Call for Papers: Pleasures of Violence

https://www.brookes.ac.uk/about-brookes/events/pleasures-of-violence


*Conference to be held at Oxford Brookes University (Oxford, UK)*
March 7-8,2019

It has become a truism to claim that social media bring out the worst in us. But who gets to be the subjects and the agents of violence in an economy built to repackage violence? In Updating to Remain the Same Habitual New Media, Wendy Chun exposes the hypocritical dissonance between our fantasies about the Internet and our online practices. For instance, we are continually surprised at the leaking of a network that is precisely built to leak; or we project the promiscuousness of networks onto bodies that aren’t supposed to matter. Digitality has become, then, indissociable from questions of injury, aggression and pre-determined targets. Such impulses of violent digitality have further become central spectacles on cinema, television and video game screens. Why does the digital seem so well suited for the most insidious and blatant of death drives?

From misogyny to racism, from trolling to warfare, from disaster porn to revenge porn, to be immersed in popular visual culture is to have to negotiate the circulation, broadcasting and spectacle of violence. Is digital violence the re-enactment of analog modes of violence or a brand new kind of economy? Have digital networks simply brought to the surface the cesspool of destructive desires that whirled beneath surfaces all along, or do they facilitate unprecedented modes of acting out, and suffering from, violence? How might we, scholars and creative practitioners, imagine ways of combating or repairing violence?
This conference aims to consider questions of abuse, misuse of power and aggression in the (post-)digital age from a variety of perspectives and fields, exploring the relationship between violence (physical, psychological, symbolic, et al) and digitality writ large. It also takes seriously the pleasures on offer through such digital violence, whether that is the action cinema’s fight sequence or the trainwreck celebrity. Is “digital violence” a redundant category? How does violence play out in different national contexts and creative industries: cinema, gaming, photography, music, fashion?

We welcome abstracts that centre on, but are not limited to the following:

* Doxing, firehosing, gaslighting: The New Language of Violence
* Representations of violence in contemporary TV, cinema, series and podcasts
* Bot-enacted gender and racial violence
* The relationships between genre and violence
* Digital terrorisms
* The digital circulation of xenophobia
* Disaster porn, revenge porn and other types of sexual violence
* Online communities of violence and self-harm
* Outing as a form of violence
* Youtube as platform for confessing violence
* Social media, feminism and the exposure of rape culture
* The weaponization of gossip, hearsay, fake news and misinformation
* BDSM online communities: The New Erotic Possibilities of Violence
* Biometric technologies of racial violence
* Necro/Bio-political violence
* Neo-colonial violence
* Glamourization and fetishization of violence

Please send abstracts of 250 – 300 words, with a supporting bio of no more than 100 words, toviolenceconferencebrookes@gmail.com

*Abstract deadline: Monday 31st of December 2018.*

Dr Diego Semerene
Senior Lecturer in Film Studies and Digital Media
Oxford Brookes University
@diegosemerene
Dr Diego Semerene
Senior Lecturer in Film Studies and Digital Media
Oxford Brookes University
@diegosemerene

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

global-cinema-1-300x226

Introduction

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 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.

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
bibliography.

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
Editor.

Please contact the Editor (editor@nuartjournal.com) for further
information or see: www.nuartjournal.com

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.

*Timeline*

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 (emil.hammar@uit.no
<mailto:emil.hammar@uit.no>) by *March 1^st 2019*.

Call for Book Chapters | *Miscommunication: Errors, Mistakes, and the Media*

Editors: Maria Korolkova (University of Greenwich) and Timothy Barker (University of Glasgow)

*Aims & scope *

Mistakes and miscommunications occupy a special place in media theory, and for the field of media archaeology in particular, posing a range of important questions. /What happens to discourse when media machines do not operate in the way they were intended? What happens when communication systems break down and start to deliver misleading information? What are the conditions for the error in 21//^st //century media? And what can attention to the possibilities for the experience of miscommunications tell us about 21//^st //century media and culture in general?/

These questions pose a problem for media archaeology and identify a need for this field to be expanded beyond its own paradigm to uncover the ways in which errors and miscommunications address historical and contemporary cultural techniques. This book invites contributions that investigate new methods, topics and themes around the idea of miscommunication at the interface of media archaeology and fields of cultural studies, art history, philosophy, film studies, sound studies, and conflict studies, where an investigation of errors, mistakes and falsity can provide new ways to understand creative and epistemological processes. We argue that the potential for mistakes in any communication system creates a specific agency – an ‘energy of delusion’ in the worlds of Viktor Shklovsky, or as Umberto Eco describes it a ‘force of falsity’ – that awaits its reconsideration in the 21^st century.

This book aims to provide an opportunity to rethink media and communication theory – as well as philosophies of mediation – by asking, what happens when communication systems break down? What are the new political economies of noise? What happens when political communication becomes non-dialectical? How can we rethink digital media theory by looking at mistakes in programs? Break-downs, mistakes, hacks, and quick fixes, might allow us to reconsider questions relating to media determinism – these phenomena open up lines of flight and show us the potential for users to find a way to live with programs. They give us a way to rethink pessimistic versions of post-history by showing the points at which systems can be changed. An exploration of miscommunication also offers a new way to think about the conditions of contemporary political communication and the exploitation of information systems.

We are currently inviting authors to submit chapter proposals related to these broad aims and at least one of the themes below:

·       Media Archaeology of Mistakes/Miscommunication

·       Non-dialectic media: Rethink contemporary media beyond the dialectical model of communication

·       Errant research methodologies in media studies

·       Noise and media: (a) Exploring the aesthetics of noise; (b) thinking about noise as productive

·       Errors and glitches: in video games; art; music/sound art

·       Post-truth communication

·       Rethinking the post-digital

·       Miscommunication and mistakes on social media

·       Media philosophical description of errant communication

·       Aesthetics of imperfection

·       Gender as miscommunication

·       Digital death as mistake in continuity of communication

·       Textuality, technology and miscommunication

·       Intentional miscommunications: frauds, forgeries, fakes

·       Crisis/disaster/war miscommunications

·       Waste and leakage

·       Misinterpretation

·       Creativity as miscommunication

·       Madness, lunacy, and miscommunication

*Abstract Submissions*

*
*

Abstracts of 300 words (excluding references) are invited for chapters of between 6,000-8,000 words. Along with your abstract, please include a brief biographical note of around 100 words. Abstract should be submitted to m.korlokova@gre.ac.uk <mailto:m.korlokova@gre.ac.uk> and timothy.barker@glasgow.ac.uk <mailto:timothy.barker@glasgow.ac.uk> *by 1*^*st* *October 2018*.

*Important dates*

1 October 2018: Submission of abstracts
15 October 2018: Notification of abstract acceptance
1 March 2019: Full chapter submission due
15 March – 1 June 2019: Chapters sent out for review and authors asked to revise texts, if required.
1 August 2019: Final chapters ready for publication

Call for Papers: Southeast Asian Media Studies

 

Type:
Call for Papers
Date:
August 30, 2018
Location:
Philippines
Subject Fields:
Area Studies, Asian History / Studies, Film and Film History, Journalism and Media Studies, Southeast Asian History / Studies

Southeast Asian Media Studies

October 2018, Vol. 1, No. 1
December 2018, Vol. 1, No. 2

* The Southeast Asian Media Studies is the official international, blind peer-reviewed, and open-access scholarly journal of the newly-formed Southeast Asian Media Studies Association (SEAMSA).

SPECIAL FOCUS

Explorations in Southeast Asian Media Studies: Theories, Trajectories, and Futures

RECOMMENDED TOPICS
The first two issues of the journal aim to provide a collection of theoretical and discursive articles on Southeast Asian media studies and literacy. The recommended topics are the following:

  • Definitions, status, and directions of Southeast Asian media studies
  • Authorship of Southeast Asian media studies: Who should do/write it?
  • Emerging media theories in and about Southeast Asian mass and new media
  • Practices and methods in Southeast Asian media studies
  • Critical reviews of media studies in and about Southeast Asian mass and new media
  • Media literacies in Southeast Asia
  • Audiences in Southeast Asia
  • Media technologies and processes and the Southeast Asian populace
  • Media convergence in Southeast Asian contexts
  • Southeast Asian politics and the media
  • Media laws, policies, and regulations in the ASEAN region
  • Business, ownership, management, and control of Southeast Asian mass media
  • Southeast Asian cultures and the media
  • Southeast Asian mainstream, local, translocal, diasporic, and indigenous media practices
  • Southeast Asian languages and the media
  • Genders and identities in Southeast Asian media
  • Southeast Asian media and the environment

SUBMISSION PROCEDURE
All submissions must be original and may not be under review by another journal or any academic publication. Authors should follow the journal’s manuscript guidelines: https://seamediastudies.wordpress.com/author-guidelines/

All manuscripts should be sent to editor.seams@gmail.com. Please use the subject “SUBMISSION: Vol.1 No.1&2_Surname_Short Title” (e.g. SUBMISSION: Vol.1 No.1&2_Doe_A Review of Southeast Asian Media Theories).

The deadline for manuscripts for both issues is on 30 August 2018 [EXTENDED].

Contact Info:

Jason Paolo Telles, Editorial Coordinator

Call for Papers – The Korean Television Reader

Despite the large interest in Korean television among academics and fans, studies of Korean television content in Anglo-speaking countries have seen limited publication. This is a call for papers related to Korean television for a co-edited anthology, which combines approaches to television from Media and Area studies perspectives. The editors are interested in an interdisciplinary discussion of television programs that address the wide range of novel approaches to interrelated media spheres.

Programs intended for broadcast on Korean television reach a much broader audience than the national broadcast audience through a variety of media streams, and are rich topics for the study of intermediality, transnational consumption, diaspora communities, and language acquisition. How do Korean television programs mediate visual/textual/linguistic/national regimes to create new meaning? Methodological approaches that integrate production culture studies to engage more than just the text (or even no text) are welcome. Textual analyses of overlooked narratives are also welcome.

The editors seek English-language papers that have not been previously published which are related (but not limited) to the following:

  • Serialized Korean dramas
  • Unscripted/variety/reality/talk show (yenung) television programs
  • New media TV (internet broadcasting, global streaming, e.g. Netflix, Viki, KBSWorld via YouTube, etc.)
  • Social media entertainment
  • Livestreaming content (via Instagram, DaumTV, KakaoTV, VLive, etc.)
  • Television formats (imported or exported)
  • Co-productions (Korea + ?)
  • Fan engagement through television
  • Globalization of Korean television
  • Television audience studies

Korean-language papers will be considered and translated to English by the editors if they are accepted.

Submission Guidelines & Deadline:

  • Submissions should be a minimum of 6,000 words and a maximum of 10,000 words including footnotes.
  • Please submit a title page that includes your name, institution, an abstract (250 words) and a short bio (150 words).
  • Submissions must be in Microsoft Word and cited in the Chicago Manual of Style format (17th edition).
  • Romanization of Korean words should be in McCune-Reischauer with the exception of personal names.
  • Submit all materials to editor Grace Jung (aechjay@g.ucla.edu) by Saturday, March 31, 2018.
  • Upon review, the editors will respond with their decision by June 30, 2018.

http://www.vcinemashow.com/call-for-papers-the-korean-television-reader

Call for papers – Studies in South Asian Film & Media (SAFM) Special Issue: Hindutva politics and South Asian cinema–media in the age of Modi

Since the start of Narendra Modi’s term as India’s prime minister, one witnesses a resurgence of the Hindu far right and Hindutva politics in India, as well as corresponding movements in Hindi cinema and media. From PK (2014) to the much anticipated, and delayed,Padma(a)vat(i) (2018), Bollywood and other forms of contemporary South Asian media have responded to the proliferation of right-wing Hindu ideologies in myriad, oftentimes contentious and frequently innovative ways. While the impact of such right-wing parties on Bollywood can be traced back to the release of Mani Ratnam’s Bombay (1995), this special issue seeks to examine the contemporary manifestations – and fraught interrelationships – of Hindutva politics and Hindi cinema and media during the time of Modi (2014 – present). We are particularly interested in examining the range of approaches taken towards Hindutva politics, whether it be the use of comedy or farce, as in PK, the melodramatic sentimentality of Bajrangi Bhaijaan (2015), or the latest historical epics of Sanjay Leela Bhansali. Related to this theme is the subsequent rise of attacks, in person and via social media, upon directors and actors associated with such films, most notably, Bhansali and Deepika Padukone. 
Hindutva cultural politics, however, are not limited to the theater screen or to contests over star personalities alone. Rather, we can see their manifestation in the blurring of boundaries between self and screen, self-representation and self-broadcast over social media. The most egregious elements of this are the ways in which perpetrators and bystanders record acts of violence in full daylight and broadcast them over social media. Its other, more everyday forms are Hindutva trolls and leaders holding forth on WhatsApp and other platforms, challenging the notion of news itself.
This special issue of Studies in South Asian Film & Media (SAFM) seeks papers addressing the representations of and reactions to Hindutva politics and ideologies in Hindi cinema and media during Modi’s tenure. Along with papers looking at the contemporary controversies surrounding Padma(a)vat(i), we welcome articles on the following topics:
·         Genres, including comedy, horror, and the historical, that are being redefined to address Hindutva politics in India
·         Contemporary representations of Indo-Pakistan relations
·         The ‘fascist’ aesthetic of recent films, including Bajirao Mastani and Padma(a)vat(i), with regard to their cinematic excesses and glorifications of previous Hindu empires
·         Hindutva politics in mainstream Indian television
·         Hindutva trolls on social media
·         Hindutva movements, boycotts and attacks against Hindi films, filmmakers and stars, including, e.g., Shah Rukh Khan, Deepika Padukone and Sanjay Leela Bhansali
Along with full-length essays exploring such topics, we are also interested in shorter, less formal pieces, including:
·         Documentations of counter-movements working against the rise of Hindutva policies
·         Interviews with Hindi filmmakers, television personalities and stars affected by Hindutva politics in recent years
·         Working notes by social media activists mobilizing against the contemporary rise of the Hindu far right in everyday life
If you are interested in submitting to this special issue of SAFM (10.1), due to appear in early 2019, please send a 300-500 word abstract to Ajay Gehlawat (gehlawat@sonoma.edu) by March 15, 2018. Please also include a brief bio with your abstract. Final drafts of accepted proposals will be due by July 15, 2018. Please see SAFM’s guidelines for further details regarding submitting and formatting, and feel free to email beforehand with any inquiries.

Call for Papers | Hakara Journal

 हाक ४

Call 4

|| खळबळ ||

‘खळबळी’चा थांगपत्ता लागणे कठीण. विश्वाच्या निर्मिती आधीचे निराकार रूप म्हणजे खळबळ असू शकेल.  किंवा जिच्यातल्या कणभर बदलाने संपूर्ण व्यवस्था अस्थिर होऊ शकते अशी गुंतागुंतीची व्यवस्था ‘खळबळी’मधे सामावली असेल. अगदी छोटीशी घटना, गतकाळातला एखादा प्रसंग, एखादे चित्र, अर्धवट उच्चारलेला शब्दही खळबळीला पुरेसा ठरतो. एखादी व्यक्ती वा समूह तिच्या समर्थनार्थ उठतो किंवा निषेध करतो किंवा काहीच करत नाही. बघता-बघता सर्वत्र गोंधळ आणि अराजकता माजते. हळूहळू ती सर्वदूर पसरते. इतकी की धर्म, कुटुंब, मानवी नातेसंबध, राजकारण, निसर्ग, तत्त्वज्ञान या सर्वांबद्दल प्रश्न पडू लागतात.

नितळ पाणी दिसणंच दुरापास्त झालंय इतकी आत-बाहेर खळबळ चाललीय. एखादीला वाटावं की आपसात संवाद नसल्यामुळे किंवा अतिसंवाद झाल्यामुळे हे असं चाललंय. पण, ‘खळबळ’ तर अनादि कालापासून सुरू आहे. असंही कुणाला वाटेल की, नवनिर्मितीची बीजं खळबळीत सामावलेली असतात. म्हणजे, बदल अपरिहार्य असतो आणि असं म्हणून बदलातली गुंतागूंत आपण नजर अंदाज करू शकत नाही.

कलाकार, संशोधक वा सजग समाज-संस्कृतीचे घटक म्हणून तुम्हाला काय वाटते? खळबळीतून उद्भवणारी अनिश्चितता, अस्वस्थता, गरगरून टाकणारा भवताल याबद्द्लचे तुमचे निरीक्षण काय आहे?

तुम्ही दृश्य-माध्यमातील कलाकार,  तत्त्व-चिंतन मांडणारे किंवा कथात्म साहित्य वा कविता लिहिणारे असाल किंवा गुंफणकार (क्युरेटर) वा इतर कोणत्याही माध्यमात सक्रिय असाल तर ‘हाकारा’च्या चौथ्या आवृत्तीच्या पारावर ‘खळबळ/Chaos’ च्या हाकेसाठी तुमचं स्वागत आहे.

तुमचे लिखाण/कलाकृती २८ फेब्रुवारी, २०१८ पर्यंत info@hakara.in वर पाठवून द्या.

निवडक लेख / कलाकृतींचा समावेश ‘हाकारा’च्या येत्या आवृत्तीत केला जाईल.

 

आशुतोष पोतदार आणि नूपुर देसाई

संपादक, हाकारा । hākārā

 

|| Chaos ||

‘Chaos’ could be anything. A formless matter from which our universe emerged could be Chaos. Or, it could be an unpredictable way of appearance of things as a complex system where a minute change can affect its existence and form. At times, Chaos could also be a state of complete turbulence.

A small incident, an event from the past, a visual or an un-uttered word can be a reason for Chaos. An individual or a group reacts to it with agreement or defiance leading to the state of confusion and disorder. And, there begins questioning of values, human relationship, family, social and cultural system, nature, technology and so on. One could say that Chaos is a result of lack of communication. Someone could reason it for the overwhelming and continuous flow of information. But Chaos is eternal. It can also be understood as an impetus in an act of creation. As an artist, thinker or a sensitive human being, how do we perceive Chaos with its all seen and unseen uncertainties, disorientations and anxiety-ridden as well as creative moments?

If you are a film-maker, fiction writer, poet, visual artist, critic, photographer, translator or a curator; you are invited to send your work in Marathi and/or English, in audio-visuals or in any other forms in response to our fourth edition of ‘खळबळ/Chaos’, as you may perceive it.

You may send your work by February 28, 2018 to info@hakara.in.

Select works will be published in the forthcoming issue of हाकारा। hākārā.

 

Ashutosh Potdar & Noopur Desai

Editors, हाकारा । hākārā

 


 

लिखाण / कलाकृती पाठविण्यासाठी सूचना

१. आपले लिखाण वा कलाकृती ‘हाकारा’च्या येत्या आवृत्तीच्या मध्यवर्ती संकल्पनेभोवती गुंफलेले असावे. नवी मांडणी, नाविन्यपूर्ण रचना आणि जुन्या मांडणीला पुढे घेऊन जाणारे सर्जनशील विचार असलेल्या लिखाण व कलाकृतींचा समावेश अंकात केला जाईल.

२. हाकारा | hākārā तील मजकूर अभ्यासकांच्या पुनरावलोकनानंतर प्रकाशित केला जातो . ‘हाकारा’ हे अॉनलाइन जर्नल अाहे त्यामुळे आपले लिखाण वा कलाकृती केवळ इमेलने पाठवा.

३. लिखित मजकूर मायक्रोसॉफ्ट वर्ड डॉक्युमेंट फाइलमध्ये पाठवा. (पीडीएफ किंवा इतर कोणत्याही फाइलमध्ये नव्हे.) फॉन्ट ‘टाइम्स न्यू रोमन’ १२ आकाराचा असावा. मराठीतील मजकूर युनिकोडमध्ये लिहून पाठवा. लेखकांना त्यांचा मजकूर ठरावीक शैली किंवा रचनेत प्रकाशित होणे अपेक्षित असल्यास तसे सुरूवातीला लेखासोबत जरूर कळवा.

४. दृश्य कलाकृती असल्यास त्यांचा आकार कमीत कमी १५० रेजोल्यूशन ठेवा. कलाकृतींचे शीर्षक, माध्यम, आकार आणि साल याची माहिती सोबत जोडा. कलाकृती, चित्रे, प्रतिमा लेखक किंवा कलाकारांच्या स्वतःच्या नसतील तर त्यांच्या मूळ स्त्रोताची माहिती द्या.

५. आपण पाठवलेल्या कलाकृती विडीओ असतील तर त्यांचा युट्यूब, विमिओ किंवा तत्सम संकेतस्थळावरील दुवा सोबत द्या. तो दुवा आपण ‘हाकारा’च्या संकेतस्थळावर टाकू शकतो.

६. निवड प्रक्रियेसाठी आपले पूर्ण नाव, संपर्काचे तपशील, थोडक्यात ओळख आणि आपल्या कलाकृती वा लिखाणाचा गोषवारा सोबत जोडा.

७. ‘हाकारा’कडे पाठवलेल्या कलाकृती वा लिखाण इतरत्र कुठेही प्रकाशित झालेले नसावे. तसेच, ‘हाकारा’चे संपादक वा संपादक मंडळ त्यांचे परीक्षण करत असलेल्या कालखंडात त्या प्रकाशनासाठी इतरत्र पाठवलेल्या नसाव्यात याची काळजी घ्या.

८. संशोधन निबंध पाठवताना मॉडर्न लॅंग्वेज असोसिएशन (एमएलए) शैलीत पाठवावेत.

९. लेखक व कलाकारांनी लिखाणातील सर्व माहिती, नावे, ठिकाणे, तारखा, अवतरणे, उतारे व प्रतिमा याबाबतच्या तपशीलांची सत्यासत्यता पडताळून मगच ‘हाकारा’कडे ते जमा करावे.

१०. आपण इतरांच्या कलाकृती, प्रतिमा वा रेखाटने यांच्या समावेश आपल्या लिखाणात करणार असाल तर त्यांची पूर्वपरवानगी घेतलेली असणे आवश्यक आहे. अनुवादकांनी अनुवादित मजकूर ‘हाकारा’त प्रकाशित करताना त्यांच्याकडे मूळ लेखक, प्रकाशक वा संपादक यांची परवानगी असावी.

११. प्रकाशनासाठी विचाराधीन असलेल्या कलाकृती वा लिखाणाबाबतचा निर्णय करण्यास महिन्याभराचा कालावधी लागेल. निवड प्रक्रिया पूर्ण झाल्यावर आपल्याला ‘हाकारा’कडून निर्णय कळविला जाईल.

१२. प्रकाशनासाठी स्विकारलेले लिखाण वा कलाकृतींचे संपादन व पुनरावलोकन संपादक करतील. त्याकरिता, काही सूचना वा बदल यांचा विचार करण्याच्या प्रक्रियेत संपादकांना सहभागी व्हायला आवडेल.

१३. लिखाण वा कलाकृतींचे अधिकार (कॉपीराइट) संबंधित लेखक, कलाकारांकडे राहातील. ‘हाकारा’तील मजकूर वा प्रतिमा इतरत्र प्रकाशित करायचे असल्यास संपादकांना पूर्वसूचना द्या. कृपया पुनःप्रकाशित मजकूरासोबत ‘हाकारा’चा श्रेयनिर्देश जरूर करा. हाकारा | hākārā या मराठी आणि इंग्रजीतून प्रकाशित होणारे ऑनलाईन नियतकालिक आहे. संकेतस्थळाला www.hakara.in येथे भेट द्या.

१४. ‘हाकारा’ सध्या कोणत्याही प्रकारचे मानधन देऊ शकत नाही. पण येत्या काळात ते शक्य व्हावे याकरिता आर्थिक पाठबळ उभे करण्याचे आमचे प्रयत्न चालू आहेत.

 

Submission Guidelines

  1. In response to primary focus of upcoming edition of हाकारा । hākārā, we welcome contributions that take on new and innovative forms and new ideas not previously analyzed or that extend beyond an older conversation in the field of creative expression and/or enquiry.
  2. हाकारा | hākārā is a peer-reviewed journal. Being an online journal, we accept only electronic submissions.
  3. The written work has to be submitted as a Microsoft Word document (as .doc and Not PDF or any other format), and be double-spaced text in 12 pt Times New Roman font as an attachment. For the text in Marathi, please follow Unicode format. If contributor wants to maintain certain style in presenting work, please inform Hakara Editors while submitting the work.
  4. For visual work submission, image size has to be 150 or more resolution. Please share details of art works including title, medium, size and year. In case, images included do not belong to the contributor, contributor should provide source of images.
  5. Please don’t send video files to be included in the submitted narrative. We can provide links to the video work uploaded on Vimeo, YouTube or other platforms that can be openly accessed.
  6. We require a title page with contributor’s contact information, a short abstract and an contributor’s bio as part of the submission process.
  7. Submission must not be previously published nor should they be submitted for publication elsewhere while being reviewed by हाकारा । hākārā’s Editorial Board or outside reviewers.
  8. For the submission of research articles, please follow the Modern Language Association (MLA) style. The contributors are requested to verify facts, names of people, places, and dates, and double-check all direct quotations and entries, images in the Works Cited list.
  9. We request the contributor to obtain permission for illustrations, images from the concerned to be used in submission. Also, translators submitting their work should seek necessary permission from original writer/publisher if the work will be accepted by  हाकारा । hākārā for the publication.
  10. Contributors would hear from हाकारा । hākārā team in a month after the submission regarding the decision on consideration of the work.
  11. For accepted contributions, हाकारा । hākārā Editors would be happy to work with contributors, if required, in finalising the work before its publication.
  12. Copyright remains with the contributor. However, if work on हाकारा । hākārā has been published elsewhere again in print or electronic format, we request the acknowledgement stating that the work was first published in हाकारा । hākārā: an online bilingual journal of creative expression published in English and Marathi. Visit www.hakara.in.
  13. At this stage, हाकारा । hākārā cannot pay contributors. But, we are seeking financial support that may help us pay our contributors in future.

 

 

 

Leave a Reply

Your email address will not be published. Required fields are marked *

Comment

Name *

Website

Notify me of follow-up comments by email.

Notify me of new posts by email.