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: <>.

The book is under contract with Routledge, to be published end of 2019
in the Routledge Companions series –

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.

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


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.


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


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.**



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.

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.

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.

Nuart Journal Call for papers Issue II: Eloquent Vandals

Following the successful international launch of Nuart Journal, we are
now calling for submissions for Issue II.

The theme of Issue II — ELOQUENT VANDALS — is a provocative link to
street art and urban culture’s delinquent roots and the “creative joy of
destruction” – evidenced most recently in Banksy and Blu’s high profile
acts of auto-iconoclasm, but also present in a plethora of quotidian,
human scale, unsanctioned urban interventions. The rise of
festival-sponsored neo-liberal muralism sits uneasily with these
ungovernable forms of urban creativity. This special issue calls for
contributions that celebrate the work of street art’s eloquent vandals,
and papers that critically examine attempts to cultivate,
instrumentalise, commodify and ‘protect’ the art of the streets.

We welcome submissions from a broad range of authors including cultural
heritage workers, historians, critics, cultural and human geographers,
political theorists, anthropologists, ethnographers, sociologists,
psychologists, criminologists, curators, artists, writers, taggers,
anarchists, and out and out vandals.

Nuart Journal is a peer-reviewed open access journal available both in
print and online. It presents the work of an international network of
artists, curators, academics, independent researchers and industry
professionals on street art and related topics. It is built on the
foundations of five years of content from the annual Nuart Plus
symposium, based in Stavanger Norway, the world’s first annual symposium
dedicated to street art practice.

Nuart Journal aims to serve as a forum for critical discourse and
commentary on urban art cultures and street art practice, defined as
broadly as possible to include all aspects of both independently
sanctioned and unsanctioned art in public space that does not fall under
the general rubric of traditional public art practice.

Though the journal is intended as a scholarly journal for new and
experimental modes of research as well as traditional academic papers,
it is also a site for artists, curators and independent researchers to
publish articles, conversations, projects and opinion pieces. We welcome
visual submissions and high quality images/photography. All submissions
are peer reviewed.

The journal is overseen by a small group of international co-editors
assisted by an international advisory board.

*Submission Guidelines*

Full papers should be 5000-8000 words, inclusive of citations and

Shorter submissions, including research notes, photo essays and other
visual submissions, experimental or alternative forms of
academic writing, book reviews, interviews, and opinion pieces are also
welcome. Please contact the editorial team if you wish to discuss an
alternative or experimental mode of submission. Papers should follow
Harvard referencing guidelines.

The deadline for consideration for the next issue is January 7th, though
there may be some flexibility with this deadline if negotiated with the

Please contact the Editor ( for further
information or see:

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 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

Areas of interest include, but are not limited to:

* Case studies of diverse active and historical animators in cultural
* 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
* 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 ( before 25th January 2019.

Call for Action| Philosophy Unbound – DETEXT – New Delhi, 8th-10th of March 2018


Dear friends,

Philosophy Unbound is a collective devoted to opening up new forms and spaces for philosophy outside its classical habitats. After many successful events, workshops and performances in Vienna, Austria and Berlin, Germany, Philosophy Unbound will now investigate the possibilities of its format in New Delhi, India.

Philosophy Unbound will organise a three day mini-festival for performative philosophy at the School of Arts and Aesthetics (SAA) at JNU and other locations from 8th to 10th of March 2018. Our format is held very open and we encourage everybody – be it students, artists or researchers of various fields to send us their proposals for this first interdisciplinary gathering of that kind. Your can propose a text, a reading, a lecture, a performance, a musical contribution, an intervention, an installation, a sit-in, a dance, a provocation or whatever else you deem necessary to get your philosophical point across.

In line with this open format, the topic of March’s event will be DETEXT. Since most of our institutions regard only textual output as “serious” contributions, we want to open a space to detext and give you freedom to express your ideas outside the mastermedium of text. Show us an installation without having to worry about an explanatory text, give us a lecture without all the necessary footnotes to a rigid canon, dance your philosophical ideals without having to open your mouth to utter complete phrases!

The three days in March are devoted to opening up philosophy as well as the arts to a true plurality of form. We are very much looking forward to your contribution. If you have any further questions, more detailed proposals or the like, please do not hesitate to get in touch.

The Philosophy Unbound Collective invites you to submit proposals (including a short Bio and Letter Motivation) until 20th of February 2018.

The Philosophy Unbound Collective

कार्यवाही के लिए आह्वान

फिलोसाफी अनबाउड-डिटेकस्ट-नई दिल्ली, 8-10 मार्च2018

प्यारे दोस्तों,

फिलोसॉफी अनबाउंड एक समूह है जो दर्शन शास्त्र को उसके पारम्परिक दायरे के बाहर नये रूप और समय में समृध्द करने के प्रति समर्पित है। विएना (ऑस्ट्रिया) औऱ बर्लिन (जर्मनी) में कई सफल कार्यक्रमों, कार्यशालाओं और अभिनयों के बाद फिलोसॉफी अनबाउंड नई दिल्ली(इंडिया) में अपने प्रारूप की गुंजाइश जाँचने जा रहा है।

फिलोसॉफी अनबाउंड जे.एन.यू और अन्य स्थानों पर 8 से 10 मार्च 2018 तीन दिवसीय पर्व का आयोजन करने जा रहा है। हमारा प्रारूप बहुत उदार है और हम भिन्न-भिन्न क्षेत्रों से ताल्लुक रखने वाले छात्रों, कलाकारों, शोधकर्ताओं को अपने प्रस्ताव इस बहुविषयक सभा में भेजने के लिए प्रोत्साहित करते हैं।

इस मुक्त प्रारूप को ध्यान में रखते हुए हमारे मार्च में होने वाले पर्व का विषय ‘डिटेक्स्ट’ है। चूँकि दर्शन शास्त्र से जुड़े अधिकतर संस्थान सिर्फ़ मजमूनी उत्पादन को एक गंभीर योगदान के रूप में स्वीकारते हैं, इसलिए हम एक ऐसी गुंजाइश पैदा करना चाहते हैं जहाँ मजमूनों के परे बात हो (‘डिटेक्स्ट’) और आपको स्वतंत्रता हो इस ढाँचे के बाहर अपने विचारों को प्रकट करने की। हमें एक इंस्टालेशन प्रस्तुत करें बिना व्याख्यात्मक विषय वाक्य की परवाह किये, हमें एक व्याख्यान दें बिना ज़रूरी पदलेखों की चिंता किये, अपने दार्शनिक विचारों को थिरकने दें बिना वाक्यों के ढाँचों को पूरा करने की ज़हमत किये।

मार्च में आने वाले यह तीन दिन समर्पित हैं दर्शन और कला से जुड़े सच्चे अनेकवादी रूपों को उघाड़ने के लिए। हम आपकी भागीदारी को लेकर बहुत उत्साहित हैं। अगर आपके कोई भी सवाल हों या विस्तार से किसी विषय में जानकारी चाहते हों तो कृपया हमें संपर्क करें।

फिलोसॉफी अनबाउंड आपको 20 फरवरी 2018 तक अपने प्रस्ताव(एक छोटे आत्म-परिचय और प्रेरणा पत्र सहित) जमा करने के लिए आमंत्रित करता है।

आपका अपना,

फिलोसॉफी अनबाउंड कलेक्टिव