*CFP* "WOMEN ON SPANISH TV", ASSOCIATION OF HISPANISTS OF GREAT BRITAIN AND IRELAND ANNUAL CONFERENCE 2019

AHGBI Annual Conference 2019

Durham University, Monday 8th to Wednesday 10th April

Association of Hispanists of Great Britain and Ireland (AHGBI)

We would like to organise a panel on the mediation of contemporary female subjectivity in Spanish popular culture, with a particular emphasis on television, in keeping with the conference focus on visual culture. The roles of women are scrutinised, interrogated and represented through a variety of TV genres. Mothers, daughters, working women, women in power, all roles are framed by the conventions of each genre. This panel thus explores issues around identity construction, character engagement, role model potential and interpretation processes, keeping in mind that Spanish viewers have easy access to a wide range of international TV programmes and thus engage in a transnational viewing experience.

Topics may include but are not limited to:

Working women, Maternities, Post-feminism in Spain, Women on TV, Celebrity culture and women, popular feminisms

*CFP* CALL FOR PAPERS VOL.1 Nº 2 (2018), REVISTA COMUNICACIÓN Y GÉNERO

Tenemos el placer de informarle de que nuestra revista "Comunicación y Género" está buscando artículos (textos inéditos y originales) para su próximo número.

"Comunicación y Género" publica artículos originales e inéditos, sobre aquellas temáticas relacionadas con el periodismo, publicidad, comunicación institucional y empresarial, medios audiovisuales y documentación, además de estudios sobre las nuevas tecnologías y otros ámbitos de las ciencias experimentales y sociales vinculadas a la comunicación desde una perspectiva de interseccionalidad.

Por consiguiente, le invitamos a presentar sus trabajos hasta el 31 de octubre de 2018. Los artículos pueden ser redactados en español o inglés. Los/as autores/as deberán enviar sus textos por email a revistacyg@ucm.es ajustados a las normas de edición de la revista.

Revista Comunicación y Género

*CFP* "REPRESENTATIONS OF CHILD AND YOUTH AGENCY IN FANTASY", EDITED VOLUME

We are seeking completed submissions for an edited volume that interrogates representations of child and youth agency in fantasy.  Our collection Walking in Other Worlds: Fantastical Journeys of Children’s Agency explores child and youth agency in the context of fantasy popular cultural forms.  These sources of analyses may include television, cartoons, films, novels, toys, comic books/graphic novels, advertising, storytelling/folklore, fashion, art, video games, etc.  An academic publisher is connected to this project.

Representations of children’s agency in fantasy can be analyzed from a variety of grounding points.  For example, chapters might consider the intersection of agency and:

*CFP* "STRAIGHT TO THE FRONT ROW: INVESTIGATING CONTEMPORARY WESTERN GAY MALE CINEMA", CONFERENCE UNIVERSITY OF NORTHAMPTON

Straight to the Front Row: Investigating Contemporary Western Gay Male Cinema. Conference to be held at the University of Northampton (UK) [16/02/2019 – 17/02/2019]

From Weekend (dir. Andrew Haigh, 2011) to Call me By Your Name (dir. Luca Guadagnino, 2017), from God’s Own Country (dir. Francis Lee, 2017) to Moonlight (dir. Barry Jenkins, 2016) and Love, Simon (dir. Greg Berlanti, 2018), contemporary Western gay male cinema has endured a shift in both representational strategies and a boom in popularity within both mainstream and independent spheres, since 2010. ‘Western gay male cinema’, more specifically, refers to cinema that features a gay male protagonist, has narrative themes that relate to gay male identities and films that are primarily produced for gay male audiences. Prior to 2010, there have been Western gay male films that have been significant in either their representations or their popularity (ranging from the films that centred on gay men in New Queer Cinema to films such as Brokeback Mountain [dir. Ang Lee, 2005]), however, Western gay male films since 2010 have: gained (mass) attention within hegemonic spheres of success such as the Academy Awards and the BAFTAs, infiltrated a plethora of genres from the Teen (Young Adult) Film to the Erotic Thriller and Romantic Drama, and some have begun to (further) investigate intersectionalities of age, gender, class, race and sexuality.

*CFP* GLOBAL HANDBOOK OF COMMUNICATIONS AND SUSTAINABLE DEVELOPMENT, BOOK CHAPTERS

In 2015 several member states of the United Nations agreed on the Sustainable Development Goals (SDGs) or what is known as the 2030 Agenda. The SDGs are expected to address major global challenges such as poverty alleviation, access to education, addressing inequality, climate change, improving access to quality healthcare, eradicating hunger, ensuring environmental sustainability, promoting innovation and infrastructural development among others.

To what extent are the intended beneficiaries of this ambitious plan aware of the 2030 agenda? What is the role of the media in communicating for sustainable development? Are the efforts to communicate the global goals reaching the target beneficiaries or do they end up as gathering of elites in major capitals with little to show for in terms of impact for the ordinary people? How can communication be utilized to address the challenges of achieving sustainable development? How is the digital media being utilized in communicating for sustainable development? How can communication serve as a tool for community empowerment in achieving sustainable development?

*CFP* CALL FOR PAPERS VOL.3 AUTUMN 2018, MEDIATIZATION STUDIES INTERNATIONAL JOURNAL

International journal “Mediatization Studies” is announcing call for papers for the new issue (Vol. 3. Autumn 2018). We are expecting papers that apply mediatization approach in its multiple dimensions, theoretically informed empirical works are especially welcomed.

We would be grateful if you could also forward this message to your colleagues, co-workers, PhD candidates and MA students.

“Mediatization Studies” is the first international journal entirely devoted to the mediatization process. We invite authors and papers from around the world that address one or more of the following key questions:

*CFP* "VISUALIZING KINSHIP: POLITICS, CHALLENGES, OPPORTUNITIES", ADOPTION & CULTURE JOURNAL

Adoption & Culture publishes essays on any aspect of adoption’s intersection with culture, including but not limited to scholarly examinations of adoption practice, law, art, literature, ethics, science, life experiences, film, or any other popular or academic representation of adoption. Adoption & Culture accepts submissions of previously unpublished essays for review.

Adoption & Culture is the journal of The Alliance for the Study of Adoption and Culture (ASAC). ASAC promotes understanding of the experience, institution, and cultural representation of domestic and transnational adoption and related practices such as fostering, assisted reproduction, LGBTQ+ families, and innovative kinship formations. ASAC considers adoptive kinship to include adoptees, first families, and adoptive kin. In its conferences, other gatherings, and publications ASAC provides a forum for discussion and knowledge creation about adoption and related topics through interdisciplinary, culture-based scholarly study and creative practice that consider many ways of perceiving, interpreting, and understanding adoption.

*CFP* "NUEVOS PERIODISMOS: CAMBIO SOCIAL, TECNOLOGÍA Y TRANSFORMACIÓN DIGITAL", NÚMERO EXTRA REVISTA LATINA DE COMUNICACIÓN SOCIAL

La transformación digital ha modificado la dinámica y el alcance del periodismo. La tecnología se ha instalado en las redacciones, en la empresa informativa y el consumo de noticias, de modo que es el momento para indagar y cuestionar no solo los soportes y formatos (realidad virtual, drones, podcast, servicios de mensajería), sino también la sostenibilidad (comunidades de lectores y usuarios) y la viabilidad económica de las aventuras periodísticas de naturaleza digital (emprendimiento periodístico).

Con este número extra, se persigue abordar los nuevos periodismos bajo sus distintas denominaciones: periodismo ubicuo (Salaverría, 2017), periodismo para la transformación y   el cambio social (Aguilera y Casero, 2018), laboratorios de periodismo (García Avilés et al., 2018), periodismo hackeado (Mancini, 2011), nuevos medios (Cabrera), periodismo inmersivo (Domínguez, 2015) o periodismo transmedia (Serrano Tellería, 2014).

El monográfico aspira a orientar la investigación en periodismo para afrontar la naturalización de la tecnología en los procesos, la producción de contenidos, las narrativas, los modelos de negocio, la ética y la enseñanza universitaria. 

*CFP* "BUT NOW, WE MUST EAT! FOOD AND DRINK IN SCIENCE FICTION", EDITED VOLUME

In her contribution to Reel Food: Essays on Food and Film (2004), Laurel Forster remarks that “food appears as an important element in a surprising number of […] science fiction films” and helps “illuminat[e] social, national, and even global structures, agencies, and order.” Thus, the interrelationships between food and science fiction offer “a valuable means of understanding the link between the individual and controlling powers around her/him.” While many science fiction texts employ food and drink in uncritical ways and/or as “simple” (if such exists) props supporting the narrative action, the genre also often foregrounds food and drink (and the attendant activities of eating and drinking) as means for generating affect and/or producing meaning. For example, in David Cronenberg’s The Fly (1986), half-mutated Seth vomits digestive juices onto his morning donut to prepare it for consumption, noting, “Oh, that is disgusting,” thereby mirroring the viewer’s response to the on-screen action. Similarly, when first the aliens and then “undercover” Frank consume the green, vomit-like goo in Peter Jackson’s Bad Taste (1987), this moment might evoke laughter or, more likely, induce anastaltic reflexes. Likewise, disgust and revulsion were likely the first reactions Star Trek: Discovery (2017–) viewers had to Terran Empress Georgiou dining on the ganglia of a Kelpian—a sentient species kept as slaves and livestock. What do these corporeal responses to food images mean? What meanings do food and drink, more generally, communicate in science fiction texts?

*CFP* "NARRATIVAS DE PAZ, VOCES Y SONIDOS", REVISTA LATINA DE COMUNICACIÓN SOCIAL

Se convoca a la comunidad académica, en especial la colombiana, a presentar textos académicos en la modalidad artículo de revista - capítulo de libro sobre la temática de la convocatoria. Se tendrán en cuenta trabajos que giren alrededor de:

• la paz y sus lenguajes
• la comunicación y la paz
• territorios y narrativas para la paz
• las universidades y la paz
• Colombia, la paz y su comunicación pública
• otras temáticas relacionadas con la paz, sus voces y sus sonidos

*CFP* "REALISMO MÁGICO EN LA LITERATURA Y EN EL CINE", BIBLIOTECA DE HUMANIDADES UC3M

JORNADA de
REALISMO MÁGICO EN LA LITERATURA Y EN EL CINE

Universidad Carlos III de Madrid
Biblioteca de humanidades, Campus de Getafe.
26 de noviembre de 2018 (16:00 – 20:00)

El realismo mágico es difícil de categorizar y conceptualizar, pero sin lugar a dudas, su surgimiento en una cierta geopolítica responde a una necesidad histórica. En esta jornada intentaremos aproximarnos al tema y a las circunstancias históricas que llevan a algunos autores de literaturas y cines menores a retratar su entorno con pinceladas mágicas.

*CFP* "EUROPEAN CINEMA IN THE 21ST CENTURY: DISCOURSES, DIRECTIONS AND GENRES", EDITED COLLECTION

Modules of European cinema have become increasingly popular in university curricula, both in European countries and overseas. However, knowledge on the topic is often fragmented across a variety of studies, or centred around specific national cinemas, which can act as a hindrance in discerning key trends and assimilating the complexities of European cinema. This book articulates a way of rethinking the study of contemporary European cinema by placing at the centre of its efforts the students and their needs.

This monograph aims to provide important insights on the key features of European cinema in the 21st Century highlighting its major aesthetic schools, traditions, national identities and transnational concerns. These features are complemented by an accessible and student-friendly structure in which each chapter discusses significant topics, explains their context and provides definitions of key terms. Each chapter also encourages critical thinking by providing a set of reflective questions, and a case-study that summarises and applies the theoretical content.

*CFP* "RELACIONES PÚBLICAS EN EL TURISMO", VOL. VIII, NO. 16, REVISTA INTERNACIONAL DE RELACIONES PÚBLICAS

Comunicamos que ya está abierta la convocatoria para el número 16 de la Revista Internacional de Relaciones Públicas. Este nuevo número versará sobre “Las Relaciones públicas en el turismo” y estará coordinado por Carlos de las Heras-Pedrosa (Universidad de Málaga, España) e Ivette Soto-Vélez (Universidad del Turabo, Puerto Rico).

Las relaciones públicas aplicadas al turismo es un campo de estudio emergente donde el análisis de los públicos se considera esencial pues interactúan administraciones públicas y empresas privadas de carácter internacional, nacional o incluso locales organizando y diseñando estrategias comunes para potenciar y promocionar el sector.

La financiación para la promoción del destino turístico suele enmarcarse en los presupuestos de las administraciones. Dichas estrategias de promoción deben convivir con la sostenibilidad del destino y con la convivencia de sus ciudadanos. Las administraciones públicas utilizan al turismo con fines más allá que la promoción y comercialización del destino, como puede ser la diplomacia pública, la gestión de la imagen o incluso el desarrollo y la inclusión social. Igualmente, las nuevas tecnologías y los medios de comunicación social han abierto nuevos retos en la comunicación bidireccional entre empresas, administraciones y turistas. Esto tiene una implicación directa en las relaciones públicas. Los investigadores en relaciones públicas deben tomar conciencia de estos aspectos que no están definidos en otras disciplinas.

*CFP* "FACT, FAKE AND FICTION", 2019 YEARBOOK OF THE GERMAN CHILDREN'S LITERATURE RESEARCH SOCIETY

Since Donald Trump made the microblogging service Twitter the central communication medium of his policy, there is a constant talk of “fake news” and “alternative facts”. Whether we actually live in a “post-truth age” today is an open question, but there is no doubt that playing with fact and fiction has reached a new level of staging and stylisation in the media public sphere.

The case is somewhat different for literature, as a fictional text is precisely defined by the feature that it does not claim to be verifiable in extra-linguistic reality. Samuel Taylor Coleridge famously declared in 1817 that “a willing suspension of disbelief” was the prerequisite for reading and understanding a literary text. But what can the fictional contract between author and reader be if, for example, the histoire of a narrative contains explicit or implicit falsehoods, or an unreliable narrative instance exists on the level of the discourse? How do recipients deal with literary and medial illusions and lies?

*CFP* "CINEMA LIBERATION THEOLOGY", EDITED VOLUME

This collection seeks 4,000-6,000 word chapters on cinema and liberation theology for an edited collection which a major academic publisher is interested in. 

This collection focuses on liberation narratives which are in some way related to or inspired by religious traditions/literatures/practices/discourses from around the world. The films and analyses need not be explicitly religious in content, but need only to be argued in the context of liberation with theology, spirituality, or divinity.

Chapters that focus on one or more of the following will be considered with priority: James Cone, Daniel M. Bell Jr., S. Brent Plate and Antonio Sison. Alternatively, Chapters which deal with the cinematic apparatus and theological/religious correlates are also encouraged. 

*CFP* "MISCOMMUNICATION: ERRORS, MISTAKES, AND THE MEDIA", BOOK CHAPTERS

Mistakes and miscommunications occupy a special place in media theory, and for the field of media archaeology in particular, posing a range of important questions. What happens to discourse when media machines do not operate in the way they were intended? What happens when communication systems break down and start to deliver misleading information? What are the conditions for the error in 21st century media? And what can attention to the possibilities for the experience of miscommunications tell us about 21st century media and culture in general?

These questions pose a problem for media archaeology and identify a need for this field to be expanded beyond its own paradigm to uncover the ways in which errors and miscommunications address historical and contemporary cultural techniques. This book invites contributions that investigate new methods, topics and themes around the idea of miscommunication at the interface of media archaeology and fields of cultural studies, art history, philosophy, film studies, sound studies, and conflict studies, where an investigation of errors, mistakes and falsity can provide new ways to understand creative and epistemological processes. We argue that the potential for mistakes in any communication system creates a specific agency – an ‘energy of delusion’ in the worlds of Viktor Shklovsky, or as Umberto Eco describes it a ‘force of falsity’ – that awaits its reconsideration in the 21st century.

*CFP* "LOS FUTUROS DE LA SOCIEDAD CAPITALISTA. UNA MIRADA DESDE LA IMAGINACIÓN FÍLMICA Y TELEVISIVA", VOLUMEN ESPECIAL CINEMA COMPARAT/IVE CINEMA

Nuevas formas de nihilismo, fundamentalismo religioso y populismo han surgido en el seno de la sociedad capitalista. La dinámica capitalista ha generado una crisis sin precedentes de las condiciones medioambientales de la sociedad, que ha llevado a los analistas a caracterizar la época presente como “capitaloceno” (Moore 2017; 2018; Altvater et al., 2016; Bonneuil and Fressoz, 2017). La revolución permanente del capitalismo tecnológico está poniendo en cuestión el concepto mismo de lo humano apuntando a una sociedad post-humana. El espectro de la distopía está por consiguiente acechando los imaginarios sociales en el capitaloceno, engendrando nuevos mitos y narrativas. Con todo, el panorama de la imaginación social es plural y está dividido: la IA, la robótica, la neurociencia, la biogenética y la teoría evolucionaria insuflan una nueva vida a los mitos escatológicos y de salvación (Harari 2017; Taylor 2007; véase Atwood 2010 sobre “ustopias”). En esta situación de crisis y apertura histórica, la imaginación artística y su capacidad de leer posibles futuros en los “signos de los tiempos” es un lugar privilegiado de experiencia y reflexión. Después de la moda de la fragmentación postmoderna y la ficcionalización lúdica, ha habido un florecimiento de (grandes) narrativas basadas en invenciones científico-tecnológicas e ideas socio-históricas con el fin de anticipar, y reflexionar sobre, la sociedad post-humana por venir. En particular, el dilema de la sociedad capitalista ha generado una ola de propuestas e interpretaciones fílmicas que proyectan los posibles desarrollos futuros a partir de las semillas del presente – por ejemplo, Black Mirror, Ex Machina, Interstellar, Humans, Westworld, Handsmaid’s Tale o 3%.

*CFP* "TRANSITIONS INTO PARENTHOOD: CHILDBEARING, CHILDREARING, AND THE CHANGING NATURE OF PARENTING", CONTEMPORARY PERSPECTIVES IN FAMILY RESEARCH BOOK SERIES

Contemporary Perspectives in Family Research, an annual series which focuses upon cutting-edge topics in family research around the globe, is seeking manuscript submissions for its 2019 volume. The 2019 volume of CPFR will focus on the theme of "Transitions into Parenthood: Childbearing, Childrearing, and the Changing Nature of Parenting."

Around the globe, the very conceptualization of family is associated with the relationship between a parent and a child. The birth of a child represents both the end of one experience, wherein parents have been preparing for the arrival of the child, and also the beginning of yet another experience, involving the rearing of the child. Entry into parenthood represents a fundamental shift in family structure and family dynamics. Furthermore, this decision to have a child has substantial bearing upon the larger society, particularly in regard to population issues. Quite obviously, the two components of childbearing and childrearing vary considerably across cultures, and over time, and each of these continues to change. 

*CFP* FORUM ON #METOO AND MEDIA ETHICS, MEDIA ETHICS MAGAZINE

MEDIA ETHICS, The Magazine Serving Mass Communication Ethics, would like to assemble a forum section with reflections from scholars of media, journalism, communication, rhetoric, and beyond concerning the normative dimensions of media’s role in the #MeToo movement, a growing international movement that empowers individuals of sexual harassment, abuse, and assault.

Journalists, newspapers, and social media have played important roles in this movement’s growth, featuring stories identifying alleged sexual harassers. News media have come under fire for the ways they’ve ignored such allegations and abusers in the past, and have received both praise and blame for how they now cover those individuals accused of harassment. Social media has become a prominent method for #MeToo campaigns, quickly spreading information and amplifying efforts at social shaming, leading some to call more reflection on the ethical implications of using online crowds in the digital age. In essays of roughly one thousand words, contributors are invited to reflect on media and communication ethics relating to any aspect of the #MeToo movement, including but not limited to:

*CFP* NEW ISSUE, THE JOURNAL OF ALTERNATIVE AND COMMUNITY MEDIA

The Journal of Alternative and Community Media is an online, academic journal for the publication of high-quality, peer-reviewed international research.

The journal aims to highlight and promote the study of alternative and community media and communication, which includes citizens′ media, participatory media, activist and radical media and the broader forms of communication that these groups might undertake. The journal locates this scholarship within the media and cultural research disciplines.

This field of study continues to grow and demonstrates increasing relevance in the digital age. The Journal of Alternative and Community Media recognises the need for strong empirical and theoretical advances which help explain the shifting media environment, and the ways in which people use alternative forms of media and communication. Issues of concern to the journal include but are not limited to the nature and distribution of media power; access to and participation in media; media practices of communities and social movements; diverse objectives, practices and structures within alternative and community media; state support and media regulation; and the possibilities of emerging technologies and new media.

*CFP* "COLD WAR II: HOLLYWOOD'S RENEWED OBSESSION WITH RUSSIA", EDITED COLLECTION

The Cold War, with its bald confrontation between the United States and the Soviet Union, has been widely depicted in film. Starting even before the conflict actually began with Ernst Lubitsch’s portrayals of communism in Ninotschka (1939), and ranging from Stanley Kubrick’s openly “Cold War” Dr. Strangelove (1963) to Fred Schepisi’s The Russia House (1990), Hollywood’s obsession with the Cold War, the Soviets/Russians, communism, and the political and ideological differences between the U.S. and Russia were pronounced. This obsession has persisted even after the fall of the Berlin Wall and the breakup of the Soviet Union. Cold War tropes continue to be (ab)used, as can be seen in multiple representations of evil Russians on screen, including Wolfgang Petersen’s Air Force One (1997), Jon Favreau’s Iron Man 2 (2010), Phillip Noyce’s Salt (2010), Brad Bird’s Mission: Impossible – Ghost Protocol (2011), John Moore’s A Good Day to Die Hard (2013), and Antoine Fuqua’s The Equalizer (2014), to name just a few. All these films portray Russians in a rather similar manner: as members of the mafia or as plain criminals. Yet recently Hollywood cinema has made a striking turn regarding its portrayals of Russians, returning to the images of the Cold War. This turn and the films that resulted from it are what the collection proposes to examine.

*CFP* "POPULAR CULTURE, FANDOM AND TOURISM: EMERGENT INTERSECTIONS OF DESTINATION PLACE-MAKING", THE JOURNAL OF POPULAR CULTURE

Popular culture tourism encompasses destinations featured in popular culture expressions (e.g. film, television, literature, music, fashion, sports) and the people who travel to these places because of their association to the expression. Traditionally, popular culture tourism research has focused on either one of these perspectives, exploring topics like commoditization, staged performances and authenticity; these focus on the extent to which a tourism experience is organized for visitors and to what degree it can be regarded as genuine. Popular culture tourism destinations often experience a strong marketing push to cultivate niche products and experiences in the wake of being featured in a popular culture medium. Thus, unique destination marketing opportunities follow this kind of tourism, such as the shaping of destination images and brands for example through the re-imagination of historical pasts and fabrication of a modern heritage. The tourists who visit these destinations exhibit somewhat more complex motivations than traditional tourists’ travel motives. Some have a passionate interest (i.e. fans) in a particular popular culture phenomenon, whilst for others the popular culture association of the place attracts them to visit for of added value. For fans, the drama, entertainment, social interaction as well as community connections are central to the experience.

*CFP* "FAMILIES ON SCREEN IN THE AMERICAS SINCE 1970", INTERNATIONAL CONFERENCE: CONGRÈS DE L'INSTITUT DES AMÉRIQUES

International Conference: Congrès de l'Institut des Amériques (9-11 October 2019, Paris). Panel 10: Families on Screen in the Americas Since 1970.

The 1960s are known as a period of profound economic, social and political turmoil. In Western societies, revolutionary uproars directly impacted the bourgeois ideal of the nuclear family inherited from the 19th century. In this family structure, the head of household is an all-powerful father wielding his authority over wife and children. The male breadwinner–female homemaker family model popularized after World War II started to erode from the 1960s onwards to finally splinter in the 1970s. With its fast-growing viewership at the time, television has contributed to this evolution somewhat paradoxically. On the one hand, televisual productions could reproduce the established order. But on the other hand, they could incorporate sociocultural changes that became consensual.

TV shows constitute invaluable sources to study these transformations as family issues have long held a key position in television productions across the Americas. Since the 1950s, many TV shows from the northern part of the continent have revolved entirely around families like Bewitched (1964-1972). 

*CFP* "THE POLITICS OF FEAR: HORROR AND POLITICAL THOUGHT", BOOK CHAPTER PROPOSALS, UNIVERSITY OF SOUTH CAROLINA SUMTER

We’re seeking chapter-length contributions to an edited volume on horror and politics. The working title for this project is The Politics of Fear: Horror and Political Thought. We’re open to contributions that discuss anything that falls under the umbrella of “horror” (prose fiction, films, television series, comics, poetry, video games, theater, music, etc.) in connection with politics and political thought.

We intend this project to speak to a variety of audiences: scholars across a range of disciplines, undergraduate and graduate students, horror fans, and the general reader. We’re therefore hoping for contributions that are both broadly accessible and intellectually rigorous. These contributions might use horror to explore politics and political thought, or they might use politics and political thought to explore horror. How might resources drawn from the history of political thought inform our engagements with, and conversation about, horror? In what ways might horror provide a useful lens through which to consider enduring questions in politics and political thought? And what insights might be drawn from horror as we consider contemporary political issues? In turning to horror, we hope to find fresh provocations that might inform a broad range of discussions of politics and political thought.

*CFP* "RECONFIGURING THE (TRANS-)CULTURAL", INTERNATIONAL WORKSHOP RECALIBRATING CULTURE, HEIDELBERG CENTER FOR TRANSCULTURAL STUDIES

Thinking through and beyond (i.e.: trans) established understandings of culture, the International Workshop Recalibrating Culture – Reconfiguring the (Trans-)Cultural sets out to rethink notions of culture, hitherto conceived as self-contained, and clearly separable, man-made and stable units. Taking a critical view of this perspective, Heidelberg has for many years developed the transcultural approach. In this workshop, we offer to expand and critically evaluate, as well as to theorize the transcultural from a visual perspective: expanding visual culture into visual transculturality and reconsidering the transcultural from the visual. In doing so, we add new dimensions of thinking the transcultural.

There is a profound need to revise the (often pejorative) concepts of ‘culture’, ‘nature’ and ‘human’ and to recalibrate the transcultural. We engage in critical revisions of the new ‘post-culturalisms’, such as neo-naturalisms, post-humanisms and techno-centrisms, practicing something one could call a post-anthropocentric media studies.

*CFP* VOL. 11, Nº 1 ISSUE, JOURNAL OF COMMUNICATION AND MEDIA RESEARCH

The Journal of Communication and Media Research is a research-based and peer-reviewed journal published twice-yearly in the months of April and October by the Association of Media and Communication Researchers of Nigeria (CAC/IT/NO 111018). The journal is addressed to the African and international academic community and it accepts articles from all scholars, irrespective of country or institution of affiliation.

The focus of the Journal of Communication and Media Research is research, with a bias for quantitative and qualitative studies that use any or a combination of the acceptable methods of research. These include Surveys, Content Analysis, and Experiments for quantitative studies; and Observation, Interviews/Focus Groups, and Documentary Analysis for qualitative studies. The journal seeks to contribute to the body of knowledge in the field of communication and media studies and welcomes articles in all areas of communication and the media including, but not limited to, mass communication, mass media channels, traditional communication, organizational communication, interpersonal communication, development communication, public relations, advertising, information communication technologies, the Internet and computer-mediated communication.

*CFP* "SITUATING THE LOCAL IN GLOBAL CULTURAL POLICY", SPECIAL EDITION OF CULTURAL TRENDS

From the growth of city regions to the calls for more localism, engaging with ‘the local’ has become an increasingly important part of cultural policy rhetoric in many countries. Yet despite apparent recognition that the practices of culture are always situated (and hence local), contemporary cultural policy research tends to privilege the national or international as the primary site at which cultural policy is enacted and thus, can be reformed. For all of its increasing use ‘the local’ remains abstract, seemingly deployed to legitimate activity that is of debatable benefit to the places and practices imagined by its invocation.   

In opposition to this arguably token localism, a body of work calls for greater recognition of the “situated cultural practices [and] internal logics, histories and structures” of particular places in the study of cultural policy (Gilmore, 2013, p. 86; see also Durrer, 2017). It draws on work that considers the ways in which local relationships and practices of policymaking, convergence, and transference negotiate and manage national and international policies (e.g. Stevenson et al, 2010; Wilson & Boyle, 2004; Johanson et al 2014). This work has been accompanied by growing rhetoric and advocacy for co-production and citizen-led as well as participatory governance structures (Jancovich, 2015). Attempts to build “adaptive capacity” or resilience among citizens (Pike, Dawley, & Tomaney, 2010) have adopted approaches from social learning (Collins & Ison, 2006) and public participation (Brodie, Cowling, & Nissen, 2009). Many welcome these potentially more democratic approaches and the possibility of a commons of cultural assets, infrastructure, resources and knowledge (Ostrom, 1990; Gonzales, 2014; Murphy & Stewart, 2017)

*CFP* "SHORT CIRCUIT: BREVITY AND THE SHORT FORM IN SERIAL TELEVISION", COLLECTED VOLUME

As critics, creators and academics alike herald the new “Golden Age” of television, the accent has increasingly been placed on the excess inherent in the form, the temptation to “binge-watch” a single fiction over several hours, or the proliferation of narratives and storylines in American television’s “endless present” (which, unlike its British equivalent, is not traditionally designed to end at any specific point). 

Melissa Ames (Time in Television Narrative: Exploring Temporality in Twenty-First-Century Programming, 2012) reminds us however that time is at the very center of the television narrative, and that television differs from its cinematic equivalent notably by its incremental approach to storytelling –alternately playing with and combining duration and brevity. Thus, in this publication, we would like to come back to what originally distinguishes TV series from films, i.e. their specific connection to shortness. We will be examining television as a short form, insisting on the structure implicit in the television episode, be it the traditional forms (30 or 60 minutes), or the increasing popularity of webseries that feature microepisodes (of 2-10 minutes), like The Lizzie Bennet Diaries, Frankenstein, MD, Carmilla, or Kings of Con and Con Man. We will attempt to examine this balance between short episodes and long duration, as well as the association of episode length with genre – traditionally, hour-long series have been dramatic, and half-hour series comic. (All the webseries with microepisodes mentioned here are comedies.) 

*CFP* CALL FOR PAPERS, NEXT ISSUE, Nº 7/2018, HYPERCULTURA JOURNAL

HyperCultura was founded in 2012 by the Department of Letters and Foreign Languages, Hyperion University, Bucharest. It is a biannual publication, with two issues each year, which has turned from a print and electronic version into an online journal.

It encourages interdisciplinarity, with articles ranging from Cultural and Literary Studies to Language and Teaching. So far, all its volumes have been thematic, each theme being alloted two issues. Topics of interest today – Multiculturalism and/or Transculturalism, Indentity and Conflict in Cultural and Geopolitical Contexts, Cultural and Institutional Memory as a Means of Progress, Community and Communication from a Diachronic and Synchronic Perspective have been approached from a variety of angles. Nationhood, race, feminism, globalization, education, philosophy, the digital world, Romanianness, Irishness, Britishness, Americanness, rhetoric, medievalism, consumerism, history, narratology, bureaucracy, communication and art is just a summary of all the subjects included here.

*CFP* CALL FOR PAPERS SCREEN BODIES, AN INTERDISCIPLINARY JOURNAL OF EXPERIENCE, PERCEPTION, AND DISPLAY

Screen Bodies is a peer-reviewed journal focusing on the intersection of Screen Studies and Body Studies across disciplines, institutions, and media. It is a forum promoting research on various aspects of embodiment on and in front of screens through articles, reviews, and interviews. The journal considers moving and still images, whether from the entertainment industry, information technologies, or news and media outlets, including cinema, television, the internet, and gallery spaces. It investigates the private experiences of portable and personal devices and the institutional ones of medical and surveillance imaging. Screen Bodies addresses the portrayal, function, and reception of bodies on and in front of screens from the perspectives of gender and sexuality, feminism and masculinity, trans studies, queer theory, critical race theory, cyborg studies, and dis/ability studies.

The journal seeks submissions related to any of the areas and methodologies outlined above. In particular, we encourage scholars to submit work that focuses on matters of embodiment on screens outside of the arts and entertainment, such as those in medicine, surveillance, and computer vision. 

*CFP* "POPULAR REPRESENTATIONS OF AMERICA IN NON-AMERICAN MEDIA", CHAPTER BOOK

Much of what the world knows about America is constructed and spread by global American or Western media, particularly global mass cultures such as Hollywood, VOA, ABC, and CNN among others. This theory is not unconnected to American media’s ideological and cultural domination of foreign markets in Europe, Asia, South-America and Africa. As noted by Thussu (2000), prominent American media organizations such as CNN and VOA have “power to mould the international public opinion. [Their] version of world events is likely to define the worldviews of millions of viewers around the globe”.

Meanwhile, most of these global American media – which claim to be windows into America – are arguably bias or simply selective, as they have a relatively myopic focus on their country of origin. Some of them, like Hollywood and CNN, deliberately function more like “America’s advertising department” and are thus predestined to perpetually portray America in a positive light. Others often overlook salient negative news that may, to an extent, damage the image of America. A good illustration of this truism is the fact that, issues like poverty – which affects over 15% of the American population – have rarely attracted the attention of the American media – a situation Medina (2013) decries in his online article titled “About 15% of Americans live in poverty, why is no one talking about it?”

DEFENSA DE TESIS "TELEVISIÓN DEL PRINCIPADO DE ASTURIAS: DINAMIZACIÓN Y DIVERSIDAD EN EL SECTOR AUDIOVISUAL ASTURIANO (2005-2015)"

Próxima defensa de tesis del Departamento de Periodismo y Comunicación Audiovisual de la Universidad Carlos III de Madrid. 

Información de la tesis:

"Televisión del Principado de Asturias: dinamización y diversidad en el sector audiovisual asturiano (2005-2015)"

Autor/a: AZAHARA CAÑEDO RAMOS

*CFP* "REPORTING GLOBAL WHILE BEING LOCAL: LOCAL SOURCES OF NEWS FOR DISTANT AUDIENCES", SPECIAL ISSUE OF JOURNALISM STUDIES

There has been copious research over the years concerning foreign correspondents, but news professionals working in their "own" countries but for "distant" audiences only garnered passing attention of researchers. But such news-staff – who have been described as ‘local-foreign’ – have long played important roles within international news production. To gather news in areas considered difficult to access for foreign journalists, local people are engaged by foreign journalists as logistical and linguistic aides, known as ‘fixers’. Local journalists – including visual journalists – are also increasingly employed by global news organisations to produce news from their home countries for distant and diverse foreign audiences. Local activists and non-governmental organisations and foreign news organisations increasingly collaborate to produce international news. As the costs of international news production rise and budgets for foreign bureaus are cut, and as the protracted conflicts of the 21st  century have proved increasingly dangerous for foreign correspondents to navigate on their own, the importance of the local collaborators has grown. Consequently, ‘local-foreign news production’ can be understood as expanding in magnitude and in the kind of actors involved.

In light of these changes, scholars have argued, international news today needs to be understood as a chorus of voices – both foreign and local as well as professional and non-professional. Research has shown that these voices within local-foreign news production arise from distinct geo-cultural but comparable socio-economic backgrounds in different parts of the world. International journalistic processes can also be shaped by both local story-telling objectives as well as efforts to conform news narratives to those perceived as preferred by foreign clients and audiences. The growing importance of local-foreign news workers is also understood as giving rise to tensions between international news-staff and local news-staff who work side by side. 

*CFP* "WITCHCRAFT HYSTERIA: PERFORMING WITCHCRAFT IN CONTEMPORARY ART AND POP CULTURE", EDITED BOOK

We seem to be living in bewitched times. Witches are everywhere, or rather: victims of alleged witch hunts pop up all over the place, preferable on Twitter or other social media. Pop-stars perform as witches, like Katy Perry in her performance at the 2014 Grammy awards, where she appeared in a cowl before a crystal ball, while later dancing with broomsticks as poles. Beyoncé’s visual album “Lemonade” (2016) made several explicit references to black witchcraft rituals. Azealia Banks proclaimed in the same year on Twitter that she practiced “three years worth of brujería” (brujería, Spanish: witchcraft) and tweeted––while cleaning the blood-smeared room used for her animal sacrifices––“Real witches do real things”. Marina Abramovic’s performance piece “Spirit Cooking” (1996) was used in the ominous Pizzagate conspiracy theory of 2016, accusing Abramovic and the Hillary Clinton campaign in practicing witchcraft rituals and occult magic. Clinton and other influential women in politics–such as Nany Pelosi and Maxine Waters––get labeled as witches and Sarah Palin partakes in a ritual to secure her electoral win and “save her from witchcraft”. Meanwhile, thousands of people coordinate binding spells against political leaders (#bindtrump) and Silvia Federici’s seminal book “Caliban and the Witch” moved from the bookshelf to the bedside table for many art professionals.

*CFP* "REPRESENTING ABORTION", EDITED COLLECTION

Rosalind Pollack Petchesky argued in 1987 that “feminists and other prochoice advocates have all too readily ceded the visual terrain,” abandoning the field of fetal imagery to antiabortion activists (264). She called for new fetal images that “recontextualized the fetus” (Petchesky 1987, 287). Such images would locate the fetus in a body (and a social context) outside of what Carol A. Stabile would later describe as “an inhospitable waste land, at war with the ‘innocent person’ within” that is a dominant theme in antiabortion discourse (1992, 179). Recently, Shannon Stettner wrote that although there are more ordinary stories about abortion circulating as a political response to threats to abortion access, they are typically anonymous and online, and so it remains a reality that “we are still a long way from a world in which women will not feel obliged to conceal the fact that they had an abortion” (2016, 7). Even in circumstances that support access to abortion, abortion can remain a secret: invisible and unheard.

How do we represent abortion? What work does representing abortion do? Can representing abortion challenge and change conventional reproductive rights understandings of abortion that circulate publicly? Will reclaiming representations of abortion help publicly express the “things we cannot say” about abortion from a pro-choice perspective, like grief and multiple abortions (Ludlow 2008, p. 29)? Alternatively, does taking back control of representing abortion from antiabortion activists provide a space to “celebrate” abortion as a central component of reproductive justice (Thomsen 2013, 149)?

*CFP* "CAPTURE JAPAN: VISUAL CULTURE AND THE GLOBAL IMAGINATION FROM 1952 TO THE PRESENT", EDITED BOOK

Contributions are now being accepted for a new edited book titled ‘Capture Japan: Visual Culture and the Global Imagination from 1952 to the Present’. The book aims to analyse, deconstruct and challenge representations of Japan in a variety of different visual media such as cinema, documentary film, photography, visual art, manga, comics, television or advertising. Through a series of case studies by an international group of experts in the field, the book will highlight the institutional framework that has allowed certain types of images of Japan to be promoted, while others have been suppressed. The book will point to a vast network of global institutions, each concerned with a different type of image of Japan that fits into an ideological, political, cultural or economic agenda. Internationally, these institutions include film production companies or art museums and galleries, whereas in Japan they include local tourist boards, government agencies or computer game manufacturers. Whilst these institutions have differing interests, this book will identify common threads in the type of image of Japan that is being imagined, produced and promoted by such institutions. The book will make the argument that these images are visual tropes that feed into a type of Japan of the global imagination.

*CFP* "EUROPE'S ENDURING COLONIALITIES", SPECIAL ISSUE

We invite papers for a special issue exploring the relationship between European cultural politics and the ‘forgotten’ legacies of colonialism.

In the past decade the European project has been bruised by a number of challenges that have provoked difficult debates on the murky notion of ‘European’ values. In the context of these debates Europe ostensibly avoids the significance of its colonial legacies (see Paul Gilroy [2005], David Theo Goldberg [2006], Sandro Mezzadra [2006], Nicholas DeGenova [2016], Gurinder Bhambra [2016]). While an increasing number of scholars insist on the prevalence of what Derek Gregory has called the “colonial present,” Europe struggles to activate these ‘forgotten relations’ in the unpacking of its historical constitution, contemporary challenges and visions for the future.

We are seeking contributions that discuss colonial presences, shaping questions of belonging and identity in contemporary Europe and revealing how repressed colonial relations are reactivated in this context. Rather than remaining silent about the colonial legacies of the past, we are interested in instances in which ‘the forgotten’ or overlooked resurface as Europe’s enduring colonialities. We wish to reconsider the unequal legacy of colonialism as something that is not relegated to the past or to elsewhere, but that remains urgent and relevant for Europe’s cultural politics today.

*CFP* V CONGRESO INTERNACIONAL DE METODOLOGÍAS DE LA COMUNICACIÓN, UNIVERSIDAD COMPLUTENSE DE MADRID

En la quinta edición del Congreso de Metodologías pretendemos dar un nuevo impulso a los estudios metodológicos. Este encuentro está dirigido, especialmente, a profesores investigadores, así como a estudiantes de doctorado y máster, con el objetivo de que puedan cotejar sus metodologías de investigación en proyectos, trabajos y tesis, con un amplio abanico de herramientas metodológicas aplicadas por otros investigadores.

De este modo, se intenta suplir las carencias de conocimientos científicos básicos que se manifiestan entre los jóvenes investigadores y los alumnos de máster y doctorado. Nuestra intención es mostrar las diferentes herramientas metodológicas necesarias y básicas en la investigación en comunicación.

Se busca, finalmente, revalorizar el papel de las metodologías en las ciencias sociales, admitiendo tanto las de tipo cuantitativo como las cualitativas; sin olvidar otras metodologías alternativas, siempre que se sustenten en planteamientos científicos.