There are some great writing opportunities coming up that we wanted to let you all know about. These CFPs cover a broad range with deadlines between next week and ongoing. Let us know if you end up pursuing any of these and the experience (it might help us better determine what CFPs to share forward int he future).
- Call for Chapters: Radio’s Second Century: A Reader
- Call for Papers: Journal of Digital Media and Policy
- Fantasy/Animation Research Network Contributions
- Calls for Chapter Proposals: Transmedia Storytelling in Asia and Pacific Region
- Call for Chapters: Teaching, Learning, and Leading with Computer Simulations
- Digital Resistance: Call for papers for Special thematic issue of the Journal of Resistance Studies
- Call for Papers: Nordicom Review Special Issue
- Call for Contributors – Public Historians in the Classroom: Essays on Teaching Public History
- Call for Contributors: Marginalized Voices in Academia Series
Call for Chapters: Radio’s Second Century: A Reader
Seeking a few more chapters to include in the book below to be published by Rutgers University Press. This book is already under contract. If you have a completed study that is relevant, please consider submitting it for possible publication.
Editor: John Allen Hendricks, Stephen F. Austin State University
Book Topic: As radio enters its second century of serving the news, information, and entertainment needs of listeners around the world and despite seismic shifts both internally and externally, it has remained a very robust and vital media industry. Undeniably, the radio industry has witnessed extraordinary changes and challenges since the passage of the Radio Act of 1927, and it remains a primary mass media outlet around the globe.
Recent research indicates that 91% of Americans, or 243 million people, aged 12+ listen to radio weekly, 53% listen to online radio monthly from mobile phones and computers, and 81% listen to radio when they are in automobiles. Research also indicates radio continues to have the ability to appeal to new listeners. Millennials, those born between 1982 and 2004, are now the largest share of the radio audience. Moreover, UNESCO asserts: “Radio is the mass media reaching the widest audience in the world.” There are more than 40,000 radio stations worldwide. Undeniably, despite numerous challenges, radio is thriving. This book will explore and explain how the radio industry has been able to remain relevant.
Research from both national and international perspectives of the radio industry will be evaluated. Specifically, the book will examine issues that have played a pivotal role in radio’s evolution, and may specifically focus attention on: 1) technological changes and challenges (internet, mobile, and satellite); 2) legal, regulatory, and ownership policies; 3) a shifting and dynamic audience; 4) management/sales; 5) programming; and, 6) the history of the industry. All research methods and theoretical approaches will be considered.
Specific Topics that Could be Explored: Digital music, Pandora, Spotify, iHeartRadio, SiriusXM, Apple and Digital Music, Rdio’s partnership with Cumulus, Radio Advertising, Radio Listener Demographics (Teens, Millennials, Gen X, Baby Boomers), Performance Fees, Connected Cars, HD Radio, Social Media, Radio Automation and Localism, etc.
Chapter Guidelines: 20-25 pages, Times New Roman 12 pt. font, APA style guide.
Call for Papers: Journal of Digital Media and Policy
Deadline: 30 November 2018
Special Issue 10.3 (Autumn 2019): ‘Interfacing public communications in the digital economy’. Guest edited by Michael Klontzas (University of Huddersfield) and Maria Sourbati (University of Brighton)
Public organizations tasked with the delivery of universal service in communications (e.g. broadcasting) and social welfare (e.g. health services) have been redesigning their service delivery through digital transformation for almost two decades now. At the centre of these systems and infrastructures are digital interfaces enabling the flow of information and data between organizations and their publics, mediating access to services and generating data about service users.
For this special issue, we invite contributions that examine interfaces on the institutional, organizational strategy, technology design and access level with a focus on universal/inclusive public communications and services. We invite contributions that include, but are not limited to, the following themes:
- Digital interfaces and the structuring of user choice.
- Public service ideals and evolving user interfaces: institutional strategies and alternative innovation.
- Social inclusion by design.
- Interfaces, aesthetics and configuring the public service user.
- Digital interface affordances and public value.
- Emerging interface technologies.
- Digital interface design knowledge exchange and policy diffusion.
- Interface regulation.
Abstracts of 500 words should be submitted to the guest editors, Michael Klontzas and Maria Sourbati , by 30 November 2018.
All proposals must include a title, six-eight keywords, author name(s), institutional affiliation(s) and contact details. To read more information about the journal and find Notes for Contributors.
- 30 November 2018: Deadline for abstract submission.
- 15 December 2018: Notification of accepted proposals.
- 29 April 2019: Deadline for submission of full articles.
- 27 May 2019: Double-blind peer-review completed. Accepted papers given four weeks for revision.
Fantasy/Animation Research Network Contributions
Deadline: Friday 14th December
This is just a CFP reminder that there is still a month to go for those who wish to contribute to the Fantasy/Animation Research Network, a space that pursues further the relationship between fantasy cinema and the medium of animation. We are hoping that the network will open out a critical conversation on the study of the rich legacy and complexity of animated fantasy media, in whatever form this might take, and provide a space for discussion and debate among like-minded academics, practitioners, special interest groups and fans of fantasy and/or animation. More details about the types of post we publish are available on the website, but we are interested in receiving short pieces of around 500-1000 words that fit under the following headings:
- a short editorial (movie analysis/critical reflection on an idea or concept)
- event/conference reports
- film reviews
- book reviews
Potential methodological/critical approaches within individual contributions are varied, and our concern is not necessarily how animation operates as fantasy or how fantasy operates through animation, but rather how both ideas can be productively considered in dialogue with one another. This methodology allows fantasy and animation to function as a dialectic that critically examines a relationship that has, to date, been assumed, pre-supposed or obfuscated within both popular and critical discourse. If contributors have ideas for blogs, or want to suggest other possible formats for content (interviews/Q&As, pieces to camera, video essays), then please do send them over and let us know the type of post under which it fits, as well as 3-4 keywords that relate to your post. We would welcome any ideas submitted either to us directly (christopher.Holliday@kcl.ac.uk and email@example.com) or through the ‘Contact Us’ Tab on the network’s website. The deadline for pitching potential submissions is Friday 14th December.
Finally, the Fantasy/Animation podcast is also available via iTunes: so please do give it a listen as we talk through a series of fantasy/animation film and television titles (with a few special guests thrown in too…).
Calls for Chapter Proposals: Transmedia Storytelling in Asia and Pacific Region
Deadline: 14 December, 2018 (Abstract)
An edited volume by Dr. Filippo Gilardi and Dr Celia Lam (University of Nottingham Ningbo China). Provisional book title: Transmedia Storytelling in Asia and Pacific Region. Abstract submission deadline: 14 December, 2018. Selection results announced: 14 January, 2019. Full chapters due: Not required until confirmation from the publisher (Palgrave Macmillan).
Introduction: Global transmedia practices are a current and topical issue for practitioners, industry and academics alike. For the most part, emphasis is placed on work emanating from Europe, the UK and US, with transmedia practices from Asia and the Pacific often missing from scholarly inquiry. Two recent books, Global Convergence Cultures. Transmedia (Freeman and Proctor, 2018) and The Routledge Companion to Transmedia Studies (Gambarato and Freeman, eds, 2018), offer comprehensive discussion of transmedia practice in many regions of the world. However countries like China, South Korea and Singapore are missing from these accounts.
Aim: This volume aims to fill this gap by exploring the current status of the transmedia phenomenon in countries from the Asia and Pacific Region. The chapters of this volume will be looking at transmedia practice in games, fiction, and non-fiction. The selection of the different case studies will be theoretically grounded on Jenkin’s definition of Transmedia Storytelling as “a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience” and in which “each medium makes its own unique contribution to the unfolding of the story” (Jenkins, 2007). The analytical approach should consider the involvement of 1) multiple media platforms, 2) content expansions, and 3) audience engagement (Gambarato & Tárcia, 2016). This will allow us to identify characteristics and boundaries of this phenomenon and see what Countries from Asia and Pacific Region have to add to the most recent discussion that is looking at the interconnections between transmedia practice, transmedia audiences, and transmedia theories. The aim of the volume is to explore how transmedia platforms, content, and audiences are constituted within the Asia and Pacific. While all chapters should address one or more of these areas, these are not restrictive and other areas could be added and explored.
Topics include, but are not limited to, Transmedia world developed around the following:
- Games: RPG Games, Moible Games Platform Games, MOBA Games
- Fiction: Online literature, TV Drama, Social Media fictions, Animation, Movies
- Nonfiction: Education, Cultural Heritage and Museum, Documentaries, Entertainment Parks, Music, Branding, Marketing, Sports, Events
Submission: Researchers and practitioners are invited to submit on or before 14 December 2018 a 500 word abstract and 200 words outlining where and how the chapter fits within the aims of the book to Filippo Gilardi (Filippo.firstname.lastname@example.org) and Celia Lam (email@example.com).
- Submission deadline: 14 December 2018
- Notification: 14 January 2019
Please direct any inquiries you may have to Filippo Gilardi and Celia Lam.
Call for Chapters: Teaching, Learning, and Leading with Computer Simulations
Deadline: January 11, 2019 (Proposal)
This book examines the recent advancement of simulation technology, explores the innovative ways that advanced simulation programs are used to enhance and transform teaching and learning, collects exemplary cases of digital transformation by adopting simulation technology and pedagogy, and identifies challenges and future directions for practice, research, and theory development in using computer simulation in education and training.
For more information, please visit https://www.igi-global.com/publish/call-for-papers/call-details/3542, or contact Dr. Jennifer Qian.
Digital Resistance: Call for papers for Special thematic issue of the Journal of Resistance Studies
Deadline: January 15, 2019
In many spaces, mobile digital devices and social media are ubiquitous. These devices and applications provide the platforms with which we create, share and consume information. Many obtain much of their news and social information via the personal screens we constantly carry with us. It is therefore unsurprising that these devices also become integral to acts of social activism and resistance. This digital resistance is most visible in the virtual social movements found behind hashtags such as #BlackLivesMatter, #TakeAKnee, and #MeToo. However, it would be an oversimplification to limit digital resistance to its most popular expressions. Video sharing on YouTube, Twitter, and Facebook have revealed abuses of police power, racist attacks, and misogyny. The same type of device is used to both record, share, and view instances of abuse. The devices and platforms are also used to organize and coordinate responses, ranging from online naming and shaming, online protests, physical protests. The devices and the platforms are then used to share the protests and their results. More and more the device and the platform are the keyhole through which resistance must fit. Our devices and access to platforms enable the creation of self-forming and self-organizing resistance movements capable of sharing alternative discourses in advocating for diverse social agendas. This freedom shapes both the individual’s relationship to both power and resistance, in addition to their identities and awareness as activists. It is somewhat paradoxical that something so central to the activist identity and the performance of resistance is in essence created and run as a privatized surveillance machine.
Digital networked resistance has received a great deal of media attention recently. The research field is developing, but more needs to be understood about the role of technology in the enactment of resistance. Our goal is to explore both the role of digital devices and platforms in the processes of resistance. This special edition aims to understand the role of technology in enabling and subverting resistance. We seek studies on the use of technology in the acts of protesting official power, as well as the use of technology in contesting power structures inherent in the technology or the
technological platforms. Contributions are welcome from different methodological approaches and socio-cultural contexts.
We are looking for contributions addressing resistance, power, and technology. This call is interested in original works addressing, but not limited to:
- Problems with the use of Digital Resistance
- Powerholders capacity to map Digital Resistance-activists through surveillance
- How does Digital Resistance differ and/or function compared with Non-digital
- Problems and advantages with combinations of Digital Resistance and non- Digital
- Resistance to platforms
- Hashtag activism & hijacking
- Online protests & movements
- The use of humor/memes as resistance
- Selfies as resistance
- Globalization of resistance memes
- Ethical implications of digital resistance
- Online ethnography (testimonials/narratives provided by online participants)
- Issues concerning, privacy, surveillance, anonymity, and intellectual property
- Effective rhetorical strategies and aesthetics employed in digital resistance
- Digital resistance: Research methods and challenges
- The role of technology activism in shaping resistance and political agency
- Shaping the digital protest identity
- Policing digital activism
- Digital resistance as culture
- Virtual resistance communities
- The affordances and limitations of the technological tools for digital resistance
Abstracts should be 500 – 750 words (references not included). Final articles should be no more than 12000 words (all included). Send abstracts to firstname.lastname@example.org.
- Abstracts by 15 January 2019
- Notification of acceptance 15 February 2019
- Submission of final papers 1 April 2019
Call for Papers: Nordicom Review Special Issue
Deadline: 15 January 2019 (Proposal)
Title: ‘Dark Screens: The Geopolitics of Nordic Television Drama’. Guest Editors: Robert A. Saunders (State University of New York); Pei Sze Chow (Aarhus University); and Anne Marit Waade (Aarhus University)’
Nordic Europe’s dramatic television series – from Borgen to The Bridge to Occupied- currently serve as a model for the rest of the world. Shaped by public service broadcasting traditions which are rooted in providing social critique, these series provide a rich reservoir of representation of how Norden sees itself. While there is growing interest in Nordic noir, not only within film and television studies, but also across Scandinavian studies, International Relations, and geography, collaborations across these disciplines have been relatively absent. We view this lacuna as an invitation to investigate and interrogate the implicit and explicit geopolitical implications of the series, both within and beyond the region.
In the wake of the highly productive workshop “Nordic Noir, Geopolitics & the North,” hosted by the Media Studies Department within the School of Communication and Culture at Aarhus University on 4-5 October 2018, Nordicom Review invites proposals for a special issue entitled “Dark Screens: The Geopolitics of Nordic Television Drama.”
Building on Saunders’ (2017) typology of geopolitical television, this special issue invites contributions from scholars from multiple disciplines (media studies, screen studies, literature, cross-cultural communication, geography, IR, Scandinavian studies, etc.) to examine how Norden’s television series build lifeworlds (Gavins & Lahey, 2016; Tischleder, 2017; Wolf, 2012), and the role that these visually- and textually-produced imaginaries play in contemporary politics, society, and culture. While television series are the primary medium of analysis, we will also consider contributions that use motion pictures as a comparative medium and/or essays that examine serial films such as Varg Veumand the Department Q series.
Possible topics include, but are not limited to, the following:
- Critiques of Norden through crime drama (Forbrydelsen, Beck, Arne Dahl, Lillyhammer, Case, etc.)
- Governance, foreign relations and military issues (Borgen, I am the Ambassador, Nobel, etc.)
- Ecological concerns, pandemics, disease, human-nature interactions (Jordskott, The Rain, Valkyrien, etc.)
- Corporate malfeasance and the neoliberal challenge (Follow the Money, Mammon, Deadwind, etc.)
- Local-global connections and their complications (Trapped, Acquitted, Dicte, etc.)
- Televisual interventions in national identity (1864, Occupied, etc.)
- Border zones and frontier spaces (Bron|Broen,Bordertown, etc.)
- Gender and sexuality in the Nordic context (Borderliner, Fallet, etc.)
- Regional identities within Norden (e.g. The Look of a Killer, Monster, etc.)
- Terrorism and political violence (The Fourth Man, Below the Surface, etc.)
- International cooperation in law enforcement (The Team, 100 Code, etc.)
- Issues associated with the Arctic and climate change (e.g. Midnight Sun, Fortitude, etc.)
- Racial, ethnic and religious identity issues (Blue Eyes, Ride Upon the Storm, etc.)
- The geopolitics of international adaptations (e.g. Wallander, The Killing and The Bridge/The Tunnel/Most/Pagan Peak)
- The influence of Nordic noir on British, French, Dutch and other ‘national’ TV cultures (Marcella, Hinterland, Black Spot, etc.)
- Changing production cultures among Scandinavia broadcasters and the impact on representation (especially via Netflix)
Please send a 500-word proposal to Robert Saunders, Pei Sze Chow and Anne Marit Waade by 15 January 2019 along with a short CV. Contributors will be notified by 15 February, and their completed articles will be due on 15 April, 2019. Check out the Nordicom Review for more information.
Call for Contributors – Public Historians in the Classroom: Essays on Teaching Public History
Deadline: February 1, 2019 (Abstract)
In the last two decades, hundreds of scholarly books have appeared on public history, memory, museum studies, historic preservation, and related fields, but few have addressed teaching public history. A vast literature exists within the scholarship of teaching and learning, but these studies tend to examine classrooms from an altitude of 30,000 feet, and few address public history. We have a need for more pedagogical work on the teaching of public history, but we do not need more theory, jargon, or how-to-do-it manuals. What we need are stories.
We intend to edit a collection of first-person, narrative essays that go behind-the-scenes inside graduate and undergraduate public history courses. Inspired by Patrick Allitt’s “I’m the Teacher, You’re the Student” (Pennsylvania, 2004), we envision 8-10 instructors taking readers through a semester-long journey of teaching a public history course, including inside looks at their thought process, preparations, class sessions, interactions with students, assignments, evaluations, student projects, and community partner relationships. We seek reflective essays that illustrate successes and failures. Instead of advice, authors will recount what they did, and why. These articles will take a variety of forms, but we envision most will mirror journal or diary entries where essayists will summarize what they did in class on particular days, assess how students responded, and mull over what that day’s lesson did or did not accomplish. As the semester progresses, authors will be able to contemplate goals, learning outcomes, and how well their students responded overall. We expect to encounter raw emotion at times, and we anticipate as many failure stories as successful ones.
We have identified two main problems that this book will solve. First, through our disparate stories, we will offer case studies that explore a fundamental question that lies at the heart of all public history instruction: how should we teach a subject all about history outside the classroom while our course often meets inside a classroom? This question leads to the second problem this volume will address: what exactly is public history? In a way, we collectively refine public history as we teach it, and by including stories of divergent styles and innovative ideas, we will push our field forward. This volume will be peer-reviewed, and it has received interest from UNC Press. We will remain in exclusive conversation with UNC Press going forward.
Interested contributors: please send a 250-word abstract of your proposed chapter by Friday, February 1, 2019 to Evan Faulkenbury and Julia Brock.
Call for Contributors: Marginalized Voices in Academia Series
The Activist History Review invites proposals for its series “Marginalized Voices in Academia,” which features personal essays by scholars from marginalized communities about their experiences in academia.
Academia is often portrayed by conservative media as a haven for liberals, radicals, and social outcasts. While academia can sometimes be a safe space for individuals facing the inequities of their larger society, however, it often replicates those inequities, whether deliberately or unthinkingly, within the ivory tower.
According to the National Center for Education Statistics, in the fall of 2013 Black men and women account for only three percent each of full-time faculty at postsecondary degree-granting institutions, while Hispanic men and women composed two percent each, and Asian/Pacific Islander men and women made up six percent and four percent respectively. Less than one percent were from First Nations communities, and the remainder identified as having multiple racial backgrounds. Meanwhile, scholars with disabilities only account for an estimated four percent of the academic community according to the The National Center for College Students With Disabilities, and a 2010 report by Campus Pride found that over half of university students, faculty, and staff hid their sexual orientation or gender identity for fear of reprisals.
These numbers are at odds with the demographic breakdown of our larger society, in which these communities account for twice the percentage points that they do in academia. And, though advances have been made in recent years, academia still has much ground to cover to become a more inclusive and secure environment for the members of marginalized communities. Scholars from those communities continue to face systemic and individual acts of discrimination and harassment, and often lack the appropriate resources and support from their university systems and peers to seek redress for those acts.
The voices of academics from marginalized communities cannot be ignored, even when their message brings discomfort. We here at The Activist History Review are committed to providing a space to amplify those voices in the hope that our collective demands will one day be too loud to ignore. So, this call for submissions for our “Marginalized Voices in Academia” series is an open and continuous one. Potential contributors may contact the Executive Director of The Activist History Review, Nathan Wuertenberg.