Call for chapters – Routledge Companion to TV News

Calling all researchers of TV news making! Chapters are invited for the
new Routledge Companion to TV News – an edited volume aiming to collate
recent research of the making of TV news.
Deadline for submitting your chapter is Thursday the 10^th of January.
Submissions should be no more than 200-250 words. Submit your chapter
idea to Line Hassall Thomsen at: LHT@cc.au.dk <mailto:LHT@cc.au.dk>.

The book is under contract with Routledge, to be published end of 2019
in the Routledge Companions series –
https://www.routledge.com/Routledge-Companions/book-series/ROUTCOMPS

The book is edited by Line Hassall Thomsen (Aarhus University, Denmark.

At a time where TV news is struggling and changing like never before,
this book will take readers through an impressive range of essays on the
current state and practices of TV news making today. The Routledge
Companion to TV News Making aims to be a seminal reference source for
the rapidly changing field of TV news. This book aims to bring a
multi-facetted perspective to current debates on TV news and news making
today. It is the hope that this companion will bring a new perspective
to the field of TV news studies, mixing the everyday reality of TV news
work with analysis from a varied range of academic disciplines. This
approach will be shaped by new analysis from international writers of
multiple disciplines welcoming theories from both politics, media
studies, communications, sociology and anthropology.

*BOOK THEMES*:
We are very much looking forward to your submission. Possible themes
could suit, but are not limited to these following themes:

*PART I: THE HISTORY OF TV NEWS*

This section will cover both the history of broadcasting, the history of
public service broadcasting. Discussions will include how broadcasters
once enjoyed a monopoly on news, much different to today when news is
available on a plethora of broadcasters, media and platforms.

*PART II: DIFFERENT APPROACHES TO STUDYING THE MAKING OF TV NEWS*

This section will introduce a range of different approaches to studying
TV news making.

*PART III: CENTRAL ISSUES*

This section gives an insight into some of the most central issues in
the study of TV news making today. Concepts of democracy and the public
sphere will be central categories of analysis.**

**

*PART IV: **EMERGING TRENDS*

Among others, this section will introduce some of the main discussions
on multiskilling journalism and the use of social media for broadcast
news today. The section will also devote space to focus on how
journalists perceive current changes and how this influences workflows.

*PART V: TV NEWS-MAKING AROUND THE WORLD *
This section will provide a global perspective to current debate of TV
news making. As may be shown, TV news still plays a crucial part in
nation building, democracy and local governance around the world.

*PART VI: DISCUSSIONS ON THE FUTURE OF TV NEWS *
So, will TV news survive? Is this a time of apocalypse or opportunity
for Broadcast news? No doubt the role of TV news is rapidly changing.
Where will TV news making be in ten years? And what exactly will the
Internet and the increased demand for using social media mean to TV
news? This section will attempt at answering some of these, and many
more questions facing TV journalism makers and TV news researchers today.

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Call for chapter proposals: Indian Animated Media

Proposals are invited for chapters in a new edited collection on the
topic of ‘Indian Animated Media and Culture.’

Indian animation has transformed dramatically over the last twenty-five
years. No longer a cottage industry or government-funded communication
enterprise, a diverse globally-engaged production sector has emerged.
Large Indian studios have built global reputations securing animation
and visual effects production contracts, while other artists and firms
have made strides in original content for local television and film
festival audiences. While outsourcing still represents a majority of
entertainment output, work-for-hire contracts have slowly given way to
co-production. International brands have also set up shop in India, from
multinational distributors like Disney XD or AT&T’s Cartoon Network, to
producers like Technicolor and Ubisoft. In striking contrast to these
developments, artisanal and even explicitly non-commercial animation
continues to be produced, and in some cases thrive.

There are also persistent challenges. Industry growth has rarely met
predicted targets. The domestic animated features many thought would
drive expansion have largely failed to materialize, as outsourcing to
other Asian nations has increased television competition as well.
Bankruptcies at both local and international firms have shaken investors
while a not-yet-united animation community has struggled to secure
policy recognition apart from the dominant Hindi-language cinema and
Information Technology (IT) sectors. However, taking an expanded view of
animation to incorporate related areas – visual effects, games, comics,
fine art, educational, and industrial visualization – shows both a more
complex and optimistic picture – from growing Indian investment in
global visual effects to children’s animation workshops in rural
Adivasi communities.

Both the successes and challenges of Indian animation have largely
escaped attention from audiences, critics, and scholars alike. While a
growing body of scholarship draws global critical attention to the
cultural practice of Indian – and especially Hindi – cinema, animation
remains for the most part missing from these accounts. This volume aims
to fill this glaring gap by addressing a range of expanded animation
practices in India, as well as their social, economic, and political
impacts.

Areas of interest include, but are not limited to:

* Case studies of diverse active and historical animators in cultural
context
* Regional industry clusters: relationships with live-action cinemas
* Television animation: from Doordarshan to multinational networks
* Animation, Information Technology (IT), and global visual effects
* Globalization: the 1991 New Economic Policy, outsourcing, and
co-production
* Government animation: Films Division and the Cartoon Film Unit
* Education and training: from Clair Weeks, Charles and Ray Eames and
the National Institute of Design (NID) to the Media and
Entertainment Skills Council (MESC)
* Fine art, documentary, and avant-garde animation
* Animation and the sacred
* Adivasi animation: animation by, for, and about indigenous communities
* Animation and emerging media: Virtual and Augmented Reality (VR/AR)
* Women in animation, animation and identity: from caste to LGBTQ rights
* Applied/Industrial animation
* India and her neighbors/the South Asian diaspora
* The status of animation studies itself in India

Proposals for chapters (7000-8000 words) in this edited collection
should include a chapter title, a brief abstract (400 words), and
academic biography (100 words). These should be sent to the editor Dr.
Timothy Jones (jonest@rmu.edu) before 25th January 2019.

Chapter Submissions – Deconstructing Images of the Global South through Media Representations and Communication

*Introduction*

Human conditions have over the years, phenomenally improved in all parts
of the globe including in less developed countries. As noted by authors
such as Easterlin (2000), Green (2012), Rodrik (2013). the UNO (2017)
and OECD (2018), this remarkable revolution in human conditions –
manifested by the fact that most people are better clothed, educated,
fed and housed compared to their predecessors two centuries back – has
so far not only touched the west. In effect, it has remarkably spread to
less developed countries in Africa, South America and Asia as seen in
the fact that the three above cited continents are today home to some
emerging economies notably China, India and Brazil among others. In
tandem with this, Rodrik (2013) insightfully notes that the tremendous
growth witnessed by less developed nations during these last decades has
made it commonplace for observers to refer to them (the developing
countries) as the “savior of the world economy” (p.2). Rodrik further
contends that, from 2005 to 2012, less developed countries actually saw
their economies expanding at an unprecedented rate, leading to large
reduction of extreme poverty and expansion of the middle class. During
this period, the differential between the growth rate of developing and
developed countries expanded to more than 5 percentage points due partly
to a decline in the economic performance of most developed countries. In
the same line of thought, Green (2012) reviews the economic successes of
less developed African countries such as Botswana and Mauritius. He
notes that Botswana has been Africa’s most enduring success story. Its
per capita income has phenomenally risen a thousand fold since
independence, making it “the world’s fastest-growing economy in three
decades” (p. 159).

If scores of economists (notably the ones cited above) have underscored
and predicted levels of economic growth in various developing and
under-developed countries, only few critics have devoted serious
attention to international media representations of this growth. Thus, a
myriad of questions pertaining to local and international media’s
attention to economic growth in developing and poor countries continues
to beg for attention. Some of these questions include: how have economic
dynamics in poor and developing countries been reported by the global
media? Has the purported economic growth witnessed in these countries
affected international media coverage of the global south?Has such an
economic growth been “adequately” represented in the media coverage of
poor and developing countries? Have the western media (particularly the
ones based in developed countries) continued to represent developing and
poor countries along negative stereotypes? Are there any concrete
evidence of change in the way the international media treat news events
occurring in poor and developing countries? Are media houses (in Africa,
Asia or South America) really making efforts to counter or deconstruct
western media representations of the global south? How can one compare
western and non-western media representations of the global south?

There is no need to overlook the fact that a number of media scholars
has attempted to answer some of the above mentioned questions. However,
there continues to be a lack of consensus as to whether local and
foreign media have shaped their representations of the global south
according to, or with sufficient consideration of this economic growth.
A good number of scholars from developing and poor countries continue to
be of the persuasion that, in spite of the various indexes of growth and
improved human conditions in the less developed world, the global media
(particularly western media) have arguably persisted in the old age
tradition of representing under-developed and poor countries dominantly
in a negative light (Adichie, 2009; Bunce, Franks & Peterson, 2016;
Iqani, 2016; Lugo-Ocando, 2015; Nworah 2006). Such critics claim that
the economic successes of less developed countries are mostly overlooked
by foreign media houses in favor of multiple negativities plaguing their
countries. Only the negative news about Africa, South East Asia, the
Middle East and South America actually seems to attract the attention of
the foreign media. One thus has the impression that the less developed
world continues to be dominantly portrayed in foreign media as places
plagued by political instability, backwardness/primitivism, tribal
anarchy, corruption, bad governance, civil wars, deadly pandemics,
hunger and droughts and extreme poverty among others (Nworah, 2006).

Although popular in countries of the global south, the above mentioned
position or narrative has largely remained a myth and/or a veritable
food for thought. There is still a need to research foreign media
portrayals of the less developed world to confidently ascertain the
veracity of such a myth. This book aims at examining the extent to which
this belief holds waters.

*Objectives*

This book is aimed at providing different perspectives on global media’s
representation of (development and economic growth in) developing and
poor countries. These perspectives may be historical, religious,
socio-cultural and political among others. The book equally seeks to
explore such representations in diverse media notably cinema,
television, games, magazines, comics, photojournalism, advertising and
online platforms among others.

*Target Audience*

The target audience of this book will consist of students, scholars,
media practitioners, policy makers, international relation experts,
politicians and other professionals in representation research.

*Recommended Topics*

·Global media coverage of poverty, war, natural catastrophe and
elections in the global south

·Aid organizations, media and the global south

·Portrayal of African, Asian or South American politicians in the
western media

·Fake news and the representation of poor countries in the global media

·Western media representation of democratization in the global south

·International politics, diplomacy and media representations of the
global south

·Covering poverty and epidemics as a way of shaming under developed
countries

·Western media representation of primitivism in poor countries

·Pan-Africanism and African media representation of African countries

·Cultural affirmation and the deconstruction of negative image of the
global south

·Representation of emerging economies in the western media

·American capitalism /vs/ African communalism western media

·Western /vs/ non-western media representation of the global south (case
studies are encouraged here)

·Audiences perceptions of media representations of poor and developing
countries

·Representation of the global south on online platforms and advertising

*Submission Procedure*

Researchers and practitioners are invited to submit on or before
February 14, 2019, a chapter proposal of 1,000 to 2,000 words clearly
explaining the mission and concerns of his or her proposed chapter.
Authors will be notified by February 29, 2019 about the status of their
proposals and sent chapter guidelines. Full chapters are expected to be
submitted by May 15, 2019, and all interested authors must consult the
guidelines for manuscript submissions at
http://www.igi-global.com/publish/contributor-resources/before-you-write/
prior to submission. All submitted chapters will be reviewed on a
double-blind review basis. Contributors may also be requested to serve
as reviewers for this project. Note: There are no submission or
acceptance fees for manuscripts submitted to this book publication,
Networked Business Models in the Circular Economy. All manuscripts are
accepted based on a double-blind peer review editorial process. All
proposals should be submitted through the eEditorial Discovery®TM online
submission manager.

Submit your proposal online at
https://www.igi-global.com/publish/call-for-papers/call-details/3607

*Note*: There are no submission or acceptance fees for manuscripts
submitted to this book publication:

*Important Dates*

February 14, 2019: Proposal Submission Deadline

February 28, 2019: Notification of Acceptance

May 15, 2019: Full Chapter Submission

July 13, 2019: Review Results Returned

August 24, 2019: Final Acceptance Notification

September 7, 2019: Final Chapter Submission.

*References*

Bunce, M., Franks, S. & Peterson, C. (2016/). Africa’s media images in
the 21^st century. From the “heart of darkness” to “Africa rising”./ New
York: Routledge.

Easterlin, R.A. (2000). The worldwide standard of living since 1800.
/Journal of Economic Perspectives/, 14(1), 7-26.

Green, D. (2012). /From poverty to power. How active citizens and
effective states can change the world/. Warwickshire: Practical Action
Publishing/Oxfam House.

Iqani M. (2016). “/Consumption, media and the global south/, New York:
MacMillan.

Lugo-Ocando, J. (2015). /Blaming the victim: How global journalism fails
those in poverty/. London: Pluto Press.

Nworah, U. (2006). Branding Nigeria’s cities. /Advertising News/, 2(1),
16-31.

OECD (2018). /Economic outlook for southeast Asia, China and India:
Fostering growth through digitization/, Paris: OECD.

Rodrik, D. (2013). /The past, present and future of economic growth/.
London: Global Citizen Foundation.

United Nations Organization (2017). /The sustainable development goal
report 2017/. New York: UNO

*Editor’s Contact:*

Floribert Patrick C. Endong, Department of Theatre, Film and Carnival
Studies, University of Calabar, Nigeria.

floribertendong@yahoo.com <mailto:floribertendong@yahoo.com>

CfP for chapters on disability, bodies, media and representation in Asia

We have space for some additional chapters in the edited collection
/Disability and the Media: Other Bodies/ on the themes of disability,
bodies, media and representation in Asia**. in the following edited
collection.

Book edited by Diana Garrisi (JC School of Film and Television Arts,
Xi’an Jiaotong Liverpool University) and Jacob Johanssen (Communication
and Media Research Institute, University of Westminster)

Under contract with Routledge and to be published 2019 in the Routledge
Research in Disability and Media Studies series
(https://www.routledge.com/Routledge-Research-in-Disability-and-Media-Studies/book-series/RRDMS
<https://www.routledge.com/Routledge-Research-in-Disability-and-Media-Studies/book-series/RRDMS>)

Using a variety of theoretical and methodological approaches this
volume  encompasses an array of media forms including cinema,
newspapers,  television, advertising and social media. This book has
several purposes. It critically discusses the relationship between
self-representation and representations in either reinforcing or
debunking myths around disability and othering. It explores the
cultural, political and commercial basis for why media can negatively
portray some people as intrinsically different. Finally, it suggests
that the dynamic relationship between traditional and new media and the
blurred lines between forms of representation and self-representation in
new media can make it more difficult to continue framing ability and
disability as mutually exclusive categories, and therefore cast the
latter as unwanted. The book presents instances of a possible, slow
cultural shift in favour of non-dichotomic views on ability and
disability increasingly represented as fluid and necessary conditions
characterizing the essence of each human being.

We are specifically interested in chapters that focus on Asia and its
different countries in relation to the themes of the book.**

Possible themes include but are not limited to:
·         Affective labour of bodies
·         Auto-ethnographic accounts of the body in / through digital media
·         Celebrity bodies and the spectacles of transformation
·         Cinema and disability
·         Contemporary coverage of disability in
print/online/television/radio
·         De-colonizing and de-westernising the mediated body
·         Disability and advertising
·         Disability and race
·         Disability and the media: historical perspectives
·         (Dis)Empowerments of the disabled body
·         Journalism and practices of othering the body
·         Neoliberalism, policy and austerity politics
·         Reality television and the body
·         Representing wounds and scars
·         Researching bodies and the media: frameworks and methodologies
·         Stigma and the body
–         Posthumanist and non-representational frameworks
·         The abject body
·         The body and trauma
·         The mediated body as spectacle
·         The medicalised body in the media
·         The objectification of the disabled body in the media

We invite submissions of 200-250 words chapter proposals. Deadline:
Friday, 21 December 2018

Submissions should also include:
a)            Title of chapter
b)            Author name/s, institutional details
c)            Corresponding author’s email address
d)            Keywords (no more than 5)
e)            A short bio

Please send chapters to diana.garrisi@xjtlu.edu.cn and j.johanssen@westminster.ac.uk

Commissioned chapters are around 5,000 words. The fact that an abstract
is accepted does not guarantee publication of the final manuscript. All
chapters submitted will be judged on the basis of a double-blind
reviewing process.

Call For Book Chapters: ReFocus – The Films of Jane Campion

Call For Papers (Book Chapter): ReFocus. The Films of Jane Campion

Contact Email:
a.bowler@swansea.ac.uk / adele.m.jones@swansea.ac.uk

Deadline for Submission of Abstracts: 31st January, 2019

Eds: Dr Alexia L. Bowler and Dr Adele Jones (Swansea University)
As the only female director to win the Palme d’Or, and the second to be
nominated for an Academy Award (both for The Piano [1993]) which is
celebrating its 25th anniversary, Jane Campion is a figure who garners
both critical and popular acclaim, as well as industry-wide respect.
With over thirty years standing as a film, and now television, director
(with Top of the Lake attracting collaborations with critically
acclaimed actresses such as Elizabeth Moss, Holly Hunter, and Nicole
Kidman), Campion’s work shines a spotlight on gender roles, often
through complex female characters and an innovative approach to the
screen representation of women habitually at the edges of society. As
such, Campion’s name is synonymous with women on screen. Indeed, Campion
is also vocal about the under-representation of females in the film
industry more generally, concluding that, as ‘women are going to tell
different stories – there would be many more stories in the world if
women were making more films’ (Pulver, A. The Guardian, 14th May, 2014).

However, her commitment to the place of feminism itself is tempered by
an ambivalence towards the term. Indeed, Campion has stated that ‘I no
longer know what this [feminism, in the context of her filmmaking] means
or expresses…I am interested in life as a whole. Even if my
representation of female characters has a feminist structure, this is
nevertheless only one aspect of my approach’ (Wright-Wrexham, 1999). The
body of scholarship on her work to date is testament to her celebrated
position within film, producing an eclectic and wide-ranging mix of
responses extending to biography, nation and identity, adaptation, sex
and eroticism, as well as authorship in her work. All these
contributions celebrate the multiplicity in, and breadth of, her art and
her vision. Thus the collection aims to interrogate, contribute to, and
extend contemporary scholarship on Campion by bringing together new and
innovative analyses from emerging and established scholars in the field.
There will, then, be a shared focus on the legacy and contribution made
by Campion to films made by, for, and about women, as well as Campion’s
filmmaking (vision and practice) and engagement with (or ambivalence to)
feminist theory past and present, providing new and exciting approaches
for understanding Campion’s work.

We seek contributions that engage with Campion’s work in film,
television, and/or the film and television industry more generally, and
which consider (and potentially re-evaluate) her contributions and
position vis-à-vis feminism and feminist discourse, as well as our
understanding of representations of women and/or gender in the twentieth
and twenty-first century.

The edited collection will be aimed at Edinburgh University Press’s
ReFocus series, examining overlooked international film directors.
Series editors are Robert Singer, PhD (NYC) and Gary D. Rhodes, PhD
(Belfast, N.I.).

Possible topics could include but are by no means limited to:

* Analysis of individual films (including shorts) and/or television

* Female Authorship

* Campion and women’s cinema

* Men, Masculinity and relationships in the work of Campion

* Genre and experimentation in Campion

* Campion and collaboration (with other directors/actors/writers)

* Campion and adaptation (as feminist practice)

* Feminist ethics, politics and aesthetics in Campion’s work

* Problematising feminism

* Sex, sexuality, and the erotic

* The female gaze

* Language, selfhood, subjectivity and agency

* Motherhood

* Generational feminisms

* Film, feminism and philosophy in Campion’s work

* French feminist critical readings of Campion

* Nation and/or institution, identity and subjectivity

* Industry, indie, Hollywood and the festival circuit/prizes

* Trauma, loss, and grief

* Campion, feminism and film philosophy

* Comparisons between feminist filmmakers’ work Campion

If you have any questions regarding the suitability of possible topics
and material for inclusion in the volume, please do not hesitate to
contact the editors, Dr Alexia L. Bowler (a.bowler@swansea.ac.uk) & Dr
Adele Jones at (adele.m.jones@swansea.ac.uk).

Abstracts of 350 words, for chapters of between 7,000-8,000 words
including endnotes (referenced in Chicago style), along with a short
biographical note, should be emailed to both editors by 31st January,
2019. Successful proposals will be notified by 1st March, 2019. Chapters
will be expected, in full, by 30th June, 2019.