*CFP* LLAMADA A ARTÍCULOS, VOL. 1 Nº 2 (2022), REVISTA SERIARTE

SERIARTE es una revista, con revisión por pares, creada con la intención de proporcionar un espacio a la investigación, el debate teórico, metodológico y crítico sobre las series televisivas y el arte de los nuevos medios audiovisuales.

La profunda transformación experimentada por el entorno, la difusión y el consumo de la imagen en movimiento, además de la rápida expansión bajo el impacto de la tecnología digital, ha llevado a los académicos en el campo de los estudios del audiovisual a elaborar nuevos paradigmas teóricos y enfoques metodológicos para dar cuenta de las complejidades de un panorama cambiante de convergencia e hibridación, unos paradigmas que, además, se traducen en el avance y la transferencia de unos conocimientos que encuentran su reflejo en la sociedad actual. Teniendo en cuenta este escenario en evolución, SERIARTE facilita un espacio internacional para el estudio de las series televisivas y los nuevos medios de comunicación como el cine, los videojuegos, los videoclips o las plataformas digitales, entre otros. Todo ello atendiendo al compromiso crítico, la discusión científica de naturaleza teórica y el análisis de las obras. Para ello dispone de las siguientes secciones: Artículos (Monográfico y Miscelánea), Tribuna, Reseñas y Crítica.

Convocatoria del Vol. 1 No. 2 (2022)

*CFP* "MOB CENSORSHIP AND DIGITAL VIOLENCE AGAINST THE PRESS IN GLOBAL PERSPECTIVE", SPECIAL ISSUE, JOURNAL OF DIGITAL JOURNALISM

Online violence against journalists is a global phenomenon. Recent studies have documented patterns suggesting that specific groups of journalists defined by gender, ethnicity, race, sexuality, and religion, are likely targets of digital harassment, doxing and other forms of violence. Violence is perpetrated by ordinary citizens, states, and para-state actors. This special issue focuses on mob censorship in digital spaces against journalists and the press. Mob censorship is understood as violence exercised by ordinary citizens against journalists with the intention to intimidate and silence the press. The study of mob censorship sheds light into the patterns, the causes, and the effects of violence against journalism and the right of expression of citizens in the digital society. As expression has become more abundant through digital platforms, so has violence against journalists and other actors with visible, prominent positions in the public sphere.

The aim of the special issue is to contribute novel empirical findings and theoretical and conceptual innovations in the study of digital violence against the press, as well as to provide recommendations for addressing the problem. We invite theoretical and empirical contributions from around the world that address questions in the areas of mob censorship, digital hate and journalism, anti-press violence, freedom of expression, and journalistic safety. Studies grounded in various theoretical frameworks and that use different research designs and methodologies are welcome. Comparative, cross-national perspectives might be particularly useful to comprehend causes and manifestations of mob censorship in different political regimes and information contexts.

*CFP* "THEOLOGY AND VAMPIRES", THEOLOGY AND POP CULTURE SERIES COLLECTED VOLUME

From the ‘vampire craze’ of the eighteenth century, and up to contemporary takes on the genre, vampire narratives have been inextricably bound up with theological questions. In Bram Stoker’s Dracula and its many adaptations, the vampire is repelled by the crucifix and the consecrated Host. Two puncture wounds on the victim’s neck in Le Fanu’s ‘Carmilla’ make the doctor send for a clergyman. In Anne Rice’s Memnoch the Devil, Lestat believes that he has witnessed the Crucifixion and tasted Christ’s blood. ‘God kills, and so shall we; indiscriminately He takes the richest and the poorest, and so shall we; for no creatures under God are as we are, none so like Him as ourselves’, he tells Louis in Interview with the Vampire, styling himself as a God, and mimicking divine omnipotence. But he has no answers to give Louis, no revelation, and no known salvation or solace, because he is just like him in their shared vampiric nature. What do these examples tell us about where the vampire sits in relation to the divine? And what kind of theological vision do vampire stories uncover?

Given the richness of theological substratum in vampire fiction, we invite submissions for a collected volume entitled Theology and Vampires, for the Theology and Pop Culture Series published by Lexington Books/Fortress Academic. The aim of this volume is to explore the theology of vampires, with a particular focus on the pop culture aspect of vampire narratives. We are seeking essays exploring the theological implications of the vampire across a wide range of media, from popular Victorian tales through to films, video games, and animated series.

*CFP* "CHILLING ADVENTURES OF SABRINA", EDITED COLLECTION

In the world of teen drama (or YA drama, as some prefer), there are a number of ways to represent adolescence and its attendant horrors, and we’ve seen a great deal of fantasy-based approaches; beginning with Buffy, some establish that high school is actual hell. But few series come close to Chilling Adventures of Sabrina’s devotion to that idea. The Netflix series (2018-20), based on the Archie Comics spin-off and featuring a much darker version of Sabrina Spellman, may be difficult for audiences to reconcile with ABC’s Sabrina the Teenage Witch, the previous adaptation. While one is a teen sitcom in which Sabrina’s powers get her into wacky situations, and she is supported by a talking Salem the cat, the other might feel closer to The Craft. However different this version of Greendale is from what we may be used to, it certainly offers much to explore.

We invite proposals for a forthcoming collection of essays on Chilling Adventures of Sabrina and welcome those that engage with industry perspectives, textual approaches, audience studies, and issues of critical reception. We anticipate a broad audience for this collection, which includes scholars as well as students of the humanities at both graduate and undergraduate levels. As such, submissions from contributors at various levels and from diverse fields are encouraged. 

*CFP* "SHORT-FORM HORROR: HISTORY, PEDAGOGY, AND PRACTICE", ISSUE 5.2, MONSTRUM JOURNAL

From TV to TikTok, movie trailers to music videos, and GIFs to short films, the short form dominates most of our media consumption. The horror genre is ripe for experimentation in the short form, through screamer videos, short stories and flash fiction, television series, and even commercials. Today, most horror creators work primarily in the short form; with the continually prohibitive costs associated with a sustained feature-length filmmaking career, many filmmakers and creators—particularly those marginalized by race, gender, or socioeconomic status—prefer, or are compelled, to explore the creative and professional possibilities of short-form media. 

While the number of BIPOC, queer, and women-identifying creators who have established and successful careers in horror filmmaking remain few and far between, the short-form market is brimming with content from these often-marginalized voices and is, therefore, one of the most productive media niches for theorizing issues of race, gender, sexuality, disability, and the intersectionality of these identifiers in the horror genre. In attending to the richness of the short form, how can scholars, makers and curators not simply diversify the content and canon of horror as a field, but also challenge our assumptions of how we read, analyze, consumer and react to horror media?

*CFP* "MAKING A MURDERER: TRUE CRIME IN CONTEMPORARY AMERICAN POPULAR CULTURE", SPECIAL ISSUE, EDINBURGH UNIVERSITY PRESS CRIME FICTION STUDIES JOURNAL

“Everybody’s fascinated with the notion that there is a cause and effect,” claims notorious serial killer Ted Bundy, quoted in the Netflix original, Conversations with a Killer: The Ted Bundy Tapes (2019) – that we can “put our finger on it,” and reassuringly rationalise the genesis of the uniquely modern phenomenon of the American serial killer. But when there is “absolutely nothing” in the background of a serial murderer that would lead one to believe they were “capable of committing murder,” how do we begin to acclimatise ourselves to this violent defect of contemporary history? More challengingly, how do we bring depth to our collective portrait of what constitutes a murderer, so that we may then self-exempt our compulsion to look more closely at these perversely familiar figures? 

Over the last 50 years, a plethora of books, magazines, film and television adaptations on the subject of true crime has captured – and held – the public imagination in a vice-like grip, ultimately achieving cult status in postwar-American society while furthermore granting the white male serial killer the kind of cultural capital usually awarded only to celebrities. With the enormous popularity of such series as Making a Murderer (2015) and Mindhunter (2017), however, it seems like now, more than ever, the uneasy question of why we continue to glorify killers by inserting them into mainstream media – and what exactly the appeal of this enduring genre and its mythologization of ultraviolent masculinities tells us about ‘who we are’ and the nature of American society itself – has acquired a new level of urgency, which, in turn, requires new depths of understanding. Likewise, with the growing Netflixisation of true crime, and the narrativization of true crime more broadly, now is the time to establish a study that evaluates the politics of the ever-increasing fine line between actual crime documentaries versus fictional shows that reference true crime.

*CFP* "IMAGES BETWEEN SERIES AND STREAM. RETHINKING SERIALITY AND STREAMING", INTERDISCIPLINARY CONFERENCE

Interdisciplinary Conference

“Images Between Series and Stream – Rethinking Seriality and Streaming”

18-19 November 2021. Conference will be held online.

 

In the last few years watching TV series has become a distinct socio-cultural phenomenon. The increasing rise of streaming media services has profoundly changed the accessibility standards of TV series but also the way of watching them. However, the domestication of our life in pandemic, made us realize that streaming series and films should become more important objects of our interest than ever before. In some sense, we live in-series and on-stream platforms. New technological situations, such as the presence of videoconferences in our life, presents us not only with new problems but a new reorganisation of sensibile as Jacques Ranciere might say. Video-technology enters into our private sphere and in some sense it calls us to be constantly available – to be on-stream but also to live in series of accessibilities. The re-organisation of our life is obvious, but the role of images in this “re-” or “de-” organisation still requires some reflection. We are in constant tension between being-in-series and being-on-stream. We perceive ourselves as moving-images on screen. It affects our relationships and our perception. The collaboration of the Techno-Humanities Lab and Film Lab encourages us to ask questions on two different planesphilosophical and cinematic one. Thus, we ask what happens with the pieces of the film art when they become just “tiles” on a streaming platform — a series of „bricks in the wall”? But also – what happens with us when we become just tiles on video conference meetings?

*CFP* "COVID-19 NOW AND THEN: REFLECTIONS ON MOBILE COMMUNICATION AND THE PANDEMIC", SPECIAL ISSUE, MOBILE MEDIA & COMMUNICATION JOURNAL

In this special issue, Mobile Media & Communication Journal is looking for future oriented pieces that analyze how the pandemic has shaped and changed our mobile communication, sociability and networked urban mobility practices around the world. We welcome papers that might take the lessons learned during this pandemic and consider how these lessons can help us in the future. We particularly welcome contributions that analyze the impacts of the pandemic in the practices of minoritized populations, especially in the Global South.

Possible topics include, but are not limited to:

• The future of urban networked mobility in both Global North and South
• The shift to more sustainable forms of micromobiity, particularly focusing on the integration between transportation and mobile apps
• New forms of experiencing urban and public spaces via mobile technologies that take into account active mobility and walking
• The mobile-guided gig economy for delivery of services
• The development of location-based apps that can help us prepare for the next pandemic
• The future of contact-tracing apps, and their relationship with privacy and surveillance

*CFP* "SERIALITY RESEARCH", SPECIAL ISSUE, JOURNAL FOR LITERARY AND INTERMEDIAL CROSSINGS

The Journal for Literary and Intermedial Crossings (JLIC) is an international, peer-reviewed open access journal. It publishes high-quality, innovative research engaging with literary and intermedial phenomena from various methodological angles and a wide range of disciplines including studies on literature, theatre, media and culture. The e-journal is supported by an international editorial board and aimed at an academic readership. JLIC offers an online publication platform to researchers from various fields engaging either directly or indirectly with the study of hybrid literary and/or intermedial phenomena. Seriality has become “an endemic feature of our twenty-first-century, hypermediated world” (Lindner 2014, ix) permeating contemporary literature, theatre, tv-series, feature films, narrative games, podcasts, YouTube channels, Instagram and other forms of storytelling social media.

Seriality is traditionally associated with repetition and variation. However, our interest seems to have shifted to the dynamic qualities of seriality. What strikes us and interests us today is not so much repetition but evolution, the development of (story) lines. As a result, the narrative aspects of seriality appear to grow in importance, which seems to go hand in hand with the rise of what is covered by the broad umbrella term ‘storytelling’ (sometimes ‘complex storytelling’, e.g. Mittell 2015). Although seriality is often explicitly linked to popular culture (e.g. Kelleter 2017), an increased interest in ‘seriality as a strategy’ can be observed in all kinds of art forms. Seriality also seems to be an important element in multi, cross and transmedial storytelling as serial narrative strategies spill from one media to another. To the idea of a Serial Shakespeare as “an infinite variety of appropriations in American TV drama” (Bronfen 2020) Ivo Van Hove and Internationaal Theater Amsterdam recently added not just their theatrical serial Romeinse Tragedies (2007, Roman Tragedies) in a carefully reworked online streaming version (2021) but also a ‘classic’ weekly -thus not bingeable- ten-episode tv-serial on Dutch television (2021).

*CFP* "CRITICAL ICT INFRASTRUCTURES AND PLATFORMS", 14TH CMI INTERNATIONAL CONFERENCE

Critical ICT Infrastructures and Platforms

14th CMI International Conference

25 - 26 November 2021

Hybrid (Online / In-Person)

 

ICT infrastructures and platforms are increasingly pervasive and critical for societies, systems and organizations and for individuals. It is, therefore, of great importance that efficient and resilient infrastructures are developed and deployed and that disruptions of services caused by either cyber-attacks or other interruptions of services are mitigated. Also, as digital platforms constitute crucial communication infrastructures for societies, it is important that such platforms contribute to democratic processes and economic and social fairness. The 14th CMI conference will be concerned with these topics from different complementary angles: The development and deployment of fast and efficient communication infrastructures including cloud and edge technologies; resilience of ICT systems in order to increase cyber security and mitigate cyber-attacks; institution of social practices and governance approaches that will promote democratic discussions and processes, contribute to economic and social development, equity and fairness, and protect privacy.

*CFP* "THE POLITICS OF CASTING IN MEDIA", UNIVERSITY OF SOUTH WALES CONFERENCE (ONLINE)

"The Politics of Casting in Media"

Faculty of Creative Industries

University of South Wales

20-21 November 2021

We invite proposals from academia and industry for 20-minute papers and 80-minute panels to be presented at the international and interdisciplinary two-day online conference The Politics of Casting in Media, hosted by the Faculty of Creative Industries at the University of South Wales.

We particularly welcome proposals from postgraduate students, PhD candidates, early career researchers, industry experts, trade bodies,  guilds, NGOs, and charities. Submissions from a variety of perspectives,  theoretical underpinnings, and methodological approaches that cover all  media – such as film, television, theatre, radio, animation, video games, advertising – are welcome, with possible topics including (but 

not limited to):

• Character representation and identity (such as race, gender,
• sexuality, age, class, and ‘non-normative’ bodies)
• The role of casting director within media productions
• Auditioning processes
• Support for marginalised groups gaining employment
• Marketing, paratextual, and transmedial engagement with casts
• Celebrity, stardom, and performance
• The re-casting of characters
• Media texts centring on casting, such as /Black Hollywood: ‘They
• Gotta Have Us’ /(BBC Two, 2020) and /Disclosure /(Netflix, 2020)
• Colourblind casting
• Casting in bi-lingual/back-to-back productions
• Audience responses to cast choices
• Fan and anti-fan practices
• Toxic audience behaviour
• Casting and Covid-19
• The political economy of casting
• International media collaborations
• Casting and pedagogy
• Casting outside of Hollywood and mainstream media
• Voice acting in radio, video games, animated media, and CGI
• Background actors, non-speaking roles, and extras
• Industry commitments to inclusion and diversity
• Tokenism and the burden of representation
• Histories of castin

For individual papers, please send abstracts (maximum 350 words) and
bios (maximum 150 words) to James Rendell james.rendell@southwales.ac.uk

Submissions should include your name, the title of your paper, and your institutional or professional affiliation (if appropriate; we strongly welcome independent scholars and freelance professionals). We also seek proposals for 80-minute panels. Panel submissions (maximum 1050 words)  should include abstracts, institutional/professional affiliations, and  contact information for all speakers. As an inclusive international online conference, speakers will have the option to present live or submit pre-recorded videos.

Submission Deadline: 31 July 2021

More information

*CFP* "EVOLUCIÓN DE LAS NARRATIVAS DIGITALES PARA LA COMUNICACIÓN Y EL PERIODISMO", NÚMERO 39, REVISTA CONTRATEXTO

El número 39 de Contratexto abordará la temática referida a la evolución de las narrativas digitales para la comunicación y el periodismo en los últimos años. Se propone crear un marco de reflexión a partir de propuestas de investigación en torno al desarrollo de la innovación narrativa que usan particulares, medios, empresas e instituciones sobre temas de actualidad, publicidad, periodismo, comunicación audiovisual o comunicación corporativa, entre otros.

Todo esto, a partir de las intersecciones entre la teoría y la práctica que siempre resulta fundamental para el estudio de la narrativa transmedia; y en un contexto donde las audiencias se segmentan cada vez más, llegando a condicionar los canales y la estructura de los mensajes. Por lo tanto, es necesario precisar si las nuevas narrativas tienen un enfoque específico de cara a nuevas audiencias o simplemente, en muchos casos, solo obedecen a tendencias impuestas por la industria tecnológica, constituyendo así “burbujas” temporales.

Hoy se considera que las audiencias, lejos de mantener la pasividad plateada por iniciales modelos de comunicación unidireccionales, desean participar cada vez más en el mensaje de medios, empresas, instituciones y particulares; y apropiarse y construir otros tipos de espacios de comunicación (Marzal & Casero, 2017), al tiempo que se construyen nuevos espacios de diálogo y nuevas oportunidades laborales (Salaverría, 2016).

*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.

*CFP* "PLATFORMISATION AND ENTREPRENEURIAL LABOUR VIA CHINESE DIGITAL NETWORKS", SPECIAL ISSUE, GLOBAL MEDIA AND CHINA JOURNAL

This special issue, “Platformisation and entrepreneurial labour via Chinese digital networks,” examines entrepreneurial labour and its relationship with the platformisation of Chinese society and economy. As a key feature of our digital economy and lifestyle, powerful digital platforms have transformed how cultural production is carried forward, how services are delivered, how businesses are established, how talents are identified and developed, and how new forms of entrepreneurial activities are regulated and governed. While platformisation has technological, infrastructural, and economic dimensions, its human dimension highlights individual agency and limitations in the platformisation process. We call for papers that examine individuals and groups who have demonstrated the entrepreneurial spirit, skills, and thinking in taking advantage of Chinese digital networks, systems and platforms to reinvent themselves, change lives, and influence others and society.

The entrepreneurial individuals and groups include: new media professionals (e.g. wanghong and self-media content producers); platform managers, engineers, and programmers; e-commerce and social commerce operators, agents, and co-ops; product and service brokers, intermediaries, and consultants; government officials and agencies in managing digital and social media platforms, networks, and R&D.

*CFP* "ORGANIZATIONAL IDENTITY REPRESENTATION ON ONLINE PLATFORMS", NEW ISSUE 2021, REVISTA ACTA UNIVERSITATIS SAPINETIAE, COMMUNICATIO SERIES

For its 2021 issue, the journal Acta Universitatis Sapientiae, Communicatio expects original research articles discussing organizational identities. Editors encourage approaches dealing with the definition of organizational identity, mapping connections and interferences of online and offline identities, the construction and representation of online organizational identity.

 

Under the circumstances of globalization, the economic and social actors are interacting louder than ever, and everyone would like to gain the attention of their environment in the intensifying communication noise. Emphasizing uniquenessand distinctiveness are common ways of capturing attention both for individuals and for organizations. There is a broad array of branding efforts made by organizations and public figures worth exploring. The online platforms offer a supporting space for the intensified multi-directional communication (OECD, 2019); the economic and social actors are striving to represent their identity in order to appear similar to the others and at the same time outstanding, original, and distinctive.

The issue of organizational identity construction and representation has grown opportune again since the spread of online platforms (Horowitz, Freberg, 2016). The online messages of organizational identity are effective forms of communication, and yet defining online identity from the perspective of different target groups, is a territory to be explored. 

*CFP* "INTERSECTIONALITY AND DIGITAL PLATFORMS", SPECIAL ISSUE, FRONTEIRAS JOURNAL

In recent years, the intersectional perspective has been highlighted in research focused on acknowledge how discrimination articulates by different structures of oppression. The perspective is widely disseminated by the ideas of American black jurist and feminist, Kimberlé Crenshaw, who systematized the concept of “intersectionality” in 1989 in the United States. In Brazil, and a few years earlier but still in the 1980s, Lélia Gonzalez already denounced the effects of the double oppression of sexism and racism over black women. Beyond universities, the concept has been appropriated by social movements. It also circulates in discourses on digital platforms that try to draw attention to the way these oppressions cross and structure the everyday practices of many people. Thus, this configures huge gaps in spaces of power and construction of knowledge. The debate on intersectionality and its effects in everyday lives finds fertile ground in digital platforms for the inclusion of diverse experiences and concrete experiences in view of the particularity of each person.

 

We announce a call for a special issue of Fronteiras Journal, a Brazil-based open access journal, on intersectionality and digital platforms. The special issue encourages submissions that explore one or more of the following issues:

• Intersectionality, citizenship and social media

*CFP* "DISRUPTING AND RESETTLING THE LOCAL IN DIGITAL NEWS SPACES", SPECIAL ISSUE, DIGITAL JOURNALISM JOURNAL

We are inviting proposals to an exciting special issue on digital local news and journalism. Please consider to submit and/or forward to interested parties. Deadline for extended abstracts is June 30, 2021.

This special issue of Digital Journalism invites scholars to explore theoretically, conceptually and empirically the 'place', power and challenges of the local in digital news spaces. Both single-country and comparative research are welcome, as well as both theoretical and empirical manuscripts. The latter may involve quantitative, qualitative or mixed methods approaches. The issue particularly welcomes cross-national comparative analyses and non-Western perspectives.

Possible topics to be addressed include, but are not limited to:

• How do journalists, audiences, policymakers and others define and shape understandings of the 'local' in digital spaces.
• What are the changing ways in which journalism reproduces, represents or builds notions of locality and location in digital space?

*CFP* "MINORS AND USER-CREATED CONTENT ON VIDEO PLATFORMS", SPECIAL ISSUE, MEDITERRANEAN JOURNAL OF COMMUNICATION

The phenomenon of underage influencers on video platforms is experimenting an unrelenting growth in the consumption, activity and presence of brands in relation to audiovisual content and on the potential for influence and social transformation of some of this content. All of this contributes to increase the complexity and associated problems as it is a phenomenon that is only partially regulated in current legislation. There are new and emerging research challenges in relation to the audiences involved: minors who created content, parents or legal guardians, YouTube (YT) Professionals, followers, teachers, scholars and researchers and the society at large.

Being an influencer is one of the top 10 most desired professions by Spanish minors (Adecco, 2018). Immersed in a culture of participation (Jenkins, 2006; Aparici & Osuna, 2013), YT offers a space where audiovisual content can be hosted and that allows users to interact with it through searching, sharing and commenting on such contents around which they build online communities. Minor creators express their identities through videos that reflect their perspectives on life and in turn exert influence upon their community of followers (Tur-Viñes, Nuñez- Gómez and González-Río, 2018). This social system is based around audiovisual content with several implications for government regulation, self-regulation, advertising, communication and education.

*CFP* "ITALIAN VOICES, ENGLISH TEXTS: DUBBING, SUBTITLES, AND CROSS-CULTURAL (MIS)COMMUNICATIONS", SPECIAL ISSUE, JOURNAL OF SCREEN TRANSLATION STUDIES

In Italy, as in a number of other European countries, American films and television programs undergo the process of dubbing. In the United States, however, Italian films and television programs are almost exclusively subtitled, and very rarely dubbed. Although American products have historically been much more successful in Italy than their Italian counterparts in the United States, things are slowly starting to change. In the 21st century, the success of Italian-made films and television programs in the Anglophone world has certainly benefited from the popularity of streaming services like Netflix and Amazon, whose platforms host a multitude of international releases. In both contexts, the intervention of professionals in the field of audio-visual translation is instrumental in facilitating the cross-cultural needs of these commercial and artistic exchanges. The processes of audiovisual or “screen” translation present distinctive linguistic and socio-cultural challenges that require creative and innovative solutions.

The Editors of the Journal of Screen Translation Studies (a peer-reviewed, web-based, open-access publication housed at the University of Connecticut) are soliciting contributions for their inaugural issue. We are seeking scholarly articles that examine the numerous challenges (technical, formal, linguistic, cultural, etc.) that audio-visual translators take on in preparing feature films and TV shows for international distribution, with a specific focus on products imported to or exported from Italy. Perspective authors are also encouraged to consider the political and commercial implications of this process. Furthermore, for the purpose of this volume, the Editors will consider contributions offering a comparative study of how foreign (non-Italophone and non-Anglophone) filmic products have been both dubbed in Italian and subtitled in English for international audiences.

*CFP* LLAMADA A ARTÍCULOS, VOL. 1 Nº 1 (2022), REVISTA SERIARTE

SERIARTE es una revista, con revisión por pares, creada con la intención de proporcionar un espacio a la investigación, el debate teórico, metodológico y crítico sobre las series televisivas y el arte de los nuevos medios audiovisuales.

La profunda transformación experimentada por el entorno, la difusión y el consumo de la imagen en movimiento, además de la rápida expansión bajo el impacto de la tecnología digital, ha llevado a los académicos en el campo de los estudios del audiovisual a elaborar nuevos paradigmas teóricos y enfoques metodológicos para dar cuenta de las complejidades de un panorama cambiante de convergencia e hibridación, unos paradigmas que, además, se traducen en el avance y la transferencia de unos conocimientos que encuentran su reflejo en la sociedad actual. Teniendo en cuenta este escenario en evolución, SERIARTE facilita un espacio internacional para el estudio de las series televisivas y los nuevos medios de comunicación como el cine, los videojuegos, los videoclips o las plataformas digitales, entre otros. Todo ello atendiendo al compromiso crítico, la discusión científica de naturaleza teórica y el análisis de las obras. Para ello dispone de las siguientes secciones: Artículos (Monográfico y Miscelánea), Tribuna, Reseñas y Crítica.

Convocatoria del Vol. 1 No. 1 (2022)