The call for full papers and book reviews for vol. 2, no. 1 (to be published August 2017) on spatial storytelling is open. Visit: http://revistas.ulusofona.pt/index.php/ijfma/announcement/view/59 <http://revistas.ulusofona.pt/index.php/ijfma/announcement/view/59>

Today, interactive user-oriented narrative is overtaking story structures traditionally linked to linear time-based narrative. Unlike time-based media, which are often single-authored, and presented to its audience, digital space based narrative evolves through user motivated use of the media affordances in different contexts. The user, unlike the audience, co-creates the story while playing it, but also helps in reshaping the media.

For its third issue, the International Journal of Film and Media Arts welcomes contributions in the form of full articles that deal with the theoretical and empirical implications of spatial storytelling for both film and other media. We would particularly like to receive contributions that would focus on:

–  The role of spatial based narrative in the transformation of film form;
–  Case studies on the application of spatial narrative in different media namely those that cross film and videogames;
–  Spatial narrative structures and models;
–  Mix media used of spatial narrative.

*Issue editors*: Manuel José Damásio; Sylke Rene Meyer

Publication schedule
Call for papers: 21 November to *5 May 2017*. Early submission is highly encouraged.
Communication of decision to authors: June
Publication: *August 2017*

Submit paper here: http://revistas.ulusofona.pt/index.php/ijfma/about/submissions <http://revistas.ulusofona.pt/index.php/ijfma/about/submissions>

The International Journal of Film and Media Arts is an online semiannual publication, written in English and Portuguese, promoted by the Center for Research in Applied Communication, Culture and New Technologies (CICANT / CIC.Digital) and the Department of Film and Media Arts (DCAM) from ECATI, Universidade Lusófona de Humanidades e Tecnologias (Lisbon, Portugal). The IJFMA focuses on all areas of film and media arts research and critique, namely animation, television, media arts, videogames, fine arts, sound and their varied social and cultural forms of expression and materialisation.

The International Journal of Film and Media Arts Volume: 1, Number: 2 (2016) http://revistas.ulusofona.pt/index.php/ijfma/issue/current <http://revistas.ulusofona.pt/index.php/ijfma/issue/current> is now available.

In 2006 /TMG – Journal for Media History/ published the special issue “Cinema in Context”. It contains some of the earliest theoretical reflections on and results of the broad approach of cinema historiography that is currently often labelled as “New Cinema History”. In 2003 an international group of film historians created the platform HoMER (/History of Moviegoing, Exhibition and Reception/). Instead of taking films as the starting point and focus of research, these scholars shifted the agenda to the contexts of film production, distribution and consumption, broadening the perspective to social and economic aspects. Digital data collections and methods (databases, GIS) are often part of New Cinema History research.

Over a decade after the special issue, New Cinema History has developed into a substantial sub field of media history, as is evidenced in series of conferences, research projects and many publications. At the end of 2017 the/ Routledge/ /Companion for New Cinema History/ is expected to appear. The editors of /TMG – Journal for Media/ /History/ view this as a suitable moment to reflect on the question what this broad contextualizing approach has taught us about the cinema history of the Low Countries. Where are the blind spots and lacunae of New Cinema History? Which new research questions have arisen or should be introduced in the current debates? In brief, an evaluation of results and methods, and a prospect to the future research programme of New Cinema History. Contributions can consist of concrete (comparative) case studies or can be more theoretical or historiographical reflections.

*Editors*: Clara Pafort-Overduin (c.pafort-overduin@uu.nl <mailto:c.pafort-overduin@uu.nl>) & Thunnis van Oort (thunnisvanoort@yahoo.co.uk <mailto:thunnisvanoort@yahoo.co.uk>)

*Deadline proposal* (approximately 300 words): 1 June 2017

*Deadline article* (6.000-8.000 words): 1 November 2017

*Publication date*: 1 May 2018

*Language*: Dutch and English

*About the journal*: /TMG – Journal for Media History/ wants to promote research in media history and publish the results of that research. It offers a platform for original research and for contributions that reflect theory formation and methods within media history.//The journal is published online in open access, twice a year. /TMG – Journal for Media History/ uses a double blind peer review procedure: the authors do not know the identity of the reviewers, and vice versa. See: www.tmgonline.nl <http://www.tmgonline.nl/>.

The upside: A great project with plenty of scope to pursue personal interests.
The downside: Fees-only studentship (pay your own living expenses), and start date 1 July 2017, full-time only.

Applications are invited for a full-time 3 year fees-only PhD studentship (via MPhil), exploring the publishing of popular history in the 19th century British newspaper. The successful candidate will assess the scale and content of history publishing in newspapers, particularly local newspapers. The project will involve analysis of digitised and non-digitised newspapers, and comparisons with history publishing via magazines and books. Material such as chronologies, news of archaeological finds, dedicated ‘Notes and Queries’-style columns, folklore, dialect and wholesale scholarly transcription of historical sources will be analysed, and case studies selected. Qualitative, quantitative and ‘digital humanities’ methods can be used, according to the student’s interests and skills. The project could also study the writers of this material, and links between newspaper and book publishing.  Director of Studies: Dr Andrew Hobbs.

The project combines the histories of journalism, publishing, provincial literary and scholarly cultures, history as an academic profession, and amateurism versus professionalism. There is scope for the student to pursue personal scholarly interests under these broad headings.

This is an opportunity to realign current thinking on the publishing of history, away from books and towards newspapers and periodicals; to challenge established 19th-century historiography; to contribute to public history, and to explore historical consciousness among ordinary people, beyond the universities and metropolitan salons.

The University of Central Lancashire is close to substantial archival collections related to 19th-century local history and antiquarianism, including the Lancashire Archives, Chetham’s Library (Manchester) and Manchester Central Library. The student will be encouraged to use other relevant archives in the UK and Ireland.
International applicants may apply for the studentship but will be required to pay the difference in tuition fees.  It is expected the successful applicant will commence 1 July 2017.

Application deadline: 30 April.
Email me for further info/informal enquiries: ahobbs2@uclan.ac.uk

Details here (ref: RS/16/14, last project at bottom of page)
http://www.uclan.ac.uk/research/study/studentships.php

The panel is part of the 6th Euroacademia International Conference ‘Identities and Identifications: Politicized Uses of Collective  Identities’
22 – 23 June 2017, Florence, Italy

Deadline: 10th of May 2017

Panel Organizer: Daniela Chalániová (Anglo-American University, Prague)

Panel Description:
Ever since the so called ‘linguistic turn’ in the 1970s, majority of research on identity in political and social sciences has been focused on language and text – as language has been considered the primary  tool for meaning formation, and ideas exchange. Today, we are twenty  years from a digital revolution of the 1990s, which on the one hand,  made communication faster, more efficient and more global, on the  other hand made the linguistic exchange just one of many  possibilities. While arguably some visual elements such as symbols and  flags have been recognized as important for collective identification,  the impact of journalist, fashion and travel photography, films, comic  books and documentaries, billboards and brands, sports and arts has  largely been neglected by mainstream political science scholars, who  viewed images as something rather suspicious. However, with increasing  interest in the visual/aesthetic aspects of political and social life  (the so called ‘visual/aesthetic turn’ of the late 1990s) it is only  logical to take a hard look at identity beyond language, that is, from  an interdisciplinary visual perspective.

Images, just like words, are able to communicate norms, meanings and values, they polarize as well as unite communities, identify who is ‘in’ and who is ‘out’. Images communicate meanings through logic of association, rather than logic of argumentation as texts often do, appealing to our emotional rather than logical cognition. Images trigger the unconscious processes of stereotyping and value judgments associated with them, effectively constructing affiliation or differentiation, a Self and the Other, with behavioural consequences. Therefore, analysis of visual material in connection to identity  should occupy a more prominent place among identity scholars.  Political and social science, however, lacks in tools of visual  analysis, therefore it needs to broaden its scope into other  disciplines such as communication studies, artsand history, cultural  studies, media studies, theatre, iconography, semiotics, marketing and  advertising, public relations, fashion, photography, cinematography,  etc.

Thus, this panel aims at a more inclusive interdisciplinary approach  to identity building, especially in terms of the empirical scope. The  goal is to collect empirical as well as theoretical and methodological papers on political and social identity, focused on visual aspects of identity construction.

Suggested topics may include/but are not limited to these:
~ Role of images in multilingual collectivities’ identity construction
~ Role of images in multicultural/multinational collectivities’ identity construction
~ Role of sports as visual performance in identity narratives
~ Emotional appeal of images, symbols and representations
~ American presidential election and the public ‘image’ of the candidates
~ Presidential election and the public ‘image’ of the candidates
~ Constructing the democrats/the republicans in the media
~ Political branding and electoral campaigns
~ Media campaigns of the European Parliament
~ Statues and monuments of national identity
~ Treatment of minorities in films – visualizing the Other
~ National cinema and national identity
~ Images of patriotism
~ Fashion statement as a declaration of belonging
~ Folk costumes and clothing in contemporary national identity narratives
~ Visualizing the gender

While the papers suggested here approach identity from a social-constructivist perspective, other approaches and criticisms are welcome.

If interested in participating, please read the complete event details on the conference website and apply on-line. Alternatively you can  send a maximum 300 words abstract together with the details of your affiliation until 10th of May 2017 by e-mail at  application@euroacademia.eu

For full details of the conference and on-line application please see:
http://euroacademia.eu/conference/6th-conference-identities-and-identifications/

Following from the influential work of Pierre Bourdieu, cultural intermediaries (CIs) have been typically analysed within cultural studies and sociology (Smith-Maguire and Matthews 2013; Nixon and du Gay 2002; O’Connor 2015) as significant mediators of culture, shaping cultural forms and identities; for example, in fashion (Blumer 1969; Braham 1997; Entwistle 2006; Fine and Leopold 1993), music (Hesmondhalgh 2007), food (Bob, et.al<http://et.al>. 2013) masculinity within popular culture (Nixon 1996, 2003). This early cultural intermediaries literature was important in establishing a more complex and dynamic relationship between production and consumption by examining the work of influential ‘taste-makers’ located within key professional spaces and institutions (publishing, fashion industry, etc.). However, in the digital age, today’s CIs also include fashion bloggers and vloggers, Youtubers (Rocamora, forthcoming, 2017), music and food bloggers, and so on, who are examples of new forms of labour, as well as practices where cultural value is generated and circulated across digital spaces. Further, ideas about the ‘prosumer’ and ‘prosumption’ challenge the uni-directional view of flows of influence: consumers are emerging as ‘experts’ of the flows they are consuming (Baym and Burnett 2009), as well as ‘cultural mediators’ or ‘intermediaries’ (Arriagada 2014; Entwistle 2009; Bourdieu 1984; Rocamora 2011; 2016), bringing ‘a range of cultural things to markets: goods, images, tastes, aesthetics’ (Entwistle 2009: 15). In addition, science and technology studies (STS) and actor-network-theory (ANT) have challenged ideas about mediation to include non-human actors within these networks and flows of goods.

In this Symposium we will explore how much of the early cultural intermediaries literature within cultural studies (emerging from the late 1980s-1990s) and across a range of industries (fashion, music, popular media/magazines, for example) is relevant to today’s cultural forms in the digital age. Specifically, the aim of the symposium is to gather experts on cultural industries to discuss and analyse how consumers’ practices performed in digital spaces (e.g. blog, social media, and websites) are facilitating the emergency of new cultural and economic forms in this industry. It will be cross- disciplinary and cross-sector, seeking also to examine the differences, synergies and similarities across key cultural industries (for example, fashion, music, print/publishing, film, food, gaming).

We invite participants to send abstracts that explore the practices, identities, and discourses of cultural mediators in the digital age from a broad range of disciplines – including sociology, media studies, geography, anthropology, cultural studies, STS. Questions and topics include but are not limited to:

-How do CIs create meaning and valorise cultural products in the digital age?
-How do their practices vary across industries (e.g. music, media, fashion, design, and food) in the digital age?
-What role do digital technologies (particularly social media) play in the practices of CIs?
-What forms of labour are emerging from consumers’ social media practices of mediation around goods and flows produced in the cultural industry?
-How are the off- and online practices of CIs regulated, and by whom?
-What type (s) of value (s) (e.g. economic, symbolic) are consumers producing through their online practices of mediation?
-What kind of knowledge do consumers produce and circulate through social media in relation to flows and goods produced in the cultural industry?
-Theoretically, what kind of sociological, cultural, and economic concepts and theories serve to understand online practices of mediation in relation to flows and goods produced in the cultural industry?

Please send abstracts (350 words) with a short bio (100 words) by May the 3rd to:
symposiumcmda@gmail.com <mailto:symposiumcmda@gmail.com>

The abstract should include theoretical and methodological discussions and have to be submitted and presented in English. Please include relevant biographical information as well. On submission of the proposal, only the proposing author will receive an email confirming receipt.

The Symposium organising committee will assess all proposals and communicate results by May the 29th.
The program will be available by June the 22nd.
Participation in the Symposium will cost £50 and £30 (students).

This Symposium is organised by the School of Communications at University Adolfo Ibanez, the Culture, Media and Creative Industries Department at King’s College, and the London College of Fashion, University of the Arts London.

In this special issue of Critical Arts we aim to explore participatory art practices that specifically engage with technology and digital media. There has been a growing body of art that focuses on social practices, networks and processes as constituting the artwork itself. This implies that the events that facilitate social interaction and cultural encounter are variously seen as the actual art practice (Siegenthaler 2013). However, because contemporary media culture is characterized by participation, interaction, immersion and collaboration, art practices are challenged to move beyond a “mere” adoption of new technologies. There is a need to explore how technologies are also changing our experience of place, conceptions of intimacy, co-presence and interaction, and to generate new understandings of technological mediation as a feature of social relations (Beaulieu, 2010; Hjorth and Sharp 2014).

We invite papers from researchers, theorists and artists to engage critically with how technology, media and networks open up new avenues to develop practices that examine place and locality, community and communication, interaction and intimacy, proximity and distance, creation and co-creation. Papers can also focus more broadly on the impact of digital technologies on art today, for example by exploring the creative and participatory practices that are made possible by artists working with technology or by collaborations between artists, scientists and technological experts, focusing for example on robotics, virtual/ augmented reality, immersive media or game technology (Gardiner and Gere 2010, Gronlund 2016). Next to full research papers we also invite contributions that can serve as vignettes – short statements and reflections by artists about their practice.

*Submission guidelines*

– Deadline for abstracts: Please send your abstracts of 300 words by April 15th 2017 to Kris.Rutten@UGent.be <mailto:Kris.Rutten@UGent.be>.
– Notification of selected abstracts by: May 15th 2017.
– Deadline for article submission: based on the selection of the abstracts full papers will need to be submitted by: August 15th 2017.
– Information and instructions for authors: http://www.tandf.co.uk/journals/RCRC

All completed manuscripts MUST be uploaded onto the online manuscript portal Scholar One. Go to Critical Arts on the Taylor and Francis site. There is an option on the top left pane of the screen that says ‘submit’, select this then click ‘submit online’ and follow the prompts.

Further inquiries about the special issue: Kris.Rutten@UGent.be <mailto:Kris.Rutten@UGent.be>
Alternatively, contact the Critical Arts editorial office at criticalarts@ukzn.ac.za <mailto:criticalarts@ukzn.ac.za> or the editor-in-chief, Keyan Tomaselli at keyant@uj.ac.za <mailto:keyant@uj.ac.za>

Critical Arts prides itself in publishing original, readable, and theoretically cutting edge articles. For more information on the history and the orientation of the journal, as well as guidelines for authors, and legal and editorial procedures, please visit: http://www.tandf.co.uk/journals/authors/rcrcauth.asp Critical Arts is now published six times annually and is indexed in the International Bibliography of Social Sciences (IBSS) and the ISI Social Science Index and Arts & Humanities Citation Index and other indexes.

*References*

– Beaulieu, A. 2010. From co-location to co-presence: Shifts in the use of ethnography for the study of knowledge. Social Studies of Science 40(3): 453-470.
– Gardiner, H. and Gere, C. 2010. Art Practice in a Digital Culture. London: Routledge.
– Gronlund, D. 2016. Contemporary Art and Digital Culture. London: Taylor and Francis.
– Hjorth, L. and Sharp, K. 2014. The art of ethnography: the aesthetics or ethics of participation? Visual Studies 29(2): 128-135.
– Siegenthaler, F. 2013. Towards an ethnographic turn in contemporary art scholarship. Critical Arts. South-North Cultural and Media Studies, 27(6): 737-752.

Guest editor: Kris Rutten
Editorial consultant: Leora Farber

O Simpósio Internacional “Mulheres no Cinema Ibérico” (Women in Iberian Cinema) acontece no Centro de Estudos Comparatistas da Faculdade de Letras da Universidade de Lisboa, nos dias 11 e 12 de Setembro de 2017. Trata-se de um evento interdisciplinar organizado pelo projeto de investigação “O Cinema e o Mundo: Estudos sobre Espaço e Cinema”, do grupo THELEME. Os investigadores interessados em contribuir com trabalhos têm até 9 de junho. Os artigos podem se escritos em português, inglês e espanhol. 

O simpósio contribuirá para ampliar os debates sobre o lugar das mulheres nos cinemas de Portugal e Espanha, através de uma revisão da teoria feminista e pós-feminista, assim como de novos relatos da história do cinema. Visa também promover uma análise comparativa entre os cinemas ibéricos de todas as regiões, um tema quase inexplorado na academia, apesar das histórias semelhantes dos dois países, sobretudo no século XX.

Eixos temáticos

• Personagens femininas, temas e representações em contextos regionais, nacionais e / ou transnacionais específicos;
• Género (Gender/Genre) nos cinemas de Portugal e Espanha;
• O papel das mulheres na indústria cinematográfica, dos inícios ao cinema contemporâneo;
• Estudos de caso de mulheres diretoras, produtoras, roteiristas e outras funções;
• Estrelas femininas em Portugal e Espanha;
• Abordagens feministas e pós-feministas dos estudos sobre cinema em diferentes épocas;
• Mulheres e censura, propaganda ou política de maneira mais abrangente.

Mais informações no Call for papers (em inglês) em anexo e na página do Centro de Estudos Comparatistas da Universidade de Lisboa.