*CFP* "ARAB STARDOM: TRANSNATIONAL GLAMOUR AND PERFORMANCE", CHAPTER BOOK

Arab cinema is often discussed in terms of political representation and independent art film, but rarely in terms of stardom, glamour, performance or masquerade. Aside from a few individual studies on female stardom or aspects of Arab masculinity, no major English-language study on Arab stardom exists, and collections on transnational stars or world cinema often neglect to include Arab performers. This new book, provisionally titled Arab Stardom: Transnational Glamour and Performance, seeks to address this gap in the scholarship by providing the first study dedicated entirely to Arab stardom on screen. Building on the work of star studies scholars such as Richard Dyer,Russell Meeuf and Raphael Raphael, Andrea Bandhauer and Michelle Royer and Sabrina Qiong-Yu, this collection will provide contextual analyses of off-screen representation, as well as close textual analyses of films and star personas, thereby offering an in-depth study of the Arab star as text and context of Arab cinema. Using the tools of audience reception studies, the collection will look at how stars are viewed and received in different cultural contexts, both within and outside of the Arabic-speaking world.

*CFP* "ASIAN TIGERS IN THE DIGITAL JUNGLES", SPECIAL ISSUE, GALACTICA MEDIA: JOURNAL OF MEDIA STUDIES

Southeast Asia is the most densely populated region in the world, where neighboring states are political and economic heavyweights, leading players in a globalized world, and small countries that retain their distinctive appearance and style. It is a cauldron of ethnic groups, religions, worldviews, which has given rise to many alternative ways of integrating traditions and modernity.

In particular, Asian media, especially electronic ones, and social networks such as Chinese Weibo, WeiChat, Tencent and Qzone, South Korean Naver, and Japanese Line can serve as an example of such integration.

East Asian cinema and TV-show production display clear influence of Western, primarily Hollywood, standards. Yet they have many original characteristics, some of which are due to national historical experience and mentality, while others are dictated by state censorship and political agenda.

No less interesting is the representation that Asian peoples and cultures receive in Western cinema and commercials, and the recent growing protest of East and Southeast Asian natives against discrimination and stereotyping of their image.

*CFP* "MÚSICA, SO I SILENCI ALS VIDEOJOCS", NÚMERO 3, JOURNAL OF SOUND, SILENCE, IMAGE AND TECHNOLOGY

La revista científica Journal of Sound, Silence, Image and Technology (Joss) nace en el seno del grupo de investigación homónimo (SSIT), vinculado a los centros universitarios del TecnoCampus, adscritos a la Universidad Pompeu Fabra (UPF). La vocación de esta publicación es recoger el debate académico y la investigación científica sobre la relación del sonido como concepto ancho con un contexto audiovisual. Para este tercer número de la revista, tendremos en cuenta artículos sobre la relación entre música, sonido y silencio a los videojuegos.

Los estudios sobre el audiovisual se han ido consolidando a lo largo de las últimas dos décadas, y se puede afirmar que durante este tiempo, se han hecho su merecido espacio en la musicología académica. Sin embargo, dentro de los estudios audiovisuales, los videojuegos siguen siendo hoy en día uno de los temas menos tratados, en parte por los retos y dificultades metodológicas que conlleva su estudio. 

*CFP* “BOB DYLAN ON SCREEN”, CHAPTER BOOK

On May 12, 1963, Bob Dylan left the set of the Ed Sullivan Show, incensed the producers rejected his decision to “Talkin’ John Birch Paranoid Blues.” This non-circulation of his image through television provided valuable publicity and Dylan would boast of “the song they didn’t let me play on TV.” This incident stands at the beginning of an ambivalent and complicated relationship between Dylan’s persona, as expressed through his words and music, and its dissemination through screen media. This has been an uneven process: the documentary Dont Look Back (1967) is a classic of direct cinema and played an important role in broadcasting Dylan’s image, but its planned follow-up, Eat the Document (1972), went a different direction: Dylan insisted on editing it himself, it showed once on television and vanished into obscurity. The editing alone of his self-directed four-hour film Renaldo and Clara (1978) occupied more than a year of Dylan’s career, which should logically qualify it as a major work. Instead it’s little more than a footnote even for Dylan’s most devoted fans, watched by few and liked by fewer; Martin Scorsese’s repurposing of footage in Rolling Thunder Revue: A Bob Dylan Story (2019) may be Renaldo and Clara’s lone legacy. Masked and Anonymous (2003) was scarcely better received. Though it found some admirers, Dylan himself would express disappointment with it in a 2012 interview with Mikal Gilmore, stating that, When you want to make a film and you’re using outside money, there’s just too many people you have to listen to. He even joked that they should have hired Cate Blanchett to play his part, Jack Fate.

*CFP* "PRODUCCIÓN Y CONSUMO DE MEDIOS. ABORDAJES DESDE LA COMUNICACIÓN SOCIAL", CAPÍTULO DE LIBRO

Inaugurado en agosto de 2018, el programa de Doctorado en Ciencias Sociales de la Universidad Autónoma de Coahuila encuentra su pertinencia en la necesidad de modelar diseños de investigación social que incidan en la generación de alternativas, que atiendan las problemáticas existentes en los distintos sectores sociales -particularmente los de la entidad y la región- en pro de mejorar la calidad de vida y contribuir a un estado de bienestar social. A dos años de su inicio, la comunidad académica formada por estudiantes y profesores de su Acentuación en Comunicación Social, en colaboración con la Asociación Mexicana de Investigadores de la Comunicación, A.C., busca fortalecer la generación de conocimiento en el campo de la comunicación social a través de la publicación del libro “Dinámicas de grupos socioculturales. Abordajes desde la comunicación social”, publicación de propuestas innovadoras en la investigación de los fenómenos sociales que tengan como objeto estudio el papel de los procesos de comunicación en la dinámica constitutiva de sectores poblacionales o actividades socioculturales específicas. 

El libro podrá contener hasta 10 capítulos, cuyo resultado haya sido “aprobado” o “aprobado con modificaciones” por los dictaminadores y se apegue a la temática de la obra. 

*CFP* "BEYOND THE 2ºC BUSINESS AND POLICY TRAJECTORIES TO CLIMATE CHANGE ADAPTATION", EDITED BOOK

We are accepting contributions from international scholars and practitioners that work at the interface of in business and policy, as well as related fields such as economics, management, development studies, finance, and entrepreneurship. The contributions can:

• Shed new light on our understanding of climate-related vulnerabilities and risks
• Present new and emerging processes for internalizing adaptation approaches
• Identify new barriers to large scale and/or local climate change adaptation
• Explore the synergies and trade-offs in adaptation
• Investigate approaches to overcoming conflicts in business and policy adaptation trajectories

Researchers and practitioners are invited to submit abstracts of no more than 500 words, a bibliography for their proposed chapter, and a CV by June 30th, 2020.

*CFP* "COMUNICACIÓN AUDIOVISUAL: TRADICIONES, TRANSFORMACIONES Y PROYECCIONES", VOL. 16, Nº 1, INMEDIACIONES DE LA COMUNICACIÓN

Este número de InMediaciones de la Comunicación aborda el campo de la comunicación audiovisual en un contexto contemporáneo, signado por procesos de mutación acentuada y acelerada. Luego de emerger a fines del siglo XIX, y de expandirse y asentarse en las décadas siguientes mediante la inicial hegemonía del cine, la experiencia audiovisual dio forma decisiva al imaginario del siglo XX. Con el tiempo, el ascenso de la imagen electrónica hizo más complejo un territorio audiovisual que marcó de modo central la cultura y la comunicación de masas de la anterior centuria. Mediante definiciones mediales sólidamente establecidas en el caso del cine y la televisión, junto a la aparición del video como elemento cuestionador, apto para las hibridaciones y tensiones entre comunicación y arte, entre lo masivo y lo alternativo, el campo de lo audiovisual ya era llamativamente intrincado en la cultura de las últimas décadas del siglo anterior. Pero de un modo que al principio parecía afectar sólo áreas particulares, o incidir en las determinaciones tecnológicas de lo audiovisual, la irrupción de lo digital, desde entonces, ha alterado radicalmente el territorio entero, impregnando la producción, la circulación y la fruición audiovisual con alternativas múltiples.