*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* LLAMADA A PARTICIPACIÓN, III CONGRESO INTERNACIONAL DE COMUNICACIÓN Y REDES EN LA SOCIEDAD DE LA INFORMACIÓN

III Congreso Internacional de Comunicación y Redes en la Sociedad de la Información

Universidad de Salamanca

3 y 4 de marzo de 2022 (presencial)

 

El impacto de las redes sociales ha continuado creciendo de forma espectacular en la última década, tanto en número de usuarios y tiempo invertido en ellas, como en los ingresos obtenidos. El fenómeno de las redes sociales está cobrando aún más importancia gracias a la posibilidad de acceso a través de la banda ancha móvil, mediante aplicaciones para dispositivos móviles. Ambos fenómenos se retroalimentan y configuran un binomio de éxito dentro de la Sociedad de la Información.

Los usuarios de las redes sociales tienen ahora la capacidad de conectarse, opinar, seguir a sus amigos, informar, etc., en tiempo real. El acceso a las redes sociales en movilidad aporta un valor añadido al propio servicio, ya que el usuario está siempre conectado y puede interactuar en todo momento, independientemente del lugar en el que se encuentre.

*CFP* "SPECULATIVE FICTION'S INTERSECTIONS WITH POSTHUMANISM AND NEW MATERIALISM", SPECIAL ISSUE, EXTRAPOLATION JOURNAL

Extrapolation invites papers for a special issue investigating how speculative fiction, broadly conceived, dramatizes the tensions between the material limitations of the body and efforts to think beyond the human subject in posthumanism and new materialism. Taking our cues from contemporary authors like Jeff VanderMeer, Nalo Hopkinson, Caitlín Kiernan, Kathe Koja, Ken Liu, and China Miéville, we will examine how experimentation with form serves to articulate human practices for enduring and even flourishing in our extra-human reality. We are particularly invested in the ways speculative texts critique the centrality of the human while remaining attentive to the lived experience of the material body as it responds to ecological, technological, and economic demands that exceed human capacities of understanding.

Despite its modest aim to investigate thought and life that operates beyond the boundaries of enlightenment humanism, the field of the critical posthumanities often employs a rhetoric of extremes that invites us to abolish, expunge, contort, challenge, and undo the category of the human entirely. Yet, this expansive model of posthuman(ist) thought is often haunted by bodies, environments, and matter that resist being tamed by intellectual abstraction. Concomitantly, the turn to new materialism takes up problems of inter-relation and ecological co-constitution, offering ethical practices for coping with threats posed by the Anthropocene. Aiming to think more expansively than anthropocentrism allows, new materialist discourse disavows the human subject as the agent of our world to describe, instead, how agency—or animacy—is distributed beyond the human. 

*CFP* "THE VITALITY OF ANCIENT RECEPTION STUDIES, NOW", INTERNATIONAL VIRTUAL CONFERENCE

The Vitality of Ancient Reception Studies, Now

An international virtual conference presented by Antiquity in Media Studies (AIMS)

15-18 December 2021

 

The officers of Antiquity in Media Studies invite proposals for presentations that illuminate the ongoing vitality of antiquity in recent discourses. Despite decades of institutional disinvestment in the study of antiquity, a venerated deep past figured as a powerful shared imaginary remains a perennial, emotionally evocative, even highly lucrative concept in myriad contemporary media, around the world and across all manner of identity lines. Among antiquities, of particularly widespread interest has been the millennia of history centered on the Mediterranean and dubbed “classical” among successor societies, both self-appointed and colonized. From Ubisoft’s Assassin’s Creed Odyssey to Luis Alfaro’s Mojada, from Hideki Takeuchi’s Thermae Romae to Pat Barker’s Silence of the Girls, to politicians' and pundits' invocations of the Persian Wars and the fall of Rome, each year produces more receptions of this antiquity. Beyond the Greco-Roman-centered past, all antiquities mobilized for such cultural work today are welcome at this ancient reception studies conference.

*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* "FANTASY AND THE FANTASTIC", SPECIAL ISSUE, MAPPING THE IMPOSSIBLE JOURNAL

We welcome submissions from undergraduate and postgraduate students (and from those who have graduated within the last year) from any higher education institution. We publish articles on any aspect of fantasy and the fantastic and any work within this transmedial genre. Increasingly, students from more established disciplines (including, but not limited to, Literature Studies, Game Studies, Film and Television Studies, Media Studies, Philosophy and Theology) elect to write essays on a fantasy related topic that intersects with their primary discipline.

Robert Maslen defines Fantasy as that which ‘focuses instead on what certainly did not happen and never could, foregrounding the impossibility of what it represents.’ While this is only one definition of how fantasy works, and certainly not definitive, we find ‘representing impossibility’ to be a useful starting point when approaching fantasy, the fantastic, and the techniques of wider speculative fiction. However, we would like to note that this is only a starting point. We are open to papers that explore all different kinds of interpretations and definitions of fantasy across disciplines and across media.

Our second issue, to be published in March 2022, will be a general issue. Submissions for this issue are currently open.

*CFP* "OPORTUNITIES FOR INNOVATION", IMMERSIVE STORYTELLING SYMPOSIUM

Immersive Storytelling Symposium: Opportunities for Innovation

2nd and 3rd November 2021,

Lakeside Arts, Nottingham, UK, and online

 

A huge amount of R&D talent is focused on the global immersive technology market, which is estimated to be worth $95-105 billion by 2023. In the United Kingdom the Creative Industries Sector Deal draws on £72 million government funding to support this new wave of innovation. The national network of Creative Industries Clusters includes XR Stories (York), StoryFutures Academy (London) and XR+D (Bristol and Bath). The Audience of the Future demonstrator programme is producing unique experiences spearheaded by renowned cultural institutions like the Royal Shakespeare Company, Natural History Museum and Royal Opera House. These initiatives are designed to establish the UK’s position in an international marketplace that encompasses everything from Dreamscape Immersive’s location-based VR attractions, to Museum of Ice Cream’s multi-sensory installations, to Punch Drunk’s immersive theatre shows. Just this small selection of examples is spread across the USA, Singapore, Dubai and China.

*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* "PALGRAVE HANDBOOK ON VIOLENCE IN FILM AND MEDIA", BOOK CHAPTER

Steve Choe (Associate Professor of Critical Studies, School of Cinema at San Francisco State University) is seeking expressions of interest to contribute essays for a Handbook on the topic of violence in film and media. The volume will be published by Palgrave Macmillian.

The Handbook will consist of 20 to 25 chapters of between 6000 and 8000 words each. All contributions must be in the English language. The Handbook aims to function as a reference work for scholars and students in film and media studies. Contributions should present original research and thinking that result in broad claims about violence in film and media.

We are especially interested in contributions that address the problem of violence in the context of digital media.

The Handbook will be provisionally organized in five sections: Histories, Approaches, Aesthetics, Politics and Ethics, Media.

Possible topics may include:

*CFP* "MUJER(ES) E INDUSTRIAS CREATIVAS", MONOGRÁFICO JUNIO 2022, ÁREA ABIERTA: REVISTA DE COMUNICACIÓN AUDIOVISUAL Y PUBLICITARIA

Las mujeres como creadoras de obras audiovisuales en las industrias creativas se han visto relegadas históricamente a un lugar secundario. De hecho, no ha sido hasta los premios Goya del 2021 cuando una mujer ha obtenido por vez primera el galardón a mejor dirección de fotografía. Esta dificultad afecta no solo al cine, sino al audiovisual y a la creación artística en su sentido más amplio. Hay una absoluta carencia de visibilidad por parte de mujeres en puestos técnicos y de mano en animación, videojuegos y producción en general. Su ausencia no es solo una pérdida para el público, sino que dificulta el desarrollo de creadoras futuras por la falta de referentes femeninos.

En los últimos años se ha dado un auge de asociaciones y reivindicaciones de visibilidad femenina como creadoras. Ante este posible cambio de paradigma, se plantea la necesidad de estudiar tanto la situación actual, como la pasada y las posibles perspectivas de futuro.

Área Abierta. Revista de comunicación audiovisual y publicitaria, abre la convocatoria de un número monográfico titulado Mujer(es) e industrias creativas dedicado a las mujeres como sujetos creadores de obras artísticas audiovisuales para las industrias del entretenimiento. 

*CFP* "AMIGO-ENEMIGO. LAS FRANJAS INVISIBLES DEL ESPACIO POLÍTICO", II COLOQUIO INTERNACIONAL PALIMPSESTOS PERSPECTIVAS CRÍTICAS DEL NORTE DE MÉXICO

II Coloquio Internacional Palimpsestos Perspectivas Críticas del Norte de México

Amigo - Enemigo. Las franjas invisibles del espacio político

Del 28 al 30 de octubre (coloquio en formato híbrido)

 

La Universidad Autónoma de Chihuahua, la Universidad Michoacana de San Nicolás de Hidalgo (MÉXICO), la Universidad de Playa Ancha, Valparaíso (CHILE) y el Centro de Investigación Iberoamericano de Maguncia-Germersheim /Leipzig (CIIA, Alemania) celebran este coloquio del 28 al 30 de octubre de 2021 en Chihuahua (México).

Ejes temáticos:

• Significaciones desde lo local y lo global: Visitaciones/Revisitaciones al norte mexicano: exotismos y postexotismos

*CFP* "INTERSECTIONS BETWEEN GAME MUSIC AND ELECTRONIC DANCE", SPECIAL ISSUE, THE JOURNAL OF SOUND AND MUSIC IN GAMES

The Journal of Sound and Music in Games invites contributions to its first special issue, in which stylistic and cultural intersections will be explored between game music and electronic dance music.

 

We invite proposals for research articles on game music and electronic dance music, which will be double-blind peer-reviewed and published as a special issue of the/Journal of Sound and Music in Games/. We also welcome proposals for other kinds of materials, which should be discussed with the editors in the first instance.

Themes can include:

• Influences of game music techniques on dance music production techniques
• Relationships between game culture and electronic dance music culture, in terms of design, sound, music techniques
• Game cultural references in electronic dance music
• Games that employ electronic dance music

*CFP* "AFFECTING GAME SPACE: THEORY AND PRACTICE", VIRTUAL CONFERENCE

Affecting Game Space: Theory and Practice

3rd September 2021

Virtual conference

 

From claustrophobic confines to sublime vistas, game spaces have conjured affects since the medium’s inception. Whether it be nostalgia for the remastered landscape, the vertigo of free diving in VR, or the conviviality of gathering around landmarks in Pokémon GO, affect reciprocally connects players to physical and virtual spaces. Haptics, ray tracing and photogrammetry are allowing us to ‘feel’ game worlds in new and increasingly tangible ways. As Nitsche observes: “Video game spaces stage our dreams and nightmares and they seem to get better at it every year” (2008: 2). How then do we (co-)design, feel, construct and play with affect in game spaces?

As the inaugural event of the ‘Game Worlds’ research cluster connecting theory and design at the University of Edinburgh’s Centre for Data, Culture and Society, the ‘Affecting Game Space’ online conference will be built around quickfire presentations followed by breakout groups, with the potential for demo/exhibition space. We hope to welcome you to a network of like-minded academics and practitioners based at The University of Edinburgh virtually through the spatial video conferencing platform ‘Gather,’ facilitating free movement, conversation and networking.

*CFP* "SAGAS, REMAKES E INTERMEDIALIDAD", I CONGRESO INTERNACIONAL DE NARRACIÓN Y MUNDOS DE FICCIÓN EN CINE, TELEVISIÓN Y VIDEOJUEGOS

 I Congreso Internacional de Narración y Mundos de Ficción en Cine, Televisión y Videojuegos

Sagas, remakes e intermedialidad

 

14, 15 y 16 de octubre de 2020

 

Universidad Rey Juan Carlos

La evolución el sector del entretenimiento audiovisual y digital ha causado una considerable transformación en la oferta de obras de ficción (filmes, series de televisión y videojuegos). No sólo se ha aumentado el número de producciones ofrecidas a través de las nuevas plataformas de streaming para los tres sectores, sino que se han cambiado la orientación de los contenidos, de productos singulares a sagas, remakes y franquicias ligadas a imaginarios ya consolidados en la memoria del espectador y avalados por éxitos precedentes.  En el sector cinematográfico la proliferación del fenómeno del blockbuster como estrategia para llenar las salas, ha ocasionado que se recurra a valores seguros, lo que lleva a constantes remakes de producciones pasadas (el caso de Disney volviendo a producir sus grandes éxitos de animación en imagen real, filmes de éxito de décadas pasadas como Blade Runner o IT) o a la explotación hasta la extenuación de sagas como Star Wars o las adaptaciones del comic de super héroes de Marvel. 

*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* "REIMAGINING THE VICTIM IN POST-1970S HORROR MEDIA", EDITED COLLECTION

While the analysis of the horror genre, particularly its contemporary articulations, uncovers a myriad of different topics (new (and old) theoretical paradigms, alternative interpretations of familiar narratives and tentative readings of new ones, as well as the progressive expansion and relocation of the genre within a larger trans and interdisciplinary context), some of its basic premises remain inadequately explored. One such issue, or concept, is the notion of the victim, and its position, as well as function/purpose, within the larger framework of the genre. While being an unavoidable part of the genre narrative from its earliest endeavors, the ambition of the victim is to embody, articulate, and finally project all the fears and anxieties (introduced by the narrator/author) towards its target audience. 

The audience in turn catalyzes and identifies with the projected trauma, while simultaneously enjoying the suspension of disbelief. This dynamic, although simplistic in its nature, functions as an extremely prolific interpretative context confirmed through decades of highly focused research. However, the developed binary system bonding the readers/viewers with the imaginary, but nevertheless doomed victim remains, although logical, a rather “unfair” one, with the analytical focus being placed on the thoughts, experiences, and reactions of the viewers. The (fictitious) victims consequently retain a symbolically blank role, prone to inscriptions of meaning in accordance with a more generalized or overarching narrative.

*CFP* "BETWEEN THEORY AND PRACTICE", SUMMER SCHOOL: MULTIDISCIPLINARY GAME RESEARCH

Between Theory and Practice

Summer School: Multidisciplinary Game Research

16-20 August 2021

Utrecht University [online-only]

 

This summer course provides an overview of contemporary research perspectives on games and play, bringing together perspectives from the humanities, educational sciences and social sciences. It provides participants with a holistic perspective, including aspects of analysis, critical design and validation, which is necessary to employ games and play meaningfully and productively within contemporary academia as well as society at large. The program comprises workshops by senior researchers from the Center for Game Research (Utrecht University/UU), the Departments for “Media and Culture Studies” and “Information and Computing Sciences” (UU), the Copernicus Institute of Sustainable Development (UU), Palacký University Olomouc and Ruhr-Universität Bochum. Each day is dedicated to a different angle, starting with game analysis, moving on to games for sustainability and environmental communication, games for learning, scenario-planning games and finally interactive narrative design.

*CFP* "REIMAGINING THE VICTIM IN POST-1970S HORROR MEDIA", BOOK CHAPTER

While the analysis of the horror genre, particularly its contemporary articulations, uncovers a myriad of different topics (new (and old) theoretical paradigms, alternative interpretations of familiar narratives and tentative readings of new ones, as well as the progressive expansion and relocation of the genre within a larger trans and interdisciplinary context), some of its basic premises remain inadequately explored. One such issue, or concept, is the notion of the victim, and its position, as well as function/purpose, within the larger framework of the genre. While being an unavoidable part of the genre narrative from its earliest endeavors, the ambition of the victim is to embody, articulate, and finally project all the fears and anxieties (introduced by the narrator/author) towards its target audience. 

The audience in turn catalyzes and identifies with the projected trauma, while simultaneously enjoying the suspension of disbelief. This dynamic, although simplistic in its nature, functions as an extremely prolific interpretative context confirmed through decades of highly focused research. However, the developed binary system bonding the readers/viewers with the imaginary, but nevertheless doomed victim remains, although logical, a rather “unfair” one, with the analytical focus being placed on the thoughts, experiences, and reactions of the viewers. The (fictitious) victims consequently retain a symbolically blank role, prone to inscriptions of meaning in accordance with a more generalized or overarching narrative.

*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)

*CFP* CALL FOR PARTICIPATION, "QUEER TEMPORALITIES" IN LITERATURE, CINEMA, AND VIDEO GAMES INTERNATIONAL CONFERENCE

“Queer Temporalities” in Literature, Cinema, and Video Games International Conference.

2-4 December 2021

Online

 

While the study of space has been part of the Queer Studies agenda for a very long time, time has been a more recent addition. This International Conference sees the study of time as being central to the understanding of identity configurations. Studying time as a producer and reproducer of identities can be approached as the unearthing of past events, the imagining of other futures, or as the exploration of time as a formal factor that shapes cultural texts. While conceptions of time as something linear, stable, singular, and unequivocal favor existing discourses about equally unequivocal identities, approaches to time as being defined by multiple rhythms, interruptions and uncertainties allow for other identities and cultural / social practices to come to life in time or through specific representations of time.