Call for Papers: 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,

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

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

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 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 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 <> and <> *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


Call for Papers
August 30, 2018
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).


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

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

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:

All manuscripts should be sent to 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