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CfP: The Soundtrack

 

The Soundtrack is seeking proposals for guest-edited volumes, contributions to themed issues and article submissions for upcoming issues.

The Soundtrack is a cross-disciplinary journal which brings together research in the area of sound and music studies in relation to film and other moving image media. Drawing on a range of critical traditions such as film studies, media studies, musicology and cultural studies, as well as interactive and emerging media, the journal welcomes articles that address a diversity of topics and which contribute to the development of this increasingly important field of study.

The editors encourage writing that is accessible to audiences from a diversity of intellectual backgrounds and disciplines as well as providing a forum for practitioners.

Contributions are invited on topics such as, but not limited to: 

  • histories of sound design in narrative cinema
  • sound and music in video games
  • mobile media and interactive platforms
  • early film sound
  • music practices
  • sound and music in television
  • studies of composers and music supervisors
  • sound effects 
  • genre
  • film music and emotion
  • acoustic ecologies
  • studies of noise
  • environments and soundscapes in media
  • trends in audiographic criticism
  • sound art
Please send submissions to mfa13@sfu.ca & benjamin.wright@utoronto.ca
 
For more information about the journal, click here >> https://bit.ly/2NRdtZf
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Issue 3.2 of Queer Studies in Media & Popular Culture now available

 

 

 

ntellect is happy to announce that Queer Studies in Media & Popular Culture 3.2 is now available. For more information about QSMPC 3.2 including how to subscribe, please click here or email tessa@intellectbooks.com

Articles within this issue include (partial list):

Snatching an archive: Gay citation, queer belonging and the production of pleasure in RuPaul’s Drag Race

Authors: Michael Shetina 
Page Start: 143

Since its 2009 debut, RuPaul’s Drag Race (2009–present) has been a site of contact between the worlds of subcultural performance and media industries. Of particular interest to critics has been its uneasy placement of queer networks of belonging within the competitive, individualist space of a reality competition series. Building upon recent scholarship on reality television and affect, this article analyses the transfer of pleasures among RuPaul, her queens and viewers by focusing on Snatch Game, a recurring challenge in which competitors impersonate gay icons. It argues that, through these performances of queer citation, Snatch Game makes a case for the continuing importance of queer mediations of dominant culture – often in ways that are at odds with the show’s neo-liberal ethos. In doing so, Snatch Game documents not only a canon of gay icons but also the networks of pleasure and belonging fabricated through their queer circulation.

Documenting queer(ed) punk histories: Instagram, archives and ephemerality

Authors: Shoshana Rosenberg And Megan Sharp 
Page Start: 159

Queer(ed) bodies in punk subculture problematize deeply embedded heterosexual, cismale occupation of space and time. Traditional modes of media and documentation aid in establishing normative perspectives of who participates in punk, and how. Rather than reproducing dominant media expectations, queer people express and explore their self(s) through mediating fleeting-yet-concrete utopias that often leave only ephemeral evidence, but are picked up from the margins of scenes and media by others who know where to find them. This article examines tattooing and its intersection with Instagram digitization as forms of memorialising identity, not necessarily through the artwork of the tattoo, but rather through the praxis and application of its subject. Through a reflexive analysis of interviews with queer people who have been involved with punk, as well as the authors’ autoethnographic reflections on their own experiences as queers in punk scenes and on Instagram, this article explores tattoo practice as a means of creating affective atmospheres and embodying queer futurity. We find that tattoos act as silos for bodily and digital memory, and that their utility for queer punx generates new forms of meaning, mediation and production.

In/appropriate, ir/retrievable: Dragging out Singapore’s queer televisual archives

Authors: Liew Kai Khiun And Natasha Ismail 
Page Start: 175


The 2010–11 seasons of 90210 (2008–13), Degrassi (2010–15), Glee (2009–15) and Pretty Little Liars (2010–17) represent homophobia as arising from closeted teens, cisgender male ‘jocks’, racialized characters and immigrants. Rather than locating homophobia and heteronormativity within the social fabric and minds of all who have been steeped in American and Canadian hegemonic beliefs, homophobic characters are framed as rare, anachronistic and out-of-step with the seemingly post-homophobia ethos they exist within. Drawing on media trade publications, I place these patterns for representing homophobia in their market context, arguing that profit motives encourage representations of gay teens and homophobia that suggest homophobic beliefs are the domain of ‘others’, apart from the privileged viewer of teen TV: affluent, educated, female, white and non-white millennials aged 18–34. The target viewers are invited to see themselves as innocent and enlightened in relation to homophobic others, while prescribing a cure to homophobia that emphasizes individual change over social change.
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CfP deadline: International Journal of Islamic Architecture

CfP deadline approaching: International Journal of Islamic Architecture 

Special Issue: Field as Archive / Archive as Field 
 

Paper proposals should offer insights relevant to IJIA’s remit, which is defined broadly as ‘the historic Islamic world, encompassing the Middle East and parts of Africa and Asia, but also the more recent geographies of Islam in its global dimensions’. Contributors should fully exploit the self-reflexive potential of this framework by addressing the role of architecture and architectural research as not just the product of the various issues affecting archival work and fieldwork but also their instigator. 

 
Specific questions that contributors might wish to explore include but are not limited to the following: 
 
1. What are the potentials and limitations of a research focus on architecture when negotiating contingencies and errancies affecting archival work and/or fieldwork? 
 
2. How might architectural research help unpack the ethics and politics of access to fields and/or archives beyond the question of physical entry or the lack thereof? 
 
3. How might an architecturally focused approach to archives as fields (and vice versa) help complicate linear approaches to history and historiography? How might it help complicate the sweeping identification of certain historical and/or geographical contexts with conflict, unrest, crisis, and oppression as diametrically opposed to post-conflict, peace, prosperity and freedom, and offer a nuanced appraisal of the agency of researchers and interlocutors operating in such contexts? 
 
4. What are the ways in which the positionality and reliability of architectural researchers, gatekeepers, interlocutors, or participants shift during archival work and fieldwork? How might these shifts be exploited, rather than glossed over, during the research towards attuning to non-institutional methods of knowledge production? How might they be integrated into, rather than written out of, the histories, theories, criticisms and/or practices resulting from the research? 
 
5. How might a convergence between the concepts of field and archive help architectural researchers negotiate the dynamics between intellectual autonomy and responsibility towards others involved in or impacted by the research? 
 
6. What might be the role of language and that of other communicative modes in engendering or negotiating contingencies and errancies affecting fieldwork and archival work? What new forms, structures, and styles – be they textual or material – might result from a close and nuanced attention to this role?
 
Submission deadline: 30 July 2018 
 
Contact: e.cayli@lse.ac.uk 
 
The full CfP can be found here >>
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CfP: Drawing: Research, Theory and Practice Issue 4.1

 

Issue 4.1. of DRTP calls for submissions that stem from drawing practices related to the notions of pattern and chaos across the widest range of disciplines: fine art, design, architecture, craft; science, technology, engineering; media and communication.

 

Deadline: 15 August 2018

Submission contact: s.horton@nua.ac.uk & a.z.ionascu@gmail.com

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Art & The Public Sphere 7.1

 

Intellect is happy to announce that Art & The Public Sphere 7.1 is now available. For more information about APS 7.1 including how to subscribe, please click here or email tessa@intellectbooks.com

Articles within this issue include (partial list):

The Istanbul Biennial and the reproduction of the urban public space

Authors:  Ceren Özpınar 
Page Start: 7

Initiated by the Istanbul Foundation for Culture and Arts in 1987, the Istanbul Biennial is the product of a period in which many cities of the Global South started their own biennials. With the participating ‘star’ curators and artists, the Biennial gradually sparked attention from the international art world. Yet, it also received occasional negative responses from the local art world. Critics stressed the problematic relationship of the Biennial with one of the key players behind the urban regeneration process in the city. Designed as a wide-reaching contemporary art event in a city of an enormous scale, a vast population and contested histories, the Biennial was set in a range of venues throughout Istanbul over the years. This not only led the Biennial to continuously reframe Istanbul through the selected new locations and unwittingly reproduce the urban public space but also to redefining the way in which the visitors relate to both the city and the event per se. This article discusses the re-organization of the public space by the Istanbul Biennial in the backdrop of contemporary art practices, the art historical discourse and the changing social and political context of the last 30 years in Turkey by drawing on the theories of Michel de Certeau, Chantal Mouffe and Sibel Yardimci among others.

The emerging alternative practices in Malaysian art (1990s–2015)

Authors:  Sarena Abdullah 
Page Start: 25

In the past fifteen to twenty years, the Malaysian market-oriented art world has evolved and expanded. Within this evolution and expansion, many interesting trajectories took place not in tandem with the promulgation of the Malaysian marketoriented art world. Thus, this article serves as an attempt to trace changes in the Malaysian art scene not based on the establishment of the ‘art world’, but the coexistence of alternative art practices since the late 1990s that occurred within the same period. Therefore, this article will discuss several alternative courses that surfaced since the establishment of several alternative art groups, collectives and spaces in Malaysia. These initiatives later led to various public programmes organized by such groups and spaces. Examples of the aforementioned public programmes include art talks, workshops, exhibitions, exploratory works and even art festivals in an effort to involve the public in community-engaged art projects.

Art is capital: Between cultural memory and the creative industry

Authors:  Edwin Jurriëns 
Page Start: 43

This article focuses on jeprut, a form of performance art from West Java, Indonesia, which addresses the interconnections and tensions between natural, sociocultural and political environments. The article explains how jeprut underlies the artistic ideas, media and practices of Bandung-based artist Tisna Sanjaya (b.1958), who was one of the pioneers of the genre in the mid-1980s. With his jeprut-inspired printmaking, painting, installation art, performance art, television drama and cultural centre, Sanjaya has addressed the interrelations between the destruction of the natural environment, cultural heritage, political authoritarianism and religious fundamentalism, among others. The author argues that the work of Sanjaya and other jeprut artists has promoted art, culture and spirituality as fundamental human capital.

 

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International Journal of Iberian Studies 31.2

Intellect is happy to announce that the International Journal of Iberian Studies 31.2 is now available! For more information about IJIS 31.2, including how to subscribe, please click here or email tessa@intellectbooks.com


Articles within this issue include (partial list):

Transnational identities in Portugal and Spain (c.1892–c.1931): Hispano-Americanism, Pan-Lusitanism and Pan-Latinism

Authors: Sérgio Campos Matos 
Page Start: 75

Sergio suggests an analytical and reflective study around national identities, nationalisms and geopolitical controversial concepts, through which it was intended to extend the external projection of Spain and Portugal and frame transnational communities of destiny: Hispano-Americanism, Pan-Lusitanism and Pan-Latinism. Were these utopian expectations? Nationalist expectations to rebuild great nations of the past? What political impact did these proposals have? Did they contribute to deterritorializing and redefining the national identities of the Portuguese and Spanish elites? They were inciting but also controversial concepts. They carried an imperial historical background and projected future horizons. But they also raised national and indigenous resistances (indigenismo) and lively, strong debates in the old colonizing nations and also in Ibero-America. What was at stake was a consciousness of national identities and different strategies of defence and response of the Ibero-American nations vis-à-vis the powerful Northern empires.

Accommodating the third space in a fourth society: BDAFRICA, a groundbreaking source for the analysis of African literature reception in Spain

Authors: María Remedios Fernández Ruiz And Gloria Corpas Pastor And Míriam Seghiri 
Page Start: 97

Inherent features of African postcolonial literature have hampered reception quantification, which is even more often neglected in countries with limited experience of African decolonization processes. This has been exemplified through the Spanish case, where there was no quantitative data available to report on current reception trends. Hence, by exploiting the BDAFRICA database, a relevant specialized bibliographical research tool, we have provided an unparalleled study that covers 42 years of African literature reception in Spain (1972–2014). The methods described in this paper are descriptive. Quantitative information that is subject to a descriptive analysis has been selected from BDAFRICA. The results provide clear evidence of the sustained increase in the production of African fiction books and offer academia unparalleled data, thereby opening the door to manifold research lines.
 

El homosexual como juguete cómico en el cine de Juan de Orduña: el tío Frasquito en Pequeñeces (1950)

Authors: Santiago Lomas Martínez 
Page Start: 117

During the 1940s, Francoist censorship troubled and banned the representation of homosexuality in cinema. However, some representational cracks existed and some queer characters (sissies, transvestites, mannish women) were visible, almost always as comic figures. These representations (especially, effeminate men) were frequent in films directed by Juan de Orduña, a homosexual filmmaker integrated in the Francoist cinematographic industry. This article studies these characters and proposes some hypothesis to read Orduña’s authorial position towards them. In particular, it suggests that Orduña negotiated his creative expression with dominant discourses concerning homosexuality in order to represent it, as other homosexual creators had made before him and many others would make afterwards in Spanish culture. Scripts, censorship documents and films are compared to show how significant elements related to homosexuality were added when filming. Specifically, this article focuses in a queer character, Tío Frasquito, and how it was developed during the production of Orduña’s film Pequeñeces (1950).
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International Journal of Digital Television 9.2

 

Intellect is happy to announce that the International Journal of Digital Television 9.2 is now available. For more information about IJDT 9.2 including how to subscribe, please click here or email tessa@intellectbooks.com

Articles within this issue include (partial list):

Television beyond digitalization: Economics, competitiveness and future perspectives

Authors: Theodora A. Maniou And Ioannis Seitanidis 
Page Start: 105

In an unstable and fragmented global media environment, beset by an economic crisis and technological changes, the future of traditional television seems bleak and uncertain. The age of digitalization brought a series of challenges for non-linear broadcast entities, underlining a pressing need for content reassessment and market restructuring. This study examines the competitiveness of traditional television in contrast to other media (new and traditional), as well as the future of television in a period when digital media seem to dominate the sociopolitical-economic environment, while traditional media seem to be in their death throes. The primary aim of this study is to investigate whether post-broadcast television can preserve its audience and survive in an era beyond digitalization. 

Television market, ownership concentration and management strategies in Portugal

Authors: Paulo Faustino 
Page Start: 125

The main objective of this article is to measure media concentration of the Portuguese television industry, and to evaluate the extension to which concentration in television companies relates to management strategies. A review of literature about media economics and management and strategic decisions is presented. Following this theoretical background, the empirical analysis of the ownership concentration of Portuguese television companies is based on qualitative and quantitative methods. The main information sources were corporate reports, television market reports, specialized books, articles and scientific papers, among other documental sources of information related to this area. In terms of main conclusions, high television ownership concentration levels, which have always been a feature of the Portuguese television industry market, although still high, have been decreasing for the past ten years. However, high concentration levels are observed in media groups, resulting from the convergence of television and other types of media.

The sharing economy: How sharing activities influence value creation in the TV audience market

Authors: Ulrike Rohn And Mats Nylund 
Page Start: 147

Based on the current keyword ‘sharing economy’, this article applies the notion of sharing to on-going changes in the TV audience market. Through in-depth interviews with TV providers and the analysis of previous research, it points to sharing activities by TV audiences as well as TV providers that represent forms of collaborative production and collaborative consumption. In detail, the article distinguishes three types of sharing activities in the audience market: distribution, interaction and audience circulation. The article emphasizes the value creation in the TV audience market through sharing activities by audiences and proposes an ‘activity net of value creation’ in the TV audience market to illustrate such dynamics.

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Applied Theatre Research 6.1

 

Intellect is delighted to announce that the new issue of Applied Theatre Research 6.1 is now available.

 

For more information about ATR 6.1 including how to subscribe, please click here or email tessa@intellectbooks.com

 

Articles within this issue include (partial list):

Intergenerational dialogue: Connecting youth and older adults in urban spaces through community-based forum theatre

Authors:  Christina Parker 

Page Start: 37

 

Understanding generational diversity has important implications for building capacities for developing healthy intergenerational relations and social cohesion, and for challenging oppression. Preparing young people in urban communities to understand and empathize with older adults could have lasting benefits for engaging community members and families to come together to transform culturally divided urban spaces. This qualitative research project drew on arts-based approaches to examine how dialogue between youth and older adults in a community-based theatre education program sought to lessen intergenerational and intercultural divides. While forum theatre is widely used to challenge oppression, this article considers how it could also lead to further exclusion of marginalized voices if both facilitators and participants are inadequately prepared to engage in dialogue. It offers practical suggestions for community educators in diverse urban settings, particularly in the use and application of the arts.

 

Life stories as democracy in the classroom

Authors:  Marit Ulvund 

Page Start: 53

This article discusses performative work with life-stories in the classroom. The research finds that this kind of practice has the potential to strengthen interaction, encourage the discussion of values and support understanding of democracy. The research is grounded in the author’s practice-led Ph.D. project, ‘Echo Theatre: From Experience to Performance’, which documents and discusses staging life-stories in the classroom. Complementary inquiries are made in narrative theory, identity and self-understanding, democracy, cultural mediation and liberation. This study finds that telling and staging the participants’ individual small stories, exemplified through the method of Echo Theatre, helps to strengthen the participants’ identity, reflection and self-reflexivity. The stories performed facilitate a space for negotiation of attitudes and values that is particularly needed in our time, and in this way a performative storytelling practice can provide classroom support for the understanding of democracy.

  
Post-linearity as a democratic style for protest theatre in Zimbabwe

Authors:  Kelvin Chikonzo 

Page Start: 67

This article investigates the efficacy of the neo-indigenous post-linear style in creating democracy in politically committed theatre in Zimbabwe. The article interrogates democracy in performance with regards to liberated spectatorship and avoidance of indoctrination, monolithic readings and excessive reliance on what Brecht (in Babbage 2004: 34) described as ‘emotional orgies’, which cripple the spectators’ ability to think and engage. Using Rooftop Promotions theatre company’s performance Rituals, the article examines how this production harmonizes the antagonistic relationship between style and democracy in contemporary protest theatre in Zimbabwe.

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CfP Art & The Public Sphere

 

CfP: Art & The Public Sphere

Special Issue: 50 Years on – the legacy of ‘68

 

Themes include the legacy of the actions of 1968 for contemporary artistic (activist or protest art) movements

 

Deadline: 1 October 2018

 

Email melanie.jordan@rca.ac.uk for more information 

 

 

 

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CfP Journal of Science and Popular Culture

CfP: Journal of Science & Popular Culture

 

 

Papers, panels, and round tables are now invited for the Science & Popular Culture area of the PCA/ACA Conference in Washington D.C. April 17-20th 2019.

 

With the integral place of science in Western and global society as well as the current proliferation of science and technology on television and in films, it is more important than ever to examine what popular culture texts are telling us about science. Such analyses serve to illuminate where science features in these texts, as well as how science is viewed, digested, and discussed by the public. Studying science in popular culture is essential to understanding how scientific ideas are utilized, explored, critiqued and sometimes exploited outside of their formal contexts. The common fascination with science has also created a popular culture niche of its own, giving rise to new engagements with scientific knowledge, practices, and technologies. Presented papers will also be eligible for inclusion in the Journal of Science & Popular Culture.  

 

Submissions should be 100-250 words in length and can address any aspect of the complex interrelation of science and popular culture

 

Deadline: 1 October 2018

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