*CFP* "ESTUDIOS DE FANS EN IBEROAMÉRICA", Nº38 (2022-2), REVISTA CONTRATEXTO

Estudios de fans en Latinoamérica

Revista Contratexto

Sección Dosier

Fecha límite: 15 de mayo de 2022

El número 38 de Contratexto se centrará en los estudios del fenómeno fan en Iberoamérica.

Editoras invitadas: María José Establés (Universidad de Nebrija, España), María del Mar Guerrero Pico (Universitat Pompeu Fabra, España), Johanna Montauban Bryce (Universidad de Lima, Perú). Se recibirán artículos originales o ensayos que aborden de modo preferente alguno(s) de lossiguientes ejes temáticos:

● Media fandom (series de televisión, cine, videojuegos, novelas, cómics y manga…)
● Otros objetos de fandom: música, deportes…
● Fandoms del ámbito hispanohablante y de la lusofonía (telenovelas, influencers, youtubers…)

*CFP* CALL FOR PARTICIPATION, IV INTERNATIONAL CONGRESS MOVE.NET ON TIC AND SOCIAL MOVEMENTS

IV International Congress Move.net on TIC and Social Movements

Faculty of Communication

(University of Seville)

11 and 12 November 2021

 

This CFP for the IV International Congress Move.net on TIC and Social Movements is structured along the following thematic lines:

• Technological Sovereignty 
• Digital Rights 
• Ciberactivism 

*CFP* "ANIMATION IN THE 21ST CENTURY. RETHINKING IMAGES AND TECHNOLOGY", 27TH INTERNATIONAL CONFERENCE OF FILM STUDIES

Animation in the 21st Century. Rethinking Images and Technology

27th International Conference of Film Studies

Rome, 25-26 November 2021

Roma Tre University

Online – Microsoft Teams platform

 

The 27th International Conference of Film Studies Animation in the 21st Century. Rethinking Images and Technology aims to investigate the critical role played by animation in contemporary audio-visual culture. Animated images have a significant and crucial position in current Film and Media Studies: they are the audio-visual horizon in which some of the most decisive and stimulating technological, aesthetic, narrative, political, and cultural challenges are faced. While contemporary works retain some of the fundamental elements of the tradition of animated film, taking them to a new level of sophistication, they also continue to represent a field of absolute experimentation in their audio and visual aspects.

*CFP* "AUDIOVISUAL AND CREATIVE INDUSTRIES - PRESENT AND FUTURE", VOL.7 Nº2, THE INTERNATIONAL JOURNAL OF FILM AND MEDIA ARTS

The present issue of the International Journal of Film and Media Arts invites full papers that deal in particular with:


• Audiovisual ecosystems in local, regional, national and international level

• New formats and languages in audiovisual media and on the internet

• Transmedia narratives

• Second Screen and the impact of the multitasking viewer

• Analysis and semiotics of audiovisual and multimedia discourses

• New theories, new concepts, new paradigms and new approaches in audiovisual communication

• New audiovisual research methods and techniques

 

All submission will be select by double-blind peer review. The author must provide separate files:
a) The title pageshould include the title, author’s name and affiliations, email address, acknowledgements (optional) and conflict of interest statement (if necessary).

*CFP* "PIKACHU'S TRANSMEDIA ADVENTURES: THE CONTINUING ADAPTABILITY OF THE POKEMON FRANCHISE", EDITED COLLECTION

In 2021, the Pokemon franchise celebrates the 25th anniversary of its debut in Japan and the fifth anniversary of its popular worldwide AR cellphone game Pokemon Go. In fact, Pokemon is arguably experiencing something of a resurgence and renaissance within the current cultural moment. When a pop-up Pokemon Centre store was opened in London in 2018 to mark the release of Sword and Shield, queues for entering the retail space frequently had to be closed due to demand whilst product lines regularly sold out on a daily basis. In 2019, when the long-running cartoon’s main character Ash Ketchum finally won a Pokemon tournament, major news sites humorously deemed this victory a newsworthy event (Bissett 2019). 

More recently, a revival in Pokemon card collecting has left retail shelves bare and scalpers running rampant whilst mint-condition ‘graded’ cards have sold for hundreds of thousands of dollars at auction (Koebler 2021). Meanwhile, the games themselves continue to be adapted to Nintendo’s console platforms, with the Nintendo Switch releasing both remakes of previously popular titles (Pokemon Let’s Go! Pikachu and Let’s Go! Eevee, Pokemon Snap) as well as new titles exploring hitherto unknown regions (Pokemon Sword and Shield). Much more than a franchise intended to commercially target and exploit children, the Pokemon franchise represents an enduringly popular intellectual property that continues to attract interest across generations.

*CFP* "FEMMES FATALES. MEN IN CRISIS: REEXAMINING GENDER REPRESENTATIONS IN FILM NOIR", SPECIAL ISSUE, GENRE EN SÉRIES: CINÉMA, TÉLÉVISION, MÉDIAS JOURNAL

Ever since their emergence in the field of academia, gender studies have looked closely at Hollywood film noir and neo-noir. Following the seminal book Women in Film Noir, edited by E. Ann Kaplan (1rst ed. 1978, 2nd ed. 1998), important works have examined, using a psychoanalytic prism, the feminine (Doane 1991) and masculine (Krutnik 1991) characters of this genre, before others used a variety of approaches more attentive to socio-historical factors. The gender issues of Hollywood film noir from the 1940s and 1950s were thus placed in a context marked by the upheavals of war and the post-war period, as well as by the development of consumer society and urban modernity (see, among others, Cohan 1997, Biesen 2005, Jankovich 2011), while their reinvestment by neo-noir from the 1980s onwards raised new questions about the ideological implications of such a generic recycling process, caught between the effects of sexual liberation and the persistence of a puritanical morality (Letort 2007). 

Whereas some chapters of Women in Film Noir (Dyer 1998a and Kaplan 1998b) already pointed to the complexity and heterogeneity of gendered representations initially perceived as univocally misogynous, subsequent studies have further deconstructed this reductive vision (Cowie 1993, Spicer 2002, Hanson 2007, Grossman 2009, etc.) by discussing the relevance and the limits of notions such as “femmes fatales” and “men in crisis” with regard to the variety of models of femininity and masculinity proposed by film noir (“girls next door”, “good-bad girl”, “weak guy”, “damaged man”, “tough guy”, etc.), from the classical period to the contemporary era.

*CFP* "ANIMATION IN THE 21ST CENTURY. RETHINKING IMAGES AND TECHNOLOGY", 27TH INTERNATIONAL CONFERENCE OF FILM STUDIES

Animation in the 21^st Century. Rethinking Images and Technology

Roma Tre University

Rome, 25-26 November 2021

The conference aims to propose a reflection that examines the dynamics and mechanisms behind the creation of some of the most interesting national and international contemporary animation trends. The topics will place them in close connection with the current media scenario (cinema, advertising, videogames, the web, animated documentaries, TV series, contemporary art, digital culture) and with transmedia aesthetic and narrative forms originating from different cultural paradigms.

The conference will pay particular attention to the conjunction between theories and practices and between mainstream and experimental forms. Hence, it intends to investigate animated films as an industrial, narrative, aesthetic and ideological “system” promoting imaginaries, aesthetics, and values. It also delves into the production of artists who move on the borders, free from conditioning and devoted to the more advanced technological research. Therefore, the conference’s overall aim is to revitalize and address the concept of animation in contemporary visual culture, investigating its theoretical, historical, political, and cultural nature in relation to the new moving images.

*CFP* "NAVIGATING DIGITAL COMMUNICATION AND CHALLENGES FOR ORGANIZATIONS", BOOK CHAPTER

The dialogue between organizational communication and digital communication is a common practice in contemporary organizations. This cross working allows the development of new narratives inside and outside organizations, causing communication professionals to face a moment of change in communication management, regarding form, content and production. Digital communication is not developing a virtual world, but a real virtuality integrated with other forms of interaction in an increasingly "hybridized" everyday life. In fact, the relationship between organizations and its publics evolved into more symmetrical models - allowed by digital media -, being imperative the recognition of the inevitable involvement of citizens in organizational communication processes that give rise to new business and institutional choices. On the other hand, the relationship that audiences establish with organizational information in digital environments may also interfere with the way in which each individual experiences daily life. Thus, the impacts are conjoint and paradoxical. It is well known that public involvement has the power to promote an active circulation of media content and that this can generate economic and cultural value for organizations. The current perspectives on interactions between audiences, organizations and content production suggest a relational logic between audiences and media, through new productivity proposals. In this sense it is interesting to observe the reasoning of audience experience through the concepts of interactivity and participation. However, it can be observed a gap between the intentions of communication professionals and their organizations and the effective circulation and content retention among the audiences of interest, as well as the distinction between informing and communicating. Thus, the goal of this book Navigating Digital Communication and Challenges for Organizations is to provide an in-depth review of research related to the concepts and theories around topics such as Publics and Productivity, Interactivity and Participation in organizational communication settings, including, but not limited to conceptualizations, theoretical foundations, conceptual analysis, empirical studies, cases, applications, and interventions. We aim to contribute to an improvement in our understanding of Digital Communication in Organizations, and to present resources to better navigate this difficult times of organizational communication management.

*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* "ORIGINAL Y COPIA, DEL REMAKE AL MEME: ADAPTACIONES, RÉPLICAS Y RECREACIONES EN LA COMUNICACIÓN", NÚMERO 17, RAEIC: REVISTA DE LA ASOCIACIÓN ESPAÑOLA DE INVESTIGACIÓN DE LA COMUNICACIÓN

La presente propuesta tiene como objetivo abordar algunas tendencias de especial incidencia en la creación y distribución de contenidos: las narrativas contemporáneas basadas en la repetición, versión o reelaboración de mensajes preexistentes. La reutilización de material narrativo no es un fenómeno nuevo y ha sido objeto de interés desde diversos enfoques: desde las reflexiones sobre el original y la copia (Benjamin) y la recreación de mitos, hasta la intertextualidad (Kristeva, Bajtin) o la aportación de Genette, que nos remite a la acertada noción de palimpsesto, o hasta el más reciente interés por los remakes cinematográficos (Gray & Johnson) u otras adaptaciones del audiovisual, sin olvidar la actual vigencia de los relatos transmedia (Jenkins). Las posibilidades tecnológicas del universo digital están provocando, eso sí, una renovación de las lógicas de producción basadas en estas repeticiones o reelaboraciones, que favorecen incluso la participación de los receptores, quienes se reconfiguran como emisores de renovados mensajes partiendo del original (fanfics, memes, etcétera).

Asimismo, el intercambio de estos mensajes desde lugares y culturas remotas, pero con gran inmediatez, o la revisión histórica a través de contenidos del pasado, nos proporcionan un escenario privilegiado para estudiar el panorama de la Comunicación en nuestros días con una gran amplitud. Estos fenómenos de apropiación o reutilización afectan a todo tipo de medios, contenidos, canales y formatos que ofrecen producciones basadas, en todo o en parte, en otras preexistentes. Se da además la circunstancia de que este fenómeno es común a la comunicación informativa, de ficción, comercial, paródica, etcétera.

*CFP* CALL FOR ARTICLES, REVIEWS AND CRITICAL ESSAYS, NEXT ISSUE, ESTUDOS DE JORNALISMO JOURNAL

Estudos de Jornalismo is an open access scientific journal of the Journalism and Society section of SOPCOM (Portuguese Association of Communication Sciences) with a biannual edition. The journal considers unpublished works that present research results and / or theoretical reflection in the scope of Communication Sciences, with a special focus on Journalism. The journal accepts scientific research papers, reviews and critical essays in Portuguese, Spanish and English with no fee charge to authors.

Papers (35,000-40,000 characters) must be submitted through the email revistaestudosjornalismo@gmail.com, as well as any questions.

Publication rules and other instructions for authors can be found in the journal website in the appropriate section (in Portuguese).

 

Dates

*CFP* "GIALLO! THE LONG HISTORY OF ITALIAN TELEVISION CRIME DRAMA", SPECIAL ISSUE, JOURNAL OF ITALIAN CINEMA AND MEDIA STUDIES

Most of the Italian television drama able to circulate internationally belongs to the multifaceted crime genre, both in some sparse examples from the past and in growing contemporary productions (from premium channels and digital platforms to public service and commercial broadcasters). However, for many decades, only a limited range of titles has been given scholarly attention, drawing a useful yet partial account of an otherwise dense and multi-layered history. Moreover, exceptions have often been studied far more than the most conventional crime series in the ‘giallo’ spectrum: most police procedurals are deemed too formulaic, or too popular, to be distinguished. Therefore, this special issue intends to overcome these limits by focusing on the historical evolution of the crime genre inside the development of Italian television, from the early stages to the latest mainstream and niche successes, and by highlighting the many crime titles that have become familiar to large Italian audiences.

Through the Italian crime drama and its evolution over the decades, an original history of Italian television and media can be easily outlined, where ‘giallo’ would often mark changes of pace, innovations, successes and failures. Already in the first twenty years of the so-called paleo-television and monopoly period, crime drama was facilitating the Italian ‘sceneggiato’’s turn towards a medium-long seriality: the investigations of ‘tenente’ Sheridan (from 1959 to 1972, first with Giallo club. Invito al poliziesco and later with Ritorna il tenente Sheridan, Sheridan squadra omicidi and Le donne del tenente Sheridan) or Le inchieste del commissario Maigret (1964-1972), starring Gino Cervi; or Nero Wolfe (1969-1971). 

*CFP* "LA NO FICCIÓN LATINOAMERICANA: DEL DOCUMENTAL INTERACTIVO AL DOCUMENTAL TRANSMEDIA", NÚMERO 23 (NOVIEMBRE 2021, REVISTA HIPERTEXT.NET

En las últimas décadas, diversos procesos de convergencia digital y tecnológica hicieron posible la mutación de los formatos narrativos y la aparición de nuevas especies en el campo de la comunicación. Las narrativas de no ficción no resultaron ajenas a estas transformaciones. Muy por el contrario, muchos proyectos documentales y periodísticos comenzaron a asumir formas interactivas y transmediales, experimentando con múltiples lenguajes, desarrollando estrategias participativas e historias que se expanden en diversas plataformas y soportes.

En Latinoamérica, el campo de la no ficción exhibe profundas raíces, sostenidas en la pluma de sus grandes cronistas y en las producciones audiovisuales de sus escuelas de documental político y social. Esta huella de identidad puede rastrearse igualmente en los formatos interactivos, en ocasiones mencionados como webdocs, idocs, documentales multimedia interactivos e incluso en proyectos transmedia, de corte documental o periodístico.

*CFP* "TRANSMEDIALIZACIÓN Y CROWDSOURCING EN LA CULTURA MEDIÁTICA CONTEMPORÁNEA", SEMINARIO INTERNACIONAL

Seminario Internacional 

“Transmedialización y crowdsourcing en la cultura mediática contemporánea”

16, 17 y 18 de junio de 2021, Granada (España)

 

Se abre el plazo de presentación de comunicaciones para el Seminario Internacional Transmedialización y crowdsourcing audiovisual en la cultura mediática contemporánea, organizado por el Proyecto Transmedialización y crowdsourcing en las narrativas de ficción y no ficción audiovisuales, periodísticas, dramáticas y literarias (Ref. CSO2017-85965-P), los Grupos de Investigación “Teoría de la literatura y sus aplicaciones” (PAIDI HUM-363) y “Procesos de Creación, Producción y Postproducción Audiovisual y Multimedia” (PAIDI SEJ-585), con la colaboración de la Facultad de Comunicación y Documentación, la Facultad de Filosofía y Letras, el Departamento de Lingüística General y Teoría de la Literatura, y el Departamento de Información y Comunicación de la Universidad de Granada.

*CFP* "RECONFIGURATIONS. NEW NARRATIVE CHALLENGES OF THE MOVING IMAGE", 6TH EDITION OF THE CONFERENCE NARRATIVE, MEDIA AND COGNITION

The 6th edition of the conference Narrative, Media and Cognition aims to combine narrative, as an artistic and social phenomenon, with the artistic and technical media that convey it and with the cognition that produces it and gives it meaning. The 2021 edition of the conference is hosted by the Theatre and Film School of the Lisbon Polytechnic Institute, in Portugal, in association with the WG of the Audiovisual Narratives of AIM - The Moving Image Association in Portugal. It will take place on the 14th and 16th of October 2021, via Zoom. 

Upon entering a new decade of the twenty first century the artistic landscape is increasingly hybrid and veering from the norms; a growing blend of forms, contents and genres is taking place. Therefore, it is imperative to reflect on the interrelation of the three main topics of the conference – narrative, media/arts, and cognition – and to contribute with academic theorization that allows for a broadening of reflection upon the nature and role of narrative as the binding element of a new audiovisual praxis. In this sense, the current edition of the conference focuses on the multiple challenges of artistic contemporaneity, seeking to foster a multidisciplinary dialogue. There will be a publication with selected, peer-reviewed articles issuing from this conference.

Possible topics may include, but are not limited to: 

*CFP* CALL FOR PARTICIPATION, 16TH ANNUAL IRISH SCREEN STUDIES SEMINAR

16th annual Irish Screen Studies Seminar

Ulster University, Magee Campus (Derry)

6-7 May 2021 (Online)

 

The Irish Screen Studies Seminar provides a unique platform for the presentation of new work – research, practice, and research through practice – by scholars and filmmakers from third-level institutions in Ireland, as well as those working on Irish screen-related topics in other universities and colleges worldwide.

The seminar is aimed at academic researchers and practitioners in film and screen cultures in the broadest sense, touching on audio, film, television, digital media, transmedia, gaming and related interdisciplinary activity. The ISSS actively promotes the exchange of ideas and offers postgraduate and early career researchers and practitioners an ideal opportunity to present evolving screen-related research and practice in a constructive and encouraging forum. Conference papers will be archived on the Irish Screen Studies website.

*CFP* "IMÁGENES, IMAGINARIOS Y NUEVAS NARRATIVAS EN CONTEXTOS DE CRISIS", PRÓXIMO NÚMERO, IC: REVISTA CIENTÍFICA DE INFORMACIÓN Y COMUNICACIÓN

Las imágenes, los imaginarios y las nuevas narrativas articulan, en la actualidad, modos de explicación de las diversas crisis (sociales, sanitarias, políticas, económicas y culturales) (Angulo, 2018; 2017b; 2017a; Arribas y Gómez Villar, 2014; Belzunegui Erazo, 2012; Castells, 2016; Cabrera, 2019; Butler, 2006; Lazaratto, 2013). Crisis y crítica tienen un ethos común (Browne, Del Valle, Silva Echeto, 2018; Del Valle y Silva Echeto, 2018; Richard, 2010; Silva Echeto, 2014). La etimología de la palabra “crítica” se asocia a la palabra “crisis”. El contenido de ambos términos designa “el momento decisivo en un asunto de importancia” y que, por lo tanto, reúne las acepciones de cortar, dividir, medir y también elegir, decidir y juzgar. Mientras la crisis es una potencia de mutación, la crítica es una fuerza de intervención. Los flujos segmentados y ramificados del capitalismo des-diferenció límites y fronteras, aunque trazó otras fronteras (por ejemplo en el caso de los flujos humanos-migratorios) y des-fronterizó otros (los flujos de capitales), nivelando “eclécticamente valores, gustos y opiniones en nombre del pluralismo de lo diverso” tendiendo “a anular el principio de la distancia (separación, distinción) que reclamaba la crítica modernista antes de ver tambalear su lugar de autoridad, invadida por la promiscuidad y la contigüidad de los signos que des-jerarquizan cualquier escala de valoración en un mundo de interpenetración de las redes que activan tráficos ambiguos entre lo uno y lo otro, lo igual y lo diferente, lo próximo y lo distante, lo integrado y lo disperso” (Richard, 2010: 24).

*CFP* "NARRATIVE AND MUSIC", CONFERENCE

"Narrative and music" Conference

From 15 to 17 November 2021, Brussels

The cognitivist turn sparked a renewed interest in narrative analysis that extends beyond the study of literature. It has expanded across media such as film, graphic novels, video games, and music. This conference focuses on the study of narrative and narrativity in music. While some critics are convinced of music’s capacity for story-building, others consider the use of narrative theory derived from literary studies for the analysis of music unsuitable. This conference takes music’s narrative potential as its point of departure but recognizes that musical narrativity is scalar. With ‘narrativity of music’ as an umbrella term, the conference has three subthemes: (1) the narrative capacity of music, (2) narrativity of minimalist music, and (3) the narrativity of music in intermedial works. 

*CFP* CALL FOR PARTICIPATION, SECOND VOLUME, THE JOURNAL OF ANIME AND MANGA STUDIES

The Journal of Anime and Manga Studies (JAMS) is eager to announce a Call for Papers for our second volume.

The Journal of Anime and Manga Studies is a double-blind peer reviewed, open-access journal published by the University of Illinois at Urbana-Champaign. JAMS is dedicated to publishing scholarly works concerning anime, manga, cosplay, and the fandom surrounding these areas. As an open-access journal, JAMS aims to reach an audience of scholars both inside and outside the academe, encouraging public engagement through the digital humanities.

Because anime and manga studies is such a diverse field, JAMS welcomes papers regarding anime, manga, cosplay, and their fandoms as analyzed from any number of scholarly perspectives. Works published in JAMS first volume ranged from media industry history, to the intersections of disability and queer identity.

All papers published in JAMS are published with a Creative Commons license, Attribution-NonCommercial 4.0 International (CC BY-NC 4.0).