*CFP* "MENORES CREADORES DE CONTENIDOS EN PLATAFORMAS DE VÍDEO: NORMATIVA Y AUTORREGULACIÓN EN EL SOCIOSISTEMA COMUNICATIVO", VOL. 13, Nº 1 (2022), REVISTA MEDITERRÁNEA DE COMUNICACIÓN

Revista Mediterránea de Comunicación / Mediterranean Journal of Communication invita al envío de textos para el monográfico: Menores creadores de contenidos en plataformas de video: normativa y autorregulación en el sociosistema comunicativo, coordinado por la Dra. Esther Martínez Pastor (Universidad Rey Juan Carlos, España), Dr. Rodrigo Cetina Presuel (Harvard University, EE.UU.) y la Dra. Araceli Castelló Martínez (Universidad de Alicante, España) que se publicará en enero de 2022 (V13N1). See details in English.

El fenómeno de los menores influyentes en las plataformas de vídeos experimenta un crecimiento imparable en el consumo, la actividad, la presencia de marcas alrededor de estos contenidos y la capacidad de influencia y transformación social de algunos contenidos. Todo ello también incrementa la problemática derivada, por ser un fenómeno parcialmente previsto en la normativa vigente. Existen nuevos y emergentes retos investigadores para el colectivo de los públicos involucrados: menores creadores de contenidos, padres, madres o tutores legales, profesionales del medio YT, seguidores, docentes e investigadores y sociedad en general.

*CFP* "LOS AÑOS 90 EN LA LITERATURA Y EL ARTE IBEROAMERICANOS", NÚMERO MONOGRÁFICO, REVISTA [SIC]

La revista [sic] invita a participar en su próximo número monográfico `Los años 90 en la literatura y el arte iberoamericanos´, coordinado por Álvaro Lema Mosca. El plazo para el envío de propuesta se cierra el 20 de marzo de 2021.

Se reciben artículos de investigación vinculados a esta periodización y sus principales características.

Ejes temáticos:

• La literatura de los 90: ruptura, transición, identidad.
• Los 90 entre la posmodernidad, el neoliberalismo y la revolución tecnológica en el campo de la cultura: estudios culturales, el problema de la identidad nacional, la crítica.
• Relacionamientos entre la movida contracultural postdictadura (segunda mitad de los 80) y principios de los 90.
• La novela negra, el thriller, el policial, lo fantástico, el realismo sucio, la ciencia ficción en los 90.
• La novela histórica de los 90: continuidad, ruptura, revisión.

*CFP* "ILLUMINATED VIDEO ARTICLES", SPECIAL ISSUE, JOURNAL OF EMBODIED RESEARCH

For those of us who are in social isolation but otherwise well, this may be a time to undertake further work with our existing video archives. We may not be able to generate new moments together, but we can certainly look back at the video we have created and further unfold its meanings. With this in mind, Journal of Embodied Research (JER) proposes a special issue on “illuminated video.”

Submissions to this special issue should follow three parameters:

• Begin with a piece of uncut video lasting no more than 20 minutes. There can be no editing of the video or audio tracks, no added effects (except basic color or contrast correction), no added voiceover or soundtrack, no montage — in other words, a single “raw” video recording.
• To this uncut video, authors may add any number of textual annotations or “illuminations,” in addition to the title and authors. These could include subtitles, annotations, explanation, analysis, and/or scholarly or poetic quotations. The size, color, and placement of these texts should be given attention, as well as their relative density or sparsity. All sources must be properly cited within the video itself.
• The authors of the video article — those who select the video material and write and append the textual material — should appear in the video itself or otherwise demonstrate accountability to those whose bodies appear. Ideally, you should be writing on your own audiovisual body.

*CFP* "DECENTRING THE AVANT-GARDE: LANDSCAPE, TRAVEL AND THE GAZE IN EXPERIMENTAL FILM AND VIDEO", SPECIAL ISSUE, VOL. 57, PAPERS ON LANGUAGE AND LITERATURE

The special issue of Papers on Language and Literature (vol. 57) aims to highlight the work of filmmakers working on the margins of the avant-garde, including those using traditional (8 mm or 16 mm) and new (hybrid) media formats, and the ways they (re)address the questions of landscape, travel and the gaze. Although certain avant-garde films, including those made by Vertov, Bolotowsky, Kubelka, Winkler, Lehman, Welsby, Snow, Fischinger, Dutta, Rashidi, Takahiko, Frampton, Brakhage and others, have received some attention from researchers, there exists a number of underrepresented works, which use landscape and travelogue forms to challenge the hegemonic master narratives and undermine the image of majority groups and interests, continuously breaking the taboos and censorship of the mainstream (film) culture. Likewise, this issue will hopefully extend the use of some recent revisionist theories, which have moved beyond structuralist-formalist thinking to incorporate intermediality and heterogeneity (Branden), spectatorship and (gendered) body politics (Lambert-Beatty), corporeal turn in avant-garde film (Osterweil), expanded cinema practices (Sutton), materialism (Walley) or personal registers (Kase), to the study of landscape and travelogue films, many of which clearly de-center formalist strategies.

*CFP* "POP CINEMA", EDITED ANTHOLOGY

One of the most revolutionary and divisive art movements of the 20th century, Pop Art often found its thematic and stylistic sources in cinema. While it remains common to speak of Pop Art in relationship to film culture, there has been a significant lack of theorisation of films and filmmakers that were influenced by or employed the aesthetics and themes of Pop Art. Although there have been useful discussions in recent years of the place of Pop Art in the film criticism of curator and theorist Lawrence Alloway (Stanfield 2008), and curators William Kaizen (2011) and Ed Halter (2015) have separately attempted to define a corpus of Pop Films, there has been no thorough scholarly engagement with what this book terms ‘Pop Cinema’. This anthology will begin to remedy this omission by gathering a range of perspectives on artworks from the late 1950s to the present to probe the idea that a body of cinema and cinema-related practice exists that bears a direct relationship to Pop Art. We are concerned to bring the methodologies and critical positions of Art History and Film Studies together to bear on works of moving-image art—be they cinema or video—not to explore the ways in which they display works of Pop Art within their diegesis but to situate them as works of Pop Art in their own right.

*CFP* "REFUGEE FORMS: ESSAYS ON THE CULTURE OF FLIGHT AND REFUGE", EDITED COLLECTION

The edited collection Refugee Forms: Essays on the Culture of Flight and Refuge aims to bring together research on the genres, forms, media and histories of refugee migration. Chapters are invited from a range of disciplines, and interdisciplinary approaches are especially welcome. Contributions may focus on refugee migration through the lens of particular genres, forms, media or histories, addressing such topics as:

• Documentary, film and video 
• Visualities, media and multimodality 
• Literary genres and narrative form 
• Autobiography, testimony, truth-telling

As migration studies researchers have argued, refugee migration is a complex phenomenon involving mixed motives, multiple points of transit and arrival, and the inherent uncertainty of the asylum process (e.g., Van Hear 2009, Crawley and Skleparis 2018). Our proposition is that studying narratives of refugee migration requires an interdisciplinary approach combining migration research with the theories and methods of the arts and humanities. For example, historian Lynn Hunt (2007:35ff) has described how literary forms such as the novel have been key in the development of discourses of human rights. As Joseph Slaughter further argues in Human Rights, Inc. (2007), genres such as the Bildungsroman employ narratives of development and self-determination underlying modern human rights discourses (2007:86ff, 205ff). 

*CFP* "MUSIC | VIDEO | SPACES", CONFERENCE

Music | Video | Spaces Conference, 

November 6-7, 2020 

University of Zurich (Department of Social Anthropology and Cultural Studies)

The production and representation of space in film and (pop-)music has received increasing scholarly attention as of late. However, a surprising blank space appears at the most obvious intersection of these two fields of study: the music video. This conference jumps off from the observation that since their inception, music videos have been highly prolific media of spatial imagination and production.

From lovestruck skating middle-class teenagers in Californian suburbs in Air’s “All I Need” to cartographies of North-American small town childhoods in Men I Trust’s sentimental Super 8 driven video for “Tailwhip;” from attempts to escape similar spaces and accompanying mentalities in Tocotronic’s “Hey Du” to nostalgically rendered images of countercultural nature in Kurt Vile’s “One Trick Ponies;” from the folkloristic imaginations of a Morris dancing British village in Stealing Sheep’s “Apparation” to the ironic, touristic gaze on highly mediatized Icelandic wilderness in Mourn’s “Fun at the Geysers;” from the hypervertical urbanism of Forest Swords’ “Crow” to the Google Street View-inspired white middle class gaze on an African-American neighbourhood in Vince Staple’s “Fun;” from hipsterish mid-century architecture connoisseurship in Delmoro’s “Dove Siamo Finito” to the explorations of contemporary city-scapes through the Mancunian public transport system in Equiknoxx’s “Manchester,” music videos conceive, depict and perform a variety of imaginary, communicative, social and natural spaces.

*CFP* CALL FOR VIDEO PRESENTATIONS AT IAMCR 2019 CONFERENCE

Five IAMCR sections and working groups (S&WGs) have launched an experimental initiative to call for video presentations for the IAMCR 2019 conference.

These sections and working groups are: 

• The Participatory Communication Research Section (PCR)
• The Community Communication and Alternative Media Section (CCAM)
• The Popular Culture Working Group (POC)
• The Media and Sport Section (MES)
• The Environment, Science and Risk Communication Working Group (ESR).

This initiative is driven by the need to make headway towards virtual conference participation. The five participating S&WGs, supported by IAMCR’s Executive Board, believe that the association cannot remain blind to the environmental impact that our conferences have, or to the unfortunate exclusions that characterize current conference models. As IAMCR members, we all have an ethical-ecological responsibility here. Moreover, the five S&WGs believe that we should also acknowledge and stimulate the creative opportunities that video presentations can offer to conference presenters.