, or differ from, ongoing themes and representations in SF on
Film and TV?

The guest editors are seeking proposals for articles of up to 6000
words. The deadline for submission of articles is 31 May 2016. The issue
will be published mid-2017. We welcome proposals on any area to do with
Stephen King and the film and TV adaptations of his SF work (or indeed
non-SF works that have been adapted into SF, such as /The Lawnmower Man/
and /Haven/), but particularly around the following:
·Individual adaptations or series, or groups of adaptations, or
original series. These include but are not limited to /The
Tommyknockers/, /Dreamcatcher/, /The Langoliers/, /Stephen King’s
Golden Years/, /Firestarter/, /The Running Man/, /The Mist/, /Hearts
in Atlantis/, /Maximum Overdrive/Trucks/, /Haven/, /Under the Dome/,
/The Dead Zone/ (Film or series), /The Lawnmower Man/, /11.22.63/
·The way in which King adopts or adapts the tropes of the SF genre
·King, SF and genre hybridity
·The relationship between King’s stories as literary SF and the
adaptations as cinematic or television SF
·Adapting King as SF for the big and small screens
·The format of King adaptations (film, TV movie, mini-series, series)
·The impact of these adaptations on the SF genre in film and/or TV
·The significance (or otherwise) of the King “brand’ to film and/or
TV SF
·King as source for/contributor to other SF shows such as /The
X-Files/, /The Outer Limits/ and /The Twilight Zone/.

Proposals of 300-500 words, and a short biography of 50-100 words should
be submitted via email no later than 30 September 2015 to the guest
editors Simon Brown (simon.brown@kingston.ac.uk
simon.brown@kingston.ac.uk>) and Regina Hansen (rhansen@bu.edu
rhansen@bu.edu>).

Simon Brown is Associate Professor of Film and TV at Kingston
University. He has published numerous pieces on early British cinema,
colour cinematography and contemporary American television. He was
co-editor with Stacey Abbott of the special issue of the /Journal of
Science Fiction Film and TV/ on /The X-Files/ (6:1, 2013), for which he
also contributed the article /Memento Mori: The Slow Death of The
X-Files/. He is currently working on a book on adaptations of Stephen
King’s work on Film and TV.

Regina Hansen is Master Lecturer of Rhetoric at Boston University’s
College of General Studies. She is the co-editor with Susan George of
/Supernatural, Humanity and the Soul: The Highway to Hell and Back
/(Palgrave-MacMillan 2014) and editor of /Roman Catholicism in Fantastic
Film /(McFarland 2011). She has written and presented on science fiction
and horror film and television, religion and the fantastic, and Neo
Victorianism in TV and film.
(info atualizada em 27/08/2015)

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CHAMADA ABERTA E-BOOK “DITADURAS REVISITADAS”
Eds: Profs. Drs. Denize Araujo (UTP), Eduardo Morettin (USP) e Vitor Reia-Baptista (UAlg)

O e-book “Ditaduras Revisitadas” objetiva divulgar pesquisas sobre representações dos períodos ditatoriais de países diversos através de imagens fílmicas/audiovisuais/fotográficas/midiáticas. Os textos poderão conter ilustrações e links. Serão aceitos textos em português, espanhol ou inglês, com resumos em inglês. A publicação será feita na língua original em que o texto for submetido. O resumo deve conter objetivos, problematização, justificativa, hipótese, metodologia de pesquisa e referencial teórico explicativo. O prazo para submissão de resumos com 3 palavras-chave (500 palavras incluindo espaços, excluindo titulo, autor, titulação e filiação) é 8 de setembro de 2015. A seleção será feita por “blind review process” e a data para envio do texto completo será 30 de novembro de 2015. Informações: denizearaujo@hotmail.com (41) 9983-6669.
(info atualizada em 27/08/2015)

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Symposium: the creative industries and collaborative production
Organised by The Promotional Cultures Research Group, Middlesex University
Friday 13th November 2015

At the centre of creative economy discourse lies a somewhat anachronistic
proposition. The form of value that this economy is built upon stems from
a romantic conception of individual creativity: of the cultural
worker-as-artist. The Œcreative industries' presupposes that Œculture¹ is
a commodity mass-produced through the immaterial labour of people for whom
such work functions not as a means to an end (ie. a wage), but rather as
the ultimate form of self-expression. The premise of an industrial mode of
production positions these individuals within a putative Œcreative class¹;
yet the post-Fordist imperative of neoliberal governance that actually
structures these Œindustries¹ requires that these worker-artists must
individuate as Foucault¹s entrepeneurs of the self‹as the Œauthors¹ of
their lives/work‹in order for their labour to gain currency in the
marketplace.

This paradox is seemingly at odds with the realities of production in the
various fields and sectors that are taken to comprise these industries. In
the influential work of Henry Jenkins et al. (2013) for example, the
creative practices of consumer participation and co-creation are deemed
central to the commercial success of these industries as both content and
value now Œspreads¹ horizontally through digital networks. Adam Arvidsson
(2013) similarly argues that Œsocialized networks of productive
collaboration¹ (eg. peer-to-peer networks) utilise common resources and
presage the emergence of what he calls an Œethical economy¹. Yet he also
notes that corporations have for some time been attempting to capitalise
on the Œintangible¹ value that is created and circulated in such
collaborative publics.

A more critical view of such developments can be traced in discussions of
subjectivisation and exploitation in and through Œcreative labour¹ (Ursell
2000, McRobbie 2002, Maxwell and Miller 2006, Gill 2008, 2014, MccGuigan
2010, Hesmondhalgh and Baker 2011). Sarah Brouillette (2014) develops this
line of argument but also, like Mark Banks (2010), points to the ways in
which other forms of craft or non-creative labour remain (or indeed may
have become) structurally necessary for Œcreative labour¹ to take place -
yet are typically elided in creative economy discourses.

What emerges from a review of this literature is a sense that networked,
collaborative and cooperative working practices and assemblages have been
under-examined in cultural economy and creative labour research. A number
of pressing questions therefore arise from an enquiry into the
relationship between creativity, cooperation and value in the creative
industries:
€ What is relationship between creativity and autonomy in the
processes of collaborative production that attend, for instance, book
publishing, film production or content marketing?
€ What roles are played by promotion and reputation in the
valorisation of collaborative or cooperative cultural work?
€ What evidence is there to suggest that the creative industries
are or might be developed around an ethical regime of collaborative
publics (Arvidsson) as opposed to the exploitative valorisation of
individual creativity (Brouillette)?
€ What new models of authorship might be traced in collaborative
forms of production and creative practice?

Internal (Middlesex) participants in the symposium will address and
develop these questions through papers that engage with otherwise discrete
cultural fields:
· Assembling authority through social media networks: Indian
journalist-writers and twitter;
· Autonomy through cooperation: social enterprise publishing as an
Œart world¹;
· Digital work and value production;
· The creative industries and new economic and labour models: from
practice to homological form in globalised film and TV production.

External speakers are invited to submit proposals (250 words + author bio)
that speak to these themes or address any of the questions set out above
by Friday 18th September. Participants will be invited by mid-October.

Please send proposals or queries to: James Graham, convener of the
Promotional Cultures Research Group, j.graham@mdx.ac.uk

For details of current and past projects by members of the Promotional
Cultures Research Group, see:
http://www.mdx.ac.uk/our-research/research-groups/promotional-cultures-rese arch-group
(info atualizada em 27/08/2015)

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Video Games, Culture, & Justice
André Brock (University of Michigan), Co-Editor
Kishonna L Gray (Eastern Kentucky University), Co-Editor
David J Leonard (Washington State University), Co-Editor

The purpose of this edited volume is to propel game studies towards a
more responsive existence in the area of social justice. The text will
attempt to move beyond the descriptive level of analysis of /what/ and
begin engaging the /why/, highlighting the structural and institutional
factors perpetuating inequalities that permeate gaming culture and
extend into a myriad of institutions. The public outcry associated with
GamerGate has put 'why' at the forefront of game studies. GamerGaters,
who gained media attention through their misogynist and racist attacks
on women gamers and developers, even tried to justify their campaign as
an attempt to restore the ethics needed in video game journalism. This
attack directed at 'social justice warriors' brought the hidden reality
of harassment, cyberbullying, sexism, racism, homophobia, transphobia,
and other injustices to light. These attacks are part and parcel of
gaming culture; challenges to the lack of diversity or the gross
stereotypes are often met with demonization and rhetorical violence
directed at those who merely seek to help gaming reach its fullest
potential. Yet, in these struggles, we must move beyond individual acts
of prejudice, discrimination, and microaggressions to examine the
structural and institutional factors that allow them to exist. We must
look at how the daily practices sustain what Mark Anthony Neal calls
"micro-nooses" and lived reality of violence on and offline.

Amid this culture of violence, the gaming industry has embraced the
rhetoric of diversity and inclusion. In response to protests, game
developers have incorporated statements asserting their commitment to
producing diverse games and building an industry no longer dominated by
white men. Given the post-racial rhetorical turn of the last six years,
it is important to push conversations about gaming and gamers beyond
diversity, to expose the disconnect between rhetorics of
multiculturalism and the struggle for justice and equity. It is
important to highlight the contradiction between ideals of inclusion
espoused within the video game industry and society as a whole and the
persistence of injustices within the structural and institutional
context in which they may have developed. This compilation not only
seeks to answer these questions but also to produce work that intervenes
in the culture of violence and inequity from which these works emanate
from inside and outside of academia.

Traditionally, academic public discourses concerned with criminal
justice focused on issues pertaining to crime and legal justice; within
game studies, there has an effort to examine criminogenic effects of
violent video games on the streets. We must move beyond this simple
construction of justice and video games. This interdisciplinary text
defines justice broadly, but in terms to speak to the struggle of
racial, gender, and social justice. Moving beyond abstract principles,
the collection focuses on the stakes playing out in virtual reality,
demonstrating the ways that struggles for justice online, in the policy
booth, in the court house, in our schools, in legislatures and in
streets must be waged online.

As such, this collection seeks a broader range of critical perspectives
on justice issues within gaming culture seeking whether gaming culture
can foster critical consciousness, aid in participatory democracy, and
effect social change. It will give voice to the silenced and
marginalized, offering counter narratives to those post-racial and
post-gendered fantasies that so often obscure the violent context of
production and consumption. In offering this framework, this volume will
be grounded in the concrete situations of marginalized members within
gaming culture.

Early career scholars, game industry personnel, gaming activists,
graduate students, and others are invited to submit work addressing the
connected themes of Video Games, Culture, & Justice. Suggested essay
topics may include (but are not limited to):
· Representation and Identity in Video Games
· Examining the complex nature of intersections
· Marginalized identities within gaming culture
· Developing culturally responsive games
· Activism within video games
· Power and anonymity
· Negative experiences in multiplayer settings
· Applying social justice theories to gaming
· Militarization and video games
· Cyberbullying, online harassment, and other virtual violence
· Policing game communities
· Swatting and blurring boundaries of virtual and physical spaces
· Online disinhibition, anonymity, and trolling
· The impact of serious games and games for change
· Hacking inequalities (sexism, racism, heterosexism, ableism, etc)
· Solutions to eliminate bias
· Hypermasculinity in tech culture
· Methodological successes and challenges
· Genre, representation, and social justice
· Gaming interfaces as social praxis
· The graphical arms race: hyperreality, phenotype, and identity

Please submit abstracts (500 word max) along with a short bio and your
CV/resume to gamesculturejustice@gmail.com by September 15^th , 2015.
Authors will be notified by October 5^th , 2015 if their proposals have
been accepted for the prospectus. Final essays should be within the
range of 4000 – 6000 words, submitted as a Word or Rich Text Format.
Notifications to submit full essays will occur shortly after abstracts
are submitted and they will be due December 28^th , 2015. For more
information please contact the co-editors at
gamesculturejustice@gmail.com.

Deadline for Abstracts: September 15^th , 2015
Full Essays Due: December 28^th , 2015
(info atualizada em 26/08/2015)

------------

PhD Scholarships, School of Arts and Creative Industries, LSBU
http://aciresearch.blogspot.co.uk/2015/07/fully-funded-phd-scholarships-for-201516.html

Three PhD scholarships have been made available at the School of Arts and Creative Industries, London South Bank University (UK). The scholarships offer a stipend of £15,000 p.a. and cover UK/EU fees for three years. The deadline for applications is Tuesday 1 September 2015.

We welcome proposals in all areas of research relevant to the School, but are particularly interested in applications which relate to one or more of the following:
• sonic culture
• drama and performance
• network cultures
• digital storytelling (incl. digital journalism)

For enquiries or an informal discussion about the scholarships, please contact Prof Hillegonda Rietveld: h.rietveld@lsbu.ac.uk

Details of how to apply can be found here:
http://www.lsbu.ac.uk/research/research-degrees/how-to-apply
(info atualizada em 26/08/2015)

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Cfp | Grupo de Trabalho da AIM: OUTROS FILMES
O Grupo de Trabalho ‘Outros Filmes’ convida todos os interessados, membros e não-membros da AIM, a submeterem propostas de comunicação para o painel temático que integrará o VI Encontro Anual da AIM, que se realizará no Porto, de 4 a 7 de maio de 2016.
Na esteira do último encontro, as propostas deverão trazer contributos teóricos, metodológicos e empíricos para a investigação de filmes marginais ou não-canónicos (i.e. filmes de utilidade; filmes amadores e domésticos; filmes em formatos considerados menores; filmes efémeros e órfãos, etc.), bem como para uma reflexão informada sobre arquivos e ‘o arquivo’.

Para além deste âmbito geral, e sem prejuízo para outras temáticas e contextos que se coadunem com os objectivos gerais do GT (aim.org.pt/grupos.php), propomos para este ano o tema específico do cinema amador.

Compreendemos o cinema amador como um território atravessado por diferentes gestos e imagens. Cenas da felicidade doméstica; flagrantes do acaso; testemunhas da história; espaço de criação ou de simples imitação; espelho narcísico ou arma de luta – a prática amadora acolhe as mais diversas intenções e encontra destinos variados. Se no passado a produção doméstica foi entendida como mero subproduto do consumo tecnológico, hoje ela é convidada a participar dos programas jornalísticos, compor os arquivos fílmicos, os documentários históricos e o cinema de arte. Diante deste cenário um primeiro questionamento: o cinema amador pode ser entendido ainda hoje como prática periférica? Como delimitar um campo de estudos constituído por gestos tão distintos? Que rupturas e continuidade podemos identificar entre os primeiros filmes amadores rodados em película e os vídeos postados nas redes sociais? Em que medida a estética amadora contaminou ou foi capturada pela chamada grande mídia? As imagens domésticas são capazes de nos revelar algo sobre a subjetividade contemporânea?

As propostas deverão ser apresentadas em português, não devendo exceder os 1500 carateres (incluindo espaços). São particularmente bem-vindas propostas que apresentem estudos de caso originais oriundos de várias cinematografias nacionais e de vários arquivos.

O proponente deverá enviar a sua proposta diretamente para as coordenadoras do GT até 15 de outubro de 2015. No caso de aceitação, o autor deverá então submeter a sua proposta no site da AIM até 31 de outubro de 2015. A aceitação final está dependente do processo de arbitragem geral do Encontro.

Contacto das coordenadoras
Thaís Blank, thaisblank@gmail.com; Sofia Sampaio, psrss@iscte.pt; Raquel Schefer, raquelschefer@gmail.com
(info atualizada em 25/08/2015)

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Opportunities in the Department of Media and Communication at the University of Leicester
Join a growing and dynamic department which was
placed 15^th overall in the REF, and the top ten for the number of
research active staff. It is also in ranked 8^th in the 2016 Complete
University Guide.

We are looking for 2 new Media lecturers to enhance our growing research
culture and to contribute to its research spines: Media and Culture;
Journalism and Democracy; Digital Media.

Lecturers in Media and Communication
<http://ig5.i-grasp.com/fe/tpl_UniversityOfLeicester01.asp?s=4A515F4E5A565B1A&jobid=93746,2345725998&key=103822806&c=49126812587223&pagestamp=segbtqsebabcpptryn>

We are also looking for 2 temporary teaching fellows to contribute to
the areas of Journalism Studies and PR, Advertising and Consumer Culture.

Teaching Fellow
<http://ig5.i-grasp.com/fe/tpl_UniversityOfLeicester01.asp?s=4A515F4E5A565B1A&jobid=93747,4965621236&key=103822806&c=49126812587223&pagestamp=senjnitwixdmpduxck>

(info atualizada em 25/08/2015)

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The European Symposium on Media Policy 2015
Oslo, Norway, 20 November 2015
Key Note Speaker: Robert McChesney
Plenary speakers: Ulla Carlsson, Aske Kammer, Mart Ots, Helle Sjøvaag, Oscar Westlund.

The 1st European Symposium on Media Policy brings together scholars, media executives, policy markers and regulators for a day of discussion and exchange. The symposium will have both plenary sessions with invited guest speakers and break-away sessions with paper presentations. The plenary sessions will especially focus on the global crisis in the funding of journalism, and media policy in Nordic countries.

The symposium hosted by the Centre for Interdisciplinary Media Research, and takes place at Oslo and Akershus University of Applied Sciences (HiOA), Faculty of Social Sciences.

Abstracts due: 15 September 2015
Notification on abstract acceptance: 30 September 2015
Registration due: 15 October 2015
Symposium date: 20 November 2015

Please submit abstracts to arne.krumsvik@hioa.no (approx. 300 words).

Topics for papers include, but are not limited to:
• studies in comparative policy
• in-depth study of media policy
• structural, market and industry perspectives
• north/south perspectives
• media development
• gender issues and media policy
• how regulations affect media innovations and/or the other way around

In the presentations we would like to see a combination of focused studies of media regulation practices in specific societies as well as studies inducing a wide-ranging regional, European, or global view. Presentation of results from ongoing PhD projects is encouraged. Short papers and work-in-progress are welcome.

The best papers will be invited to a Special Issue of the Journal of Media Business Studies (JOMBS).

Scientific Committee: Professor Arne H. Krumsvik (Chair, HiOA), Professor Anker Brink Lund (Copenhagen Business School), Professor Kristin Skare Orgeret (HiOA), Ass. Professor Mart Ots (Jönköping Int. Business School), and Professor Eli Skogerbø (University of Oslo).

(info atualizada em 25/08/2015)

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Cfp | Grupo de Trabalho da AIM: A TEORIA DOS CINEASTAS
A informação seguinte é da responsabilidade do Grupo de Trabalho da AIM: A TEORIA DOS CINEASTAS
Coordenadores: André Rui Graça, Eduardo Baggio e Manuela Penafria

CALL FOR PAPERS INTERNO DO GT A TEORIA DOS CINEASTAS com vista ao VI Encontro Anual da AIM, Porto, 4 a 7 de maio de 2016

Sugestão de tópicos:
- metodologia do próprio processo de elaboração da teoria do cineasta
- relação do cineasta com o espectador
- modo como os cineastas se influenciam mutuamente
- conceitos utilizados pelos cineastas que contribuem para discutir problemáticas da teoria do cinema
- processo criativo dos cineastas

As propostas de comunicação devem incluir: nome, afiliação, título, abstract (1500 caracteres) e bibliografia (500 caracteres).
Prazo: 9 de outubro 2015 
Contacto: baggioeduardo@gmail.com

Como funciona um call for papers interno?
Os responsáveis do GT fazem uma seleção das propostas, até 26 de outubro, e informam os proponentes. Até 31 de outubro todas as propostas aceites pelo GT devem ser submetidas no site da AIM, nos respectivos formulários. A aceitação pelo GT não implica a aceitação automática da proposta por parte da Comissão Científica do VI Encontro, estando sujeita ao processo de avaliação de propostas por pares.

GT A TEORIA DOS CINEASTAS
O principal objetivo do GT A Teoria dos Cineastas consiste em aproximar a teoria do cinema da reflexão dos próprios cineastas no seu contributo para abordarem e compreenderem quer a sua própria obra, quer o cinema.
Pretendemos estimular a reflexão teórica que tenha como referência fundamental e principal, fontes diretas, ou seja, os próprios filmes, as entrevistas, os livros ou textos escritos pelos cineastas.
Entendemos que o conceito de cineasta abrange não apenas o realizador, como todos os que contribuem para a criação cinematográfica: atores, argumentistas, montadores, diretores de fotografia, etc.
O objetivo de estudar o cinema a partir dos cineastas e integrar a teoria do cinema com a teoria que cada cineasta elabora assume-se como uma alternativa ao apoio que a teoria do cinema tem ido buscar a outras disciplinas como a História, a Sociologia, a Psicanálise ou, mais recentemente, a Teoria Cognitiva.
Pretendemos estimular e testar a novidade e originalidade que o estudo teórico sobre o cinema pode receber dos cineastas. De igual modo, pretendemos dar continuidade aos processos de reflexão já existentes sobre o pensamento dos cineastas.
(info atualizada em 24/08/2015)

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Mediated Intimacies: Relationships, Bodies and Technology
Call for Papers: Special Issue of Journal of Gender Studies to be published March 2017 edited by Alison Winch, Feona Attwood, Jamie Hakim.
We are looking for 7000 word completed essays by 31st December 2015

In what ways does media convergence culture represent, intervene in, exploit and enable intimate relations? How is intimacy being reconfigured under neoliberalism?

On the one hand we are living in atomized and individualistic times where relationships are increasingly strategic and competitive. On the other the media has become, as Beverly Skeggs argues, intensely intimate. This special issue on mediated intimacies aims to explore how understandings of intimacy are (re)constructed and experienced, particularly in digital cultures. In addition, we are interested in the ways in which the apparently alienated entrepreneurial self is constructed through and by forging intimate connections and simultaneously how these networks are mined and monetized by corporate culture.

This special issue of Journal of Gender Studies is developed from a symposium held in July 2014 on Mediated Intimacies where the speakers explored, among other topics, girls’ online friendships, ‘expert’ sex advice in printed media, male seduction communities, and how pornography reconceptualises the very idea of intimacy itself.

Potential papers could explore the affective dimensions of intimate practices reflecting the pleasures and pains of life lived under neoliberalism, including how precarity and class impact on the ways in which intimacy is forged. Because digital culture is primarily corporate driven (Taylor 2014) we are interested in how user-generated media employs self-branding strategies. For example, in the refashioning of the body or gendered and sexual identities, or the ways in which intimacy can be a form of self-promotion.

Feminist and queer perspectives seek to expand the reach of what is constituted as belonging, love, connection and intimacy. Whereas recession culture has reestablished normative gender categories (Negra and Tasker 2014) contemporary digital cultures have the potential to challenge and rework gender and sexual identities (McGlotten 2013). This issue hopes to explore these productive tensions.

Potential papers could also explore how sexuality, sex, sexual knowledges and sexual pleasure function by looking, for example, at Do-It-Yourself porn, sexual subcultures and alternative sex practices. A final consideration underpinning this issue is how different intimacies intersect along axes of class, race, disability, age and geographical location.

Possible topics could include:
● adapting and resisting gendered and sexed identities
● forging new normative gendered identities
● mediatised kinship (families, parenthood and fertility)
● geolocation technology
● dating and hook up apps, sex dating and relationship cultures
● selfies
● role of experts (e.g. sex advisors and agony aunts), including their changing meaning in peer-driven contexts
● mediated romance
● fitness apps and body culture
● use of social networking sites, including instagram, Facebook, Twitter
● self-branding
● the mediation of friendship
● rebranding feminism
● pornography
● monetization of intimacy, including big data, content generation and PR/advertising

Please send 7000 word completed essays by 31st December 2015 through Scholar One Manuscripts: http://www.tandfonline.com/toc/cjgs20/current.

Please direct enquiries to Alison Winch (a.winch@mdx.ac.uk), Feona Attwood (f.attwood@mdx.ac.uk) and Jamie Hakim (j.hakim@uea.ac.uk)

Publication schedule:
31 December 2015: Papers to peer reviewers
March 2016: Comments to authors
June 2016: Authors final revisions
September 2016: Final acceptance
(info atualizada em 24/08/2015)

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Two postdoc jobs at University of Reading
The appointed researchers will join the Department of Film, Theatre & Television, and the Centre for Film Aesthetics and Cultures (CFAC), and will undertake research on the project 'Towards an Intermedial History of Brazilian Cinema: Exploring Intermediality as a Historiographic Method' (IntermIdia), funded by the Arts and Humanities Research Council (AHRC), in the UK, and the Sao Paulo Research Foundation (FAPESP), in Brazil. Closing date for application is 14 September. Details on http://www.reading.ac.uk/15/about/jobs/about-job-details.aspx?vacancy_id=45920791wq and on http://www.reading.ac.uk/15/about/jobs/about-job-details.aspx?vacancy_id=63323591wh
(info atualizada em 24/08/2015)

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Media Centre Director, London South Bank University
The School of Arts and Creative Industries at London South Bank
University is seeking to appoint an experienced Director to the lead the
development of its new Media Centre. Due to open later this year, the
Centre replicates a professional, high spec broadcast and media
production work environment, providing students with core skills for
future employment.

Located at the heart of London its SE1 location provides an attractive
production and post-production option for the media industry.

You will have recent industry experience managing broadcast facilities,
or the equivalent, with excellent communication skills, experience
working with students and external third parties.

Full-time, permanent grade 8 post, offering £42,693 to £50,136 per annum.

Full details are available here:
http://www1.lsbu.ac.uk/php5c-cgiwrap/hrweb/index.php/currentvacancies/J00583/781
<http://The School of Arts and Creative Industries at London South Bank
University is seeking to appoint an experienced Director to the lead the
development of its new Media Centre. Due to open later this year, the
Centre replicates a professional, high spec broadcast and media
production work environment, providing students with core skills for
future employment. Located at the heart of London its SE1 location
provides an attractive production and post-production option for the
media industry. You will have recent industry experience managing
broadcast facilities, or the equivalent, with excellent communication
skills, experience working with students and external third parties.
Full-time, permanent grade 8 post, offering £42,693 to £50,136 per
annum. Full details are available here:
http://www1.lsbu.ac.uk/php5c-cgiwrap/hrweb/index.php/currentvacancies/J00583/781
For an informal discussion please contact Richard Fenn
[fennr2@lsbu.ac.uk]. Please note that the deadline for applications has
been extended to 1 September.>

For an informal discussion please contact Richard Fenn
[fennr2@lsbu.ac.uk
fennr2@lsbu.ac.uk?subj
ect=Media%20Centre%20Director>].

Please note that *the deadline for applications has been extended to 1
September*.
(info atualizada em 24/08/2015)

------------

KIMPOSIUM! An interdisciplinary symposium about all things Kardashian
Brunel University London
Sociology Division
26-27 November 2015
Contact:
Dr Meredith Jones meredith.jones@brunel.ac.uk

The Kardashians are members of an LA-based family famous for their reality TV series Keeping Up with the Kardashians (2007—present). Of the three starring sisters (Kourtney, Khloe and Kim) Kim is extraordinarily famous. She is best known for displays of her body and face in various media and for her current marriage to Kanye West. She is credited with making ‘booty’ desirable in mainstream culture. Their father, Robert (now deceased), famously and successfully defended O.J. Simpson at his trial for murder. Their stepmother, Caitlyn Jenner (formerly Bruce), is an adored American Olympian and has recently come out as transgender. The Kardashians play huge roles in contemporary popular culture, particularly via twitter and Instagram, and are experts at self-making and self-marketing. This symposium aims to examine the Kardashian phenomenon in all its aspects.

A wide variety of formats is encouraged including (but not limited to):
• Standard 20 minute papers
• Five minute ‘pop up’ papers
• Films
• Group presentations
• Performances

Suggestions for topics/issues:
Beauty
Matriarchy
Bodies
Mobile games
Celebrity culture
Mother-daughter relationships
Comedy
Mobile apps
Convergence of TV and social media
Nudity
Fame
Popular culture
Fashion
Pornography/sex tapes
Femininity
Race and ‘inter-marriage’
Feminism
Reality TV
Glamour labour/aesthetic labour
Scandal
Image consumption
Selfies
Image-making
Social media cultures
Instagram
Trans
Masculinity
Twitter

Please send abstracts or proposals of less than 300 words to meredith.jones@brunel.ac.uk by Monday 7 September 2015.
(info atualizada em 24/08/2015)

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Cfp | Ecocrítica Cinematográfica: Cinema e Meio Ambiente
Chamada de trabalhos para constituir mesa a propor para o VI Encontro Anual da AIM (Porto, Maio 2016)
Coordenação: Patrícia Vieira
Contacto: piv2@georgetown.edu
Prazo: até 15 de Outubro

Ecocrítica Cinematográfica: Cinema e Meio Ambiente

A representação cinematográfica do espaço põe em relevo os parâmetros que determinam a relação entre os seres humanos e o meio ambiente. Longe de ser uma conexão natural, a nossa ligação com os seres vivos e inanimados que nos rodeiam —que reunimos, por conveniência, no mesmo grupo e que designamos por “natureza” — depende de uma série de valores e pressupostos que, por sua vez, influenciam as nossas práticas correntes. A imagem cinematográfica salienta o carácter artificial da visão humana da natureza, que é, no caso do cinema, mediada não só por princípios culturais mas também pela criatividade da/o realizador/a. A ecocrítica cinematográfica procura assim analisar tanto as diferentes formas de representar artisticamente o meio ambiente como o significado social e mesmo político destas imagens no contexto dos problemas ambientais que enfrentamos no presente.

Neste painel propomos uma análise do cinema tomando como ponto de partida questões ambientais. As comunicações poderão incidir, entre outros temas, sobre representações cinematográficas da fauna ou da flora, por exemplo as de filmes como Little Shop of Horrors (Roger Corman, 1960), Birds (Alfred Hitchcok, 1963), Zerkalo (Andrei Tarkovsky, 1975), ou The Grizzly Man (Werner Herzog, 2005); sobre a utilização política da natureza em cinema de propaganda, tais como nos filmes sobre a vida rural no Portugal salazarista ou na Espanha de Franco; sobre cinema com uma perspectiva ecológica implícita, incluindo The Happening (M. Night Shyamalan, 2008) ou Avatar (James Cameron, 2009); ou sobre documentários mais recentes que alertam para a crise ambiental, tais como An Inconvenient Truth (Davis Guggenheim, 2006) ou The 11th Hour (Nadia Conners e Leila Conners Petersen, 2007).
(info atualizada em 21/08/2015)

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Eye Tracking the Moving Image Edited Collection
We are inviting 500 word abstract submissions for a proposed anthology
edited by Tessa Dwyer (University of Melbourne), Claire Perkins (Monash
University), Sean Redmond (Deakin University), and Jodi Sita (Australian
Catholic University)

The anthology will explore the ways in which eye tracking technology
offers academics and practitioners new and innovative ways to assess and
understand viewer engagement with moving images. Inter and
cross-disciplinary in approach, the editors seek submissions that either
directly employ eye tracking technology in their empirical research or
that assess its usefulness and limitations for the study of moving
images and their audiences.

The anthology will be divided into three distinct sections: eye tracking
aesthetics; eye tracking environments; and eye tracking intersections,
where text, viewers and environment are brought together under one
articulating set of forces. We would ask you to indicate in your
submission which section your proposed chapter is intended for.

The editors’ welcome abstracts that address (but need not be restricted
to) the following themes:
*Eye Tracking Aesthetics*
Movement and colour
Objects
Landscape
Story and narrative
Characters
Mise-en-scene
Text and sub-titling
Series and seriality
Faces
Sound and image
The Leitmotif
The short film
Editing – continuity, discontinuity, slow, fast,
Performance and stardom

*Eye Tracking Environments*
The domestic viewing context
Different screens and screen sizes
Multi-plexes, Imax theatres, Arthouse and independent cinemas
Mobile devices and mobility
Public screens
Surveillance screens
Haptic environments
Galleries, museums and immersive installations

*Eye Tracking Intersections*
Place, space and bodies
The art-science nexus
Screening brains
Cognition and embodiment
New materialism
The phenomenology of the senses
Haptic vision
Neuroscience and psychology
Media, advocacy and accessibility
Active/passive dichotomies

Please contact the editors with any enquiries and/or expressions of
interest. Abstracts should be submitted as a word document by *1^st
September* 2015 to the editor’s email addresses:
Tessa Dwyer: trdwyer@unimelb.edu.au
Claire Perkins: claire.perkins@monash.edu
Sean Redmond: s.redmond@deakin.edu.au
Jodi Sita: Jodi.Sita@acu.edu.au
(info atualizada em 21/08/2015)

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Universidade de Nápoles cria Cátedra Margarida Cardoso
 O Camões, I.P. celebrou um protocolo de cooperação com a Università degli Studi di Napoli “L’Orientale” para a criação da Cátedra Margarida Cardoso que terá como responsável a Professora Doutora Livia Apa. Esta cátedra coordenará, na Faculdade de Línguas e Literaturas Estrangeiras daquela universidade a investigação relativa às disciplinas de Língua e Literatura Portuguesa para os cursos de Licenciatura e Mestrado.
 http://www.instituto-camoes.pt/lingua-e-cultura/catedra-margarida-cardoso-napoles
(info atualizada em 21/08/2015)

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Urban Communication Foundation White Paper Call for Proposals - Theme: Changing Cities: Migration, Communication and Culture
Urban Communication is the study of communication within an urban
context. The built environment is rich with information and physical
architectures that manifest unique social situations. From traffic
patterns to sidewalks, to mobile computing and surveillance
technologies, the issues presented by the rapidly changing communication
context constructed through urban environments are vast and varied.

The Urban Communication Foundation (UCF) has been a leader in promoting
scholarship in this general area. The Foundation has funded dozens of
research projects and acknowledged dozens of scholars that have advanced
the field of study. We now seek to extend this influence by focusing in
on particular issues or areas of research. As such, will be soliciting
public research reports on issues that have a direct bearing on public
policy and/or the everyday life for people within cities.

These reports should be between 8000-10000 words in length and present
original research on the topic. The end product should aim to have some
influence on policy makers, community leaders and scholars and
contribute to basic research and practical solutions. The author(s) of
the top rated proposal will receive a stipend of $10,000. The money can
go to individuals or institutions to provide various forms of research
support.


2015 UCF White Paper Program

*Area of Research: Changing Cities: Migration, Communication and Culture*

More than half of the world’s population currently lives in cities (UN
Habitat), largely as a result of regional and global migration. Cities
are transit and endpoints in migrant journeys, they are imagined, lived
and mediated destinations. Many urban societies have developed out of
long histories of migration, while the growing diversification of
migration flows has been changing cityscapes across all continents.
Urban communication landscapes reflect the cultural diversification of
cities but also many of the challenges presented to cities as a result
of migration and urban change. As many urban societies increasingly
become cities of difference –in terms of shifting demographics,
linguistic and cultural composition – critical questions about the
future of the urban world need to be systematically addressed. How are
participation, equity, and respect achieved in cities of difference and
how are values of equality, mutuality, and democracy communicated? How
are cities’ symbolic and material resources distributed and controlled
and what is the role of communication in these processes? How do urban
dwellers manage close proximity to difference and how do communication
technologies mediate and manage difference, migration, and intercultural
exchange?

Urban Communication Foundation (UCF) is dedicating this year’s White
Paper Program to migration and the multifaceted opportunities and
challenges it presents to understanding urban communication. UCF is
soliciting research proposals that will lead to the development of a
white paper on the theme of Changing Cities: Migration, Communication
and Culture. Interested researchers from all disciplinary backgrounds
should submit a proposal outlining the research problem they seek to
pursue and how it relates to the theme of this CFA (see guidelines
for submission below). All theoretical and methodological orientations
are acceptable and approaches that are inter/multi-disciplinary, and
rely on mixed-methods are particularly welcome. Moreover, comparative
work across urban locations is encouraged. The final report should be
8,000-10,000 words in length. The end product should aim to have some
relevance to policy-makers, community leaders and/or researchers within
one or more urban contexts and to also speak to urban action and/or
practical solutions. The author(s) of the top-rated proposal will
receive a grant of $10,000 (for details on the review process, see below).

*The following are but some examples of research questions and topics
that applicants may pursue. This list is not meant to be exhaustive:*

–In what ways do urban communication landscapes reflect a city’s
migration history and its current cultural diversity?

–Who has access and who is excluded from urban communication
infrastructures, in terms of gender, sexuality, age, ethnicity and race,
class. How do these processes of inclusion/exclusion relate to migration?

–How do architecture and urban planning enable or restrict communication
across cultural/ethnic/racial differences?

–How do local organizations engage with local media in their attempt to
reach out toresidents and record their diverse needs?

–Do local media (‘old’ and ‘new,’ mainstream and ethnic) reflect the
city’s/neighborhood’s diverse histories? Are some histories privileged
against others?

–How are different migrant cultures (e.g. food cultures; religious
practices; linguistic diversity)communicated in the city?

–How are gender roles within migrant families and communities in the
city negotiated?

–What is the role of communication technologies in supporting/changing
relations acrossdistance and with those ‘left behind’?

–In what ways can communication support social and environmental
sustainability inculturally diverse urban societies?

– In what ways do different experiences of migration – e.g. forced;
privileged – allow us tounderstand different forms of urban
communication within and across cities?

–In what ways do comparative perspectives help us understand
continuities and differencesin urban communication as this relates to
migration?

*Guidelines for Submitting Proposals/Applications*

–Proposals should not exceed 1,000 words (excluding references). Please
include a cover page with the name, position, institution, and contact
information for all authors. Please adhere to APA or AMA publication
guidelines.

–Applications should include a short itemized budget and a concise
statement providing a rationale for the expenses listed in the budget.
Funds may be expended in a variety of ways (e.g., to hire a research
assistant or for a course buy-out), provided that it is clear how
doing so will enable the researcher(s) to complete the proposed work.
Funds may not be used to purchase computer hardware. Funds awarded by
the UCF may be utilized to offset fringe costs (such as those often
involved in hiring a research assistant), but the Foundation will not
cover overhead expenses (i.e., indirect costs). In any case, the total
amount of the award will not exceed $10,000.

– Applicants should include at least one letter of recommendation. The
referee should be able to assess the significance and viability of the
project described in the proposal, as well as the qualifications of the
applicant as they pertain to the proposed work.

–Proposals should be submitted to Myria Georgiou at
m.a.georgiou@lse.ac.uk no later than September 14, 2015. Funding
decisions will be made by November 1, 2015. White papers should be
delivered no later than May 1, 2017. White papers will be published on
the UCF website and disseminated widely. Author(s) are encouraged to
develop academic publications linked to the white paper.

*Evaluation of Proposals and Awarding Funds*

–A committee consisting of two Urban Communication Foundation members of
the Board of Directors as well as two external reviewers will evaluate
all applications submitted by the specified deadline.

–UCF will contact the author(s) of the top-rated proposal to ascertain
their commitment tothe proposed research project and will subsequently
release funds to the researcher(s).

–The UCF will announce the proposal selected on the Foundation’s
website, through press releases and via social media.

Questions? For questions about the CFA, please contact Myria Georgiou at
m.a.georgiou@lse.ac.uk
(info atualizada em 21/08/2015)

------------

International Girls Studies Association Inaugural Conference 2016
Full conference information can be found on our website:
http://girls-studies.org

International Girl Studies Association is seeking submissions for our
inaugural conference which is being held at the University of East
Anglia, Norwich from 7-9 April 2016. The inaugural conference seeks to
bring together researchers and students working on girls and girlhood in
any part of the world and in any discipline or interdisciplinary field.

Girl Studies has become one of the most dynamic academic fields,
encompassing a vast array of disciplines and interdisciplinary
approaches. This conference aims to bring together scholars from across
the world to explore experiences of girlhood, recent developments within
the field, investigating new questions and revisiting historical issues.

We seek proposals that address some of the key issues in girls studies
and we welcome both individual and panel presentations. Moreover, we are
also keen to move beyond the traditional conference format and would
encourage collaborative work, creative, visual, screenings and
performance based work. We are also keen to invite proposals from
individuals working in collaboration with girls, the community and
partner organisations.

Confirmed Keynotes:
Professor Catherine Driscoll (University of Sydney, AUS)
Professor Christine Griffin (University of Bath, UK)
Professor Mary Celeste Kearney (University of Notre Dame, USA)
Professor Rozena Maart (University of KwaZulu-Natal, SA)

Topics may include (but are not limited to)
* Histories of girlhood
* Global girlhood(s)
* Intersectional girlhood
* Queer girls
* Representation of girlhood
* Intergenerational girlhoods
* Girlhood and consumption
* Mediated girlhoods
* Methodological approaches to girls’ studies
* Girls and feminism
* Girls and sport
* Girls and politics
* Girls and education
* Young femininities
* Body image
* Subcultures and girlhood
* Girls and digital media
* Girls and activism
* Girls and literature
* Girls and popular culture
* Girlhood during austerity
* Girls and sexuality
* Girls and health
* Neoliberal girlhoods
* Ethnographies of girlhood

Abstracts of 250 words, proposals for pre-constituted panels (250 words
per panellist) and proposals for creative and alternative presentations
(250 words) should be sent to igsa.2016@uea.ac.uk
igsa.2016@uea.ac.uk> by 1st September 2015. All submissions
should be accompanied by brief bio.

Any questions or queries can be sent to igsa.2016@uea.ac.uk
igsa.2016@uea.ac.uk>, our website is http://girls-studies.org
(info atualizada em 21/08/2015)

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Tenure-track Faculty in Digital Media Studies
School of Journalism and Media Studies | San Diego State University

Applications:* Review of application materials will begin *September 1,
2015*, and continue until the position is filled. Applicants should
apply via Interfolio (http://apply.interfolio.com/30303).

The School of Journalism and Media Studies at San Diego State University
invites applications for a tenure-track faculty position in digital
media studies, specifically a critical theorist of digital media with an
emphasis on race, ethnicity, or other identity markers, at the level of
assistant professor, to start August 2016.

*Responsibilities:* The successful candidate will be able to teach in
the long term across the undergraduate curriculum in media studies. The
immediate teaching need, in rank order, is for coverage of courses in
principles of media studies, media technology and society, and creative
uses of emerging media. The faculty member will be expected to create a
new undergraduate course on media and culture as defined by race,
ethnicity, and other identity markers. The faculty member also is
expected to have a scholarly research agenda in digital media studies
(broadly defined) and significant digital media production skills. The
faculty member will participate in the University’s designated Area of
Excellence for Digital Humanities and Global Diversity as a scholar of
digital media who takes a critical/cultural approach to the exploration
of human experiences as differentiated by race, ethnicity, and other
identity markers. This hire will also provide service to the School and
to academic and professional media communities.

*Required Qualifications:* An earned doctorate in media studies, mass
communication, communication, or a related field is required by the
position start date. Candidates should have a demonstrated commitment to
excellence in both teaching, and research, in line with SDSU’s
teacher-scholar model. Evidence or promise of a strong research agenda
in digital media studies (broadly defined) is required. Relevant
professional work experience in digital media is strongly preferred.

*Rank and Salary:* This is a tenure-track faculty position at the
assistant professor level. Appointment to the position requires that the
candidate’s doctoral degree be earned by the appointment start date in
August 2016. Salary will be commensurate with qualifications and experience.

*Applications:* Review of application materials will begin *September 1,
2015*, and continue until the position is filled. Applicants should
apply via Interfolio (http://apply.interfolio.com/30303). All additional
inquiries should be addressed to:
*Noah Arceneaux, Ph.D.*
*Associate Professor and Chair, Media Studies Search Committee*
*School of Journalism and Media Studies*
*San Diego State University*
*5500 Campanile Drive*
*San Diego CA 92182-4561*
*noah.arceneaux@sdsu.edu
(info atualizada em 20/08/2015)

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The Velvet Light Trap Issue #78: Considering Kids’ Media
The Payne Fund studies of the 1920s and 1930s attempted to discover—with
questionable scientific rigor—whether attending the movies was
emotionally and physically harmful to children. Was it the case that
disturbing scenes and sensory reactions to light and sound caused
children to become nervous, agitated, and upset? Although the Payne
studies were controversial and inconclusive, they reflected a general
concern about the effect of films on children’s well-being that would
influence media regulation and discourse for years to come. Many popular
and academic conversations about kids and media are still dominated by
the belief that children are vulnerable, developing bodies in need of
constant oversight. David Buckingham famously defined these discourses
as "pedagogical" and "protectionist," and argued that they can limit the
study of kids’ media. Like Buckingham, we see potential pitfalls with
the pedagogical and protectionist approaches, including regressive views
of audiences; arbitrary boundaries between adult and child cultures; and
a neglect of formal analysis and historical inquiry. Significant work
has been done in a number of disciplines that seeks to address these
challenges and concerns, but there is more to add to the film and media
studies conversation that recognizes the complexity of children’s media
and the cultures surrounding them.

For this issue, THE VELVET LIGHT TRAP seeks historical and contemporary
studies of kids’ media: that is, media aimed exclusively at kids, media
produced with kids in mind as part of the larger audience, or media made
by kids themselves. Submissions should add to the study of kids’ media
as a creative, social, and cultural phenomenon by moving beyond the
protectionist and pedagogical binary. We welcome topics that reflect the
agency of young people, acknowledge the complexity of these media texts,
and expand film and media histories. We will consider papers that
concern people under the age of 18—teens, tweens, “young adults,”
infants, and everyone in between—and topics with a national, regional,
or international scope. The following subjects offer some topic areas,
though submissions are not limited to the following:
- Issues of gender, race, and the queering of childhood
- Children as producers of content, online and in film or TV narratives
- New research methodologies: issues when studying kids or using kids as
co-researchers
- Merchandising, toy culture, franchising, and paratexts of kids’ media
- Traditional kids’ media forms and genres—fairy tales, animation,
fantasy, etc.—and their boundaries and hybridity
- Child stars and the stars of children’s shows or films
- Sites of kid fandom and kids’ fan culture
- Age and age differentiation within the realm of kids’ media
- Texts with crossover appeal to multiple age demographics
- Industrial studies of kid-focused networks, studios, websites, etc.
- Children’s film festivals and other sites of exhibition
- Historiographic inquiries into the conditions affecting children’s
media: technological change, taste cultures, distribution and exhibition
practices, external censorship, self-regulation, etc.
- Institutional and educational media

Submission Guidelines:

Submissions should be between 8,000 and 10,000 words, formatted in
Chicago style. Please submit an electronic copy of the paper, along with
a one-page abstract, both saved as a Microsoft Word file. Remove any
identifying information so that the submission is suitable for anonymous
review. The entire essay, including block quotations and notes, should
be double-spaced. Quotations not in English should be accompanied by
translations. Photocopies of illustrations are sufficient for initial
review, but authors should be prepared to supply camera-ready
photographs on request. Illustrations will be sized by the publisher.
Permissions are the responsibility of the author.

Send electronic manuscripts and/or any questions to
thevelvetlighttrap@gmail.com thevelvetlighttrap@gmail.com>.
Submissions are due September 5, 2015.

About the Journal:
THE VELVET LIGHT TRAP is a scholarly, peer-reviewed journal of film,
television, and new media studies. Graduate students at the University
of Wisconsin-Madison and the University of Texas-Austin coordinate
issues in alternation. Our Editorial Advisory Board includes such
notable scholars as Charles Acland, Richard Allen, Ben Aslinger, Harry
Benshoff, Mark Betz, Michael Curtin, Corey Creekmur, Kaye Dickinson,
Bambi Haggins, Lucas Hilderbrand, Scott Higgins, Mary Celeste Kearney,
Jon Kraszewski, Nicholas Sammond, Jacob Smith, Beretta Smith-Shomade,
Jonathan Sterne, Cristina Venegas, and Michael Williams. For more
information, please visit the journal’s website at
http://utpress.utexas.edu/index.php/journals/the-velvet-light-trap.
(info atualizada em 20/08/2015)

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Thee tenure-track position at Michigan State University


The Department of Media and Information (M&I) at Michigan State
University (MSU) invites applications for three tenure system faculty
openings, all with an expected start date of August 2016:

1. Associate or Full Professor in Media and Information Theory/Methods

Candidates should have an internationally outstanding record as a
scholar and teacher in theory and/or empirical methods in one or more
major areas of media and information research. More details and
information on how to apply can be found at
http://cas.msu.edu/job/posting-1678/. Please direct any questions to
Professor William Dutton, Search Committee Chair, at wdutton@msu.edu.

2. Assistant Professor in Internet Economics

Candidates should have an interest in new and emerging media and strong
foundations in a relevant economic field such as media economics and
industrial organization. More details and information on how to apply
can be found at http://cas.msu.edu/job/posting-1631/. Please direct any
questions to Professor Johannes M. Bauer, Search Committee Chair, at
bauerj@msu.edu.

3. Assistant Professor in Data Science and Health

Candidates should have the area of data analytics with a strong interest
in health, health IT, e-health, and/or m-health. We seek a scholar
conducting cutting-edge social science and/or technical research
utilizing data-centric approaches—including theory-building, analytics,
applications, and effects. Please direct any questions to Professor
Wietske van Osch, Search Committee Chair, at vanosch@msu.edu.

The M&I department is a member of the iSchools Consortium and home to a
dynamic, interdisciplinary faculty internationally known for its
cutting-edge research on the uses and implications of information and
communication technologies (ICTs).

MSU is an affirmative action, equal opportunity employer. MSU is
committed to achieving excellence through cultural diversity. The
university actively encourages applications and/or nominations of women,
persons of color, veterans and persons with disabilities.

(info atualizada em 20/08/2015)

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