Mostrando entradas con la etiqueta migración. Mostrar todas las entradas
Mostrando entradas con la etiqueta migración. Mostrar todas las entradas

9 de septiembre de 2021

*CFP* CALL FOR PROPOSALS FOR TOPICAL ISSUES, OPEN CULTURAL STUDIES

Open Cultural Studies invites groups of researchers, conference organizers and individual scholars to submit their proposals of edited volumes to be considered for publication as topical issues of the journal. 

 

About the journal: 

Open Cultural Studies is a peer-reviewed, scholarly journal that explores the fields of Humanities, Social Sciences and Arts. It interprets culture in an inclusive sense, in different theoretical, geographical and historical contexts. The journal would like to promote new research perspectives in cultural studies, but it also seeks to map out social and political scholarship that places questions of inequalities and imbalances of power at the heart of academic debate. 

 

Published special/Topical issues: 

27 de agosto de 2021

*CFP* "DIALOGUE-SHARED EXPERIENCES ACROSS SPACE AND TIME: CROSS-LINGUISTIC AND CROSS-CULTURAL PRACTICES", 6TH ESTIDIA CONFERENCE

6th ESTIDIA Conference

Dialogue-shared Experiences across Space and Time: Cross-linguistic and Cross-cultural Practices

University of Alicante, Spain

15-17 June, 2022

 

From the Socratic dialogues to post-modern cyberchats, it is only in and through communicative interaction that we can understand the world, people, and how things are working around us (Bohm, 2004/1996, Rockwell 2003). By means of dialogue people are able to argue for their viewpoints, to come to terms with each other, to jointly solve problems, and to resolve conflicts (Pickering and Garrod 2021). Dialogue brings together women and men, young and old, people from the east and the west, from the north and the south. Through the creative synergy of shared thoughts, ideas, and experiences, we can travel anywhere in space and time. 

6 de agosto de 2021

*CFP* CALL FOR PARTICIPATION, POLITICAL STUDIES ASSOCIATION MEDIA AND POLITICS GROUP ANNUAL CONFERENCE

Political Studies Association Media and Politics Group Annual Conference



15-16 December 2021


This conference will facilitate a space for thinking critically about the concept of communities and how it is used in political discourse and political communication in the digital and (post)pandemic context. Topics may include, but are not limited to:
  • Political discourses about and by communities

26 de julio de 2021

*CFP* "AND YET IT MOVES! ON CINEMA, MEDIA, AND MOBILITY", XXVIII INTERNATIONAL FILM AND MEDIA STUDIES CONFERENCE

And Yet It Moves! On Cinema, Media, and Mobility

XXVIII International Film and Media Studies Conference

November 2nd–5th 2021

On-line/Udine – Gorizia (IT)

 

The covid pandemic has dramatically revealed the high level of mobility in our contemporary society by, paradoxically, reducing human movement to almost zero, even if images, data, news, financial flows, material goods, and the virus itself have continued to circulate at full speed around the globe. The pandemic has provoked new configurations of the media system, pushing media adaptability and pervasiveness into unexpected scenarios, and accelerating technological and socio-cultural processes already underway (Keidl, Melamed, Hediger and Somaini 2021). As we seem to slowly regain our mobility, it seems fitting to reflect at large on the role historically played by cinema and media in shaping movement and space. 

23 de julio de 2021

*CFP* "MEMORY, TRAUMA AND RECOVERY", INTERNATIONAL INTERDISCIPLINARY CONFERENCE (ONLINE)

Memory, Trauma and Recovery

International Interdisciplinary Conference (Online)

16-17 September 2021

 

To remember means sometimes: to experience again. That is the case of trauma. However, recovery from trauma is also based on memory. So the question is not how to forget about bad memories, but how to remember and not suffer. During this conference we would like to concentrate on the phenomena of trauma and recovery, to look at how memory is involved in the traumatic experience and the recovery process and explore among other questions what we remember and forget, what causes suffering and how to deal with it.

We are interested in all aspects of traumatic experiences, in their individual and collective dimensions, in the past and in the present-day world. We would like to examine the role of memory in both falling into trauma and overcoming it. 

*CFP* "THE FUTURE OF MEDIA IN AFRICA: BUILDING RESILIENCE IN A COVID19 WORLD", AWIM 2021 CONFERENCE

AWiM 2021 Conference

The Future of Media in Africa: Building Resilience in a COVID19 World

2-3 November 2021, online

 

In this year’s virtual conference, we invite presentations on the impact of COVID19 on media in Africa, the gaps it revealed for media industries, women in media, and forward-looking solutions to address these.

COVID-19 has no doubt changed media industries. Our research into the impact of COVID-19 on East African women journalists found that a staggering 63% of respondents said their jobs had been affected during the pandemic. 52% of respondents were placed on unpaid leave. The industry also saw many organisational casualties, with some newsrooms shutting down completely. Alongside these impacts were changes in how we work and gather news. Sexual harassment also increased on the digital platforms which respondents were now using to engage with colleagues. According to a 2021 UNESCO report on online violence against women journalists, 73% of survey respondents said they had experienced online violence.

19 de julio de 2021

*CFP* "POLITICS, PERILS AND PRIVILEGES: IMMOBILITIES IN THE TIME OF GLOBAL PANDEMICS", SPECIAL ISSUE, TRANSITIONS JOURNAL

When the COVID-19 global pandemic struck in early 2020, governments around the world reacted by closing international and national state borders, banning or restricting international and interstate travel, and resorting to enforced lockdowns and curfews. The economic and social impacts of these sudden restrictions in movements have been devastating with the lived experiences of everyone impacted. The employed became unemployed, industries whose entire business models are dependent on human interactions such as tourism, hospitality and entertainment collapsed, supply chains were disrupted, remote working and studying became the norm, families were separated from each other and professional and education opportunities were lost.

People around the world frustrated by the impact the pandemic has had on them, and by the systemic and new inequalities that emerged, voiced their anger through street protests and in the online space with the pandemic fuelling both extreme right wing and left wing fervour. The rapid move to the online space to conduct almost every kind of human activity meant a complete reliance on the digital resulting in new kinds of inequalities and challenges. The rise of the digital in the time of forced immobilities has also created completely new opportunities born out of necessity. While mobility was once the life blood for human and individual necessity, progress and advancement, immobility has shown itself to create perils and privileges never really realised. For example, workers not required to be ‘on site’ are able to set up home offices to work from home.

15 de julio de 2021

*CFP* “DIPLOMACIA PÚBLICA: NARRATIVAS ESTRATÉGICAS PARA UN MUNDO EN CAMBIO", NÚMERO ESPECIAL, COMMUNICATION & SOCIETY JOURNAL

El estudio de la diplomacia pública es resultado de la inexorable vinculación que existe entre las relaciones internacionales y la comunicación global. Estados Unidos, Rusia, China, Turquía, Brasil o la propia Unión Europea compiten por posicionarse en el orden mundial, la proyección de valores y la legitimidad de la acción exterior. Tras una edad dorada de la diplomacia pública (1990-2010), la propaganda, la injerencia en los procesos electorales y la desinstitucionalización de la práctica diplomática han afectado el modo de conducir la acción exterior. La sobreexposición presidencial, los tuits (en nuestra opinión, el tuit es la unidad de medida, pero podemos escribir “las redes sociales”, que es más amplio) y el lenguaje de las emociones son argumentos de peso en la construcción de la agenda de relaciones internacionales por encima de los acuerdos multilaterales. La comunicación de los gobiernos, el saber diplomático, la reconstrucción del proyecto político europeo, los valores del liderazgo chino o el legado del trumpismo han modificado el manejo de la diplomacia. De origen norteamericano y con eco europeo, la diplomacia pública hoy aparece entre las prioridades de gobiernos, ciudades, instituciones internacionales y actores privados, que aspiran a vertebrar la comunicación, la representación ciudadana y el reconocimiento internacional. Por este motivo, es pertinente revisar los avances en la disciplina de modo que se construya un mejor corpus teórico acorde con la realidad de la globalización post-covid. El cambio climático, las migraciones, la salud pública global, la perspectiva de género o la gestión de la memoria constituyen nuevas fuentes de valor para la comunicación internacional de los países y los actores globales.

29 de junio de 2021

*CFP* "SOUNDS OF MIGRATION", 2021 ANNUAL CONFERENCE

"Sounds of Migration" 2021 Annual Conference

Pennsylvania State University (hybrid or virtual conference format – TBD)

November 4-6, 2021

 

The growing flow and circulation of migrants and refugees across the world introduces unfamiliar voices and sounds into new environments. This conference will examine the diverse expressions and echoes of what we call the sounds of migration. Drawing from Arjun Appadurai’s (1996) definition of technoscapes, we conceptualize “the sounds of migration” as encapsulating the fluid nature of sounds, bodies, and cultural elements coming together to construct imagined worlds, as seen in a globalized space. We invite a broad range of submissions that explore various aspects of the oral and aural dynamics related to migrations, displacements, refugees, and diasporas. How do minority voices emerge? What impact do experiences of migration have on everyday life, both from those relocating and the receiving society? How is literature, language, music, and/or other forms of culture and artistic expression created? How do languages in contact influence each other and lead to changes in pronunciation, word formation or sentence structure?

28 de junio de 2021

*CFP* "HAMILTON AND THE POETICS OF AMERICA", SPECIAL ISSUE, EUROPEAN JOURNAL OF AMERICAN STUDIES

For those following the course of its reception since its premiere in 2015, there is little doubt that Hamilton: An American Musical is not just theatre. Rather, it is a cultural phenomenon embedded in America’s efforts to make sense of a national selfhood in crisis and an increasingly beleaguered image. The way Hamilton has reflected, fed into and off these efforts does not have to do only with the musical as “self-contained” work of art. Perhaps most importantly, it correlates with how the work has been negotiated in the realm of popular culture and beyond. Hence the main premise of this issue of the European Journal of American Studies: how Hamilton has been talked and written about, the remarkable range of response it has attracted within America, and throughout America’s geocultural ambit, signposts processes of fathoming America’s shifting poetics; that is, the intricate ensemble of meaning-making tools and concepts by which the functioning of contemporary American culture can be accessed and assessed.

Lin-Manuel Miranda, the creative genius behind the musical, approached Hamilton as a liminal mythic figure, and thus as a cultural text of distributed authorship. Hamilton the work can be construed as an instantiation of Hamilton the myth, a thread woven in the mythic matrix of America’s beginnings. As an instance of reception that has itself been generatively received to the point of becoming a cultural phenomenon, Hamilton arguably betrays more about the context from which it sprang than about the primary mythical material itself. Although it gestures back to the past, it also resonantly speaks to its (our) own present.

25 de junio de 2021

*CFP* "THE FRACTURED STATES OF AMERICA", 6 ISSUE, JAM IT!: JOURNAL OF AMERICAN STUDIES

The quest to define the true essence of US identity dates back to colonial times, long before the nation itself was formally established. Yet, scholars traditionally situate the first explicit investigation into what constitutes an American citizen in J. Hector St. John de Crèvecœur’s Letters from an American Farmer (1782). The third of the titular letters, aptly named “What is an American,” offers a list of features that de Crèvecœur considered quintessential to Americanness: industry, freedom, individualism, equality, assimilation. All these elements converged in what later became known as American exceptionalism, a doctrine that undergirded (and, to an extent, still undergirds) most, if not all, of US foreign policy.

De Crevecoeur’s essay also introduced the concept of the ‘melting pot’ to describe the yearned-for-homogeneity of a nation aspiring to merge the different cultures informing it, rather than to preserve their differences. Ever since, the United States has strived to present a solid front against the rest of the world, returning time and time again to the defining features of its citizens, and to what sets them apart from their European counterparts. Yet, over the past few decades, it has become evident that internal divisions and differences are increasing, rather than decreasing. While the national narrative of the United States insists on advocating the exceptionality of its people, it is also continuously confronted by the hard truth of their lived experiences (Sieber 2005; Hodgson 2009; Grandin 2019; Spragg 2019).

22 de junio de 2021

*CFP* "MEDIATING KINSHIP, REPRESENTATION AND DIFFERENCE", PALGRAVE BOOK SERIES

This book series brings together analyses of familial and kin relationships with emerging and new technologies which allow for the creation, maintenance and expansion of family. We use the term “family” as a working truth with a wide range of meanings in an attempt to address the feelings of family belonging across all aspects of social location: ability, age, race, ethnicity, nationality, sexuality, gender identity, body size, social class and beyond. This book series aims to explore phenomena located at the intersection of technologies including those which allow for family creation, migration, communication, reunion and the family as a site of difference. The individual volumes in this series will offer insightful analyses of these phenomena in media, social media, literature, popular culture and corporeal settings.

Possible book topics include:

  • the use of technology and migration and family composition and disjunction; the ways that technologies may both push and pull kin together/apart 
  • the range of technology use across literal and figurative space including intersections of geography, race, age, poverty, gender and beyond 

17 de junio de 2021

*CFP* "THE MIGRANT ARCHIVE: STUDIES ON MIGRATION THROUGH FILM ARCHIVES", ISSUE Nº 34, REVISTA L'ATALANTE

Historically, cinema has been associated with migration phenomena since its earliest days, when it became the first form of audiovisual entertainment to transcend boundaries and language barriers and be established as an essentially mobile medium, in terms of both production (from the first Lumière camera operators to the large waves of immigrants working in Hollywood, for example) and consumption (with large numbers of displaced peoples and exiles being among the first regular film-goers around the world, as a form of socialisation through a public event) (Allen, Gomery, 1995). In general, apart from some attention to specific cases (e.g. the massive emigration of German directors and cinematographers to Hollywood during the interwar period), it would not be until the 1990s that film studies would begin focusing on phenomena of human mobility as an essential component for understanding the history of cinema. Research in this area would be associated specifically with multiculturalism and post-colonialism, with particular importance given to studies centred on exile, diaspora and migrant experiences (Shohat, Stam, 1994, 2003; Naficy, 1999, 2001). It was no coincidence that studies like these should begin to appear around the same time as the rise to prominence of work by professional filmmakers creating filmic discourses related to their experience as migrants (or that of their families) in countries with consolidated film industries like the United Kingdom, France, Germany and the United States. Collectively these filmmakers have developed a set of concepts that are fundamental to the idea of “cinema of mobility” as a political movement, both in terms of access to representations of migrants and at the level of the potential development of alternative modes of production and distribution that can destabilise the hegemony of Hollywood and the big media corporations (Iordanova, Martin-Jones, Vidal, 2010).

11 de junio de 2021

*CFP* "EL ARCHIVO MIGRANTE: ESTUDIOS SOBRE MIGRACIÓN A TRAVÉS DE LOS ARCHIVOS CINEMATOGRÁFICOS", NÚMERO 34, REVISTA L'ATALANTE

En términos históricos, el cine ha estado relacionado con los fenómenos migratorios desde sus inicios, constituyéndose en la primera forma de entretenimiento audiovisual que trascendió barreras fronterizas e idiomáticas y se erigió en un medio de comunicación fundamentalmente móvil, tanto en términos de producción (desde los primeros operadores Lumière a las amplias capas de emigrantes trabajando en la industria de Hollywood, por ejemplo) como de consumo (con grandes conjuntos de desplazados y exiliados entre los asiduos a las primeras proyecciones cinematográficas en todo el mundo como forma de socialización por la vía del evento público) (Allen, Gomery, 1995). En general, y más allá de la atención a casos puntuales (la emigración masiva de directores y técnicos alemanes a Hollywood en el periodo de entreguerras, por ejemplo), no será hasta los años noventa del siglo pasado cuando los estudios fílmicos hagan hincapié en los fenómenos de la movilidad humana como algo fundamental para entender la historia del cine. En concreto, se trata de trabajos asociados al multiculturalismo y al postcolonialismo, en los que cobran singular relevancia los enfoques centrados en las experiencias exílicas, diaspóricas y migrantes (Shohat, Stam, 1994, 2003; Naficy, 1999, 2001). Estas investigaciones coinciden en el tiempo, no por casualidad, con el ascenso a la primera línea del cine profesional de sujetos que generan discursos fílmicos a partir de su condición migrante (o la de sus familias) en países con cinematografías tan consolidadas como Gran Bretaña, Francia, Alemania y Estados Unidos.  Siembran, entre unos y otros, una serie de conceptos fundamentales para pensar el cine de movilidad con un claro componente político, tanto en términos del acceso a las representaciones de los migrantes, como a nivel del potencial desarrollo de unos modos de producción y circulación alternativos que desestabilicen la hegemonía mediática de Hollywood y los grandes grupos de comunicación (Iordanova, Martin-Jones,Vidal, 2010).

3 de junio de 2021

*CFP* "REPRESENTATIONS OF VIOLENCE IN LITERATURE, CULTURE AND ARTS", VIRTUAL CONFERENCE

In his foreword to World Report on Violence and Health, published by the World Health Organization (WHO) in 2002, Nelson Mandela states that “the twentieth century will be remembered as a century marked by violence” (Krug et.al., 2002, “Foreword”).  Now we are nearly at the end of the first quarter of the twenty-first century, but violence still permeates in our lives at various levels. Various forms of violence occurring at levels of interpersonal, self-directed, collective, state, warfare, child and youth violence, intimate partner violence, environmental violence, and animal violence lay bare the complexity and pervasiveness of the phenomenon, yet it also brings along the necessity to discuss violence from multiple perspectives.

It is difficult to present a comprehensive definition of violence since not only the concept of violence is broad as stated above but also it runs the risk of degrading the concept through fixed meanings. Keeping in mind that the concept of violence has always attracted philosophers, writers, and artists across disciplines throughout centuries, the evolving nature of the concept has made it essential to address it from different perspectives. Concordantly, Dahlberg and Krug’s definition of ‘violence’ is an applicable one which characterizes violence on different aspects as follows: “the intentional use of physical force or power, threatened or actual, against oneself, another person, or against a group or community, that either results in or has a high likelihood of resulting in injury, death, psychological harm, maldevelopment or deprivation” (Krug et.al., 2002, 5). 

19 de mayo de 2021

*CFP* "ADOPTION, KINSHIP, CULTURE: ENGAGING THE PAST, IMAGINING THE FUTURE", ASAC 2021 EIGHTH BIENNIAL VIRTUAL CONFERENCE

Adoption, Kinship, Culture: Engaging the Past, Imagining the Future

ASAC 2021 Eighth Biennial Virtual Conference

Gatherings for Q&A on Zoom: Oct. 15, 10am-7pm EST

 

Adoption, Kinship, Culture: Engaging the Past, Imagining the Future, hosted by The Alliance for the Study of Adoption and Culture (ASAC), considers crossing boundaries, changing discourses, and new kinship formations to imagine the futures of adoption. This conference investigates what adoption, foster care, kinship, and assisted reproductive technologies (ARTs) might look like in the coming decades. What discourses, representations, practices, policies, and laws will change and which will stay the same, and why? Who and what will lead the way? As we speculate about the futures of adoption, we cannot ignore the innumerable pasts and the complexities of our present moment. Thus, we also ask, how has the past informed, anticipated, or rejected the future? What will be the effects of the past on our future kinships?

18 de mayo de 2021

*CFP* "REFOCUS: THE FILMS OF CLAIRE DENIS", EDITED VOLUME

With a career spanning over three decades (1988-Present), French filmmaker Claire Denis has demonstrated not only a remarkable longevity in a notoriously fickle industry, but a continuing fascination with the possibilities of film as form, as art, as language. Simultaneously idiosyncratically French yet global in their outlook, her films test traditional boundaries, between genres, cultures, fiction and autobiography, perhaps evidencing what Denis herself refers to as her ‘dreamy distance with reality’. Denis exhibits the genre eclecticism which characterises the careers of many great auteurs, from Stanley Kubrick to Seijun Suzuki, with her explorations of the postcolonial (Chocolat, White Material), horror (Trouble Every Day), romance (Let the Sunshine In), sci-fi (High Life), and thriller (Bastards, The Stars at Noon). While forging relationships with a small troupe of acclaimed actors (including Alex Descas, Isabelle Huppert, Beatrice Dalle, Juliet Binoche and more recently Robert Pattinson in her English language debut High Life and the forthcoming The Stars at Noon), she often works with the same musicians (Tindersticks), Director of Photography (Agnès Godard), and screenwriter (Jean-Pol Fargeau). Clearly the product of a single creative vision working in the traditions of world cinema, Denis’ films also adopt and subvert ‘mainstream’ conventions. ReFocus: The Films of Claire Denis is a timely look at an artist at the height of her powers, and with an impressive oeuvre which is iteratively reinterpreted in light of new works.

13 de mayo de 2021

*CFP* "MIGRATIONS / MEDIATIONS. PROMOTING TRANSCULTURAL DIALOGUE THROUGH MEDIA, ARTS AND CULTURE", SPECIAL ISSUE, COMUNICAZIONI SOCIALI JOURNAL

Migration has been a phenomenon throughout human history. However, as a result of economic hardship, conflict and globalization, the number of people now living outside their country of birth is higher than ever. It has also become a key focul point for the media. Even though irregular immigration constitutes only a minor part of the total immigrant population in the EU, it is the one most spectacularized by the media. This over-mediatization of the phenomenon leads to a consistent discrepancy between the perception and the reality of the issue, and this distance has favored the shift of migration issues from ‘low politics’ to ‘high politics’, fueling an emergency management and a securitarian approach.

We live in a deeply mediatized world. Media have an important role in influencing political attitudes and in framing public debates towards migration and asylum. In the last decade, the representation strategies and discursive practices enacted by a wide range of state and non-state actors have been presenting irregular migrants crossing borders as an ‘emergency’ to be managed in terms of a wider social, cultural and political ‘crisis’. These media representations have outstripped the reality of the crisis. As a consequence, the public anxiety about migration and asylum-seeking in Europe, is increasingly shaped by the political rhetoric of Europe as being besieged by people fleeing conflict or seeking a better life. Institutional and political actors have stoked public anxieties and security concerns, endorsing emergency narratives, aggressive policing and militarized border control, which in turn has generated a fertile breeding ground for xenophobic, populist reactions.

10 de mayo de 2021

*CFP* "POSTCOLONIAL PUBLICS: ART AND CITIZEN MEDIA IN EUROPE", CONFERENCE AND EDITED VOLUME

We are delighted to invite contributions to a conference paper on the topic of postcolonial publics expressed and engaged through “citizen media” (Rodriguez 2001; Baker & Blaagaard 2016) and art, in a postcolonial Europe. The conference papers will also serve as chapters for an edited volume which will be published soon after.

We want to interrogate the proliferation of digital media and global culture, and the changes happening in public intellectual engagements. From the adoration of the single (often male, often white) genius to the anonymity of diverse, affective publics, a postcolonial perspective invites contemporary public engagement to have many faces and multiple voices, and addressing new issues such as the environmental crisis and the resurgence of racism. Creativity and art can play a significant role in this development. Performance and visual expressions in the European space interpellate the situated public, but also produce transnational political dialogue and travel across digital space. Embodied performances challenge the cerebral stereotype and classical conception of what public engagement is and should be. Moreover, digital platforms have made available space for expressions that break the form and formulas of public and political speech. However, despite the expansion of public participation, social divisions based on race, gender, sexuality and able-bodiedness still hold sway and begs the question of positionality in relations to institutions, in the different fields of art and media, when it comes to political and social change.

7 de abril de 2021

*CFP* "OTHERING / OTHERISATION", EDITED COLLECTION

The concept of “Othering/Otherisation” refers to the classification of individuals or groups as outsiders. This cognitive classification divides any sociocultural and political formation into potential two generally monolithic and mutually exclusive blocks: the in-group community versus the out-group community. The inclusion or exclusion of each block is contingent on different criteria like religion, ethnicity, culture, race, politics, class, etc. When these differences are used descriptively, they become somewhat acceptable and harmless. However, when they are normative, they are often couched in the discourses of superiority or inferiority, goodness or badness, civilized-ness or uncivilized-ness, etc. Thus, those differences become highly harmful and unacceptable. The politics of “Othering” are quite likely to generate social in-justice, discrimination, racism, and power abuses. So, “Othering”, as a concept or a practice, needs more careful study and vigorous research to understand the dynamics of its production and the goals of its installation.

The perception that one group stands as a threat to another group increases people’s tendency to reject each other and to create a negative representation of them. “Othering” rests on a binary opposition of the self and the other. It is structured around a positive representation of the self and demonization of the other. Hence, “Othering” or “otherisation” rests on a solid politics of fear of the strange, the unfamiliar, the unknown, and the mysterious. It seems that the politics of “Othering” is one indulging in and capitalizing on xenophobic sentiment par excellence.