Call for Abstracts: “Cinema and Social Conflicts,” Volume 6 (2019) DANIEL FAIRFAX, ANDRÉ KEIJI KUNIGAMI, AND LUCA PERETTI, eds.



Cinema has played a pivotal role in recounting, reinventing, and depicting the world we live in. Most major historical events have been represented in cinema, from the world wars to the fall of the Berlin Wall, while several others have been left invisible in the filmic archive. This issue focuses on the relationship between cinema and social conflicts: revolutions, protests, riots. How does cinema not only describe, but also inscribe and produce social struggles—influencing their present and future? We are interested not only in how cinema represents historical events, such as the Russian Revolution, anti-colonial struggles, the Chinese Cultural Revolution, or the 1968 unrests, but we also want to look at cinema as a site of conflict, in different parts of the world: its role in fueling revolutionary consciousness, in mediating spaces of conflicts through performative documentary practices, in strategies of self-representation of organizations, in the disputes over memories of struggles through different archival practices, and in fighting mainstream cinematic representation. We also welcome contributions that address how cinematic practices have expanded into new forms of networked organizing through social media, shaping at once new modes of transnational resistance and of filmmaking.

Aims and Objectives

This volume of Zapruder World aims at bringing different perspectives on how cinema has functioned as a means to narrate and consolidate the memory of social conflicts, and as site of dispute, mediation, and production of struggles. Be it in film theory, grassroots guerrilla filmmaking, or transnational networks of alternative distribution and exhibition, cinema not only represents but also produces, imagines, and enables different modes of political struggle. We call for papers that go beyond the analysis of the issue of historical representation, addressing how cinema has contributed to social struggles in any and all intersections of nation, class, sex, and race. We are equally interested in contributions that look at how the history of social conflicts has contributed to the shaping of cinema.

Topics and Themes

We invite contributions focusing on any area of the world, which address one or more of the following themes:

  • Cinema and revolutions
  • Cinema and/as anti-colonial struggle
  • Cinema, new media, and networked modes of resistance
  • Guerrilla cinema
  • Cinema and activism
  • Political film theory
  • Cinema and territorial conflict
  • Indigenous cinema
  • Film and labor
  • Cinema, sex, gender, race
  • Cinema and incarceration
  • Politics of distribution and exhibition
  • Film history and the politics of archive
  • Cinema and strikes

In addition to scholarly articles, we invite submissions of non-essay form original work, such as photo essays, videos, interviews, drawings, comics, songs, hyperlinks to online resources, multimedia, etc., both accompanying the articles themselves and as standalone contributions. We encourage authors to think about incorporating multimedia both into their pieces proposed for Zapruder World and in the sections we have created on the journal’s website (e.g. “Yesterday” and “Today“).

Volume Deadlines & Schedule

Abstracts in English (200-400 words) shall be sent to submissions@zapruderworld.orgby February 15, 2019. All contributors will be informed about the status of their abstract submission by March 5, 2016. The full article (6,000-9,000 words) will be expected by June 15, 2018.

For information on Zapruder World’s peer review process or submission instructions, please see the following URLs:


Call for Papers: Games of Empire 10 Years Later – Special Issue in  /Games & Culture/*

2019 marks ten years since the publication of Nick Dyer-Witheford and
Greig de Peuter’s seminal /Games of Empire/. Adopting the concept of
Empire from Italian autonomous Marxist authors Michael Negri & Antonio
Hardt, the book is considered one of the hallmarks of videogame cultural
criticism. Situated within Western video game scholarship of the early
2000’s, the book reminded many that critical analysis informed by social
theory is vital to capturing the phenomena of videogame production
processes, and the power hierarchies they derive from and reproduce.

Ten years later, today, it is impossible to ignore the significance that
the book – despite its flaws – has shown in addressing the
under-researched political aspects of the global videogame industry and
cultures. At the same time, it is impossible to ignore the ever-pressing
need for cultural and materialist criticism within game studies. There
are many elephants in the room – the inequities of the global games
labour market, the growing Game Workers unionization and the
international solidarity necessary for it, the games industry’s
contribution to the expansion and consolidation of global corporate
interests, the revitalization of fascism in and around games, and the
reproduction of colonialism under conditions of globalised supply chains
and markets. In light of this, many researchers are returning to the
question of how conditions of production highlight the inherently
politicized nature of videogames as a global 21st century cultural
industry, prompting them to explore how it can be subjected to critical
analysis, to inform interventions both by scholars and by workers in the
sector. /Games of Empire/, specifically, while an opportune starting
point for critical analysis everywhere, is not without its limits.
Indeed, while Dyer-Witheford and de Peuter and others (e.g., Banks &
Cunningham, 2013; Nieborg, 2011; O’Donnell, 2014; Deuze, 2007), have
shown that it is possible (and publishable) to inspect and critique the
role of the videogames industry in the world, much remains to be said
about both.

Contemporary phenomena emblematic to videogames’ culture and industry
require scholarly and critical addressing – issues such as the cultural
and economic imperialism of global videogame companies; the
platformization of culture (Nieborg & Poell, 2018); the privileging and
problematization of indie and intersectional production (Martin & Deuze,
2009; Ruffino, 2012; Shaw, 2009); the consolidation of cultural and
economic power via the dynamics of monopoly capitalism and imperialism,
including the exploitative structure of platforms that turn players into
workers and information into commodities capturing the cultural activity
of play as seen in free-to-play and so-called lootbox business models
(Joseph 2017); the mutually beneficial relationship between corporate
grassroots movements such as Gamergate and multinational companies’
exploitation of their workers (Keogh 2018; Polansky 2018); the material
and ecological ramifications of always-online infrastructures, planned
obsolescence, videostreaming, and so-called cloud-based gaming; the
cultural and economic conditions that maintain and reproduce what Fron,
Fullerton, Morie, & Pearce called “the Hegemony of Play” (2007) ; the
game industry’s intersecting matrix of domination (Collins 2002) along
racial, gendered, sexual, class, language, ethnic, and bodily
dimensions; and so on. Even within the nebulous discipline of game
studies itself, questions of Empire are in dire need of addressing
(Russworm 2018), especially against the background of positionality ,
the politics of citation, academia as a colonial force, bourgeois
conferences overrepresenting Western, privileged and tenure-track
participants able to pay extravagant fees (Butt, et al., 2018), as well
as the relationship between industry and research. As such, the initial
discussions motivated by Dyer-Witheford and de Peuter’s research remain
as, if not more, relevant than ever. It is crucial that similar critical
investigations are contemporarily re-articulated to highlight paths and
strategies to understand videogames today as symptoms of a deeply unjust
state of the world, and perhaps to transform the structures that
reproduce this state.

To do so, this special issue of /Games & Culture/ invites authors in
game studies, cultural studies, production studies, and related
disciplines to engage in a dialogue with /Games of Empire /and the
themes of global capitalism, videogame production as global cultural
industry, and related themes of Empire, inequality, and hegemony. This
dialogue can be based on contemporary and ongoing research, both
theoretical and empirical, into videogame production today. Possible
papers could include themes such as:

* /Empire and multitude in the contemporary games sector///
* /Cognitive capitalism and work in the globalised production chain///
* /Machinic subjects in the post-platform era///
* /Social theory in game studies (post-Empire)///
* /Platform capitalism///
* /Working conditions in videogame production///
* /Nomad game making///
* /Major and minor subjectivity in game production///
* /Making desiring subjects///
* /21st century imperialism and monopoly capitalism///
* /Comparative production cultures: difference and continuity between
(national) production cultures///
* /Postcolonialism, empire, and emancipation///
* /Cultural production in the margins: Games & workers of the
so-called global south.///
* /Unionization efforts among game workers (Game Workers Unite,
#AsAGameWorker, etc.)///
* /Empire through & within academia and game studies///
* /The Military-Industrial-Media-Entertainment Network, in and outside
of the imperial core///
* /The ecological and material aspects of the global games industry in
the Age of the Capitalocene///

These themes can be interpreted broadly. When submitting an extended
abstract, please identify explicitly how your proposed submission
responds to /Games of Empire/, including developing one of its concepts,
critiquing its arguments, or reflecting back on its significance in
contemporary research.


Extended abstracts should be submitted by *March 1st 2019*. Notification
of abstract acceptance by April 1st 2019.

Full manuscripts (approximately 5.000 words) of accepted abstracts are
due *September 6th 2019*. Notification of manuscript acceptance by
November 4^th 2019.

Final publications of 5-6 accepted articles in /Games & Culture/ are
expected around *June 2020*


*Submission process*

Submissions should comprise of

* Extended abstracts between 800-1000 words excluding bibliography.
* Author information (short biographical statement of 200 words)
Please submit to Emil Hammar (
<>) by *March 1^st 2019*.

Call for full papers of ZER Journal on TV

ZER is a semi-annual journal on communication edited by the Basque
Public University and it is beginning a transformation stage. Among its
new objectives, the journal will focus on highlight specific topics. It
is not related to monographs, so ZER will continue to publish articles
focused on communication. ZER is inviting a call for papers for issue
46, May 2019, from scholars whose research interest connects with
television. In recent decades, some voices have warned about the future
of television and audiovisual media and have questioned its media

ZER aims to address the process of reconfiguration and adaptation of the
contemporary television panorama. These are the suggested topics:

-Changes in content production and new professional challenges
-Multiple forms of distribution and different business models
-TV and new forms of consumption: speed watching, multiple devices
-The challenge of public, local, community and regional television
channels. New financing strategies
-New television platforms, new formats and new narratives
-Changes in the relationship of information and entertainment
-Big Data and television.
-Social networks and participation
-Communication Politics on regional, state and community fields
-The big global changes: blockchain

The deadline for ZER applications is March 31th, 2019. The originals may
be sent in English, Basque and Spanish. The information for the
registration and sending of originals can be found at

Guest editor: PhD Andoni Iturbe Tolosa (Euskal Herriko Unibertsitatea /
University of the Basque Country)