Author Archive

Tourism: Visuality and Memory

April 13, 2015

Tourism: Visuality and Memory.
An interdisciplinary conference

University of Plymouth 3 – 5thAugust 2-015

Call for papers

From the early days of the Grand Tour and the collecting of paintings and drawings, to the advent of the first still and movie cameras, via postcards, travel posters and travel documentaries to our contemporary use of digital cameras, camcorders, camera phones and travel blogs, tourism has always been intertwined with the technology of visual imagery. The use of such technology is more than a means to simply record and remember events and places, as it is embedded in complex social practices that encompass notions of both private and cultural memory as much as the creation and consumption of leisure time/spaces.

The aim of this interdisciplinary conference is to examine the relationship between tourism, personal and cultural memory and the technologies of visual imagery in a number of interrelated ways: first, to focus on the social practices involved in the production and consumption of tourist imagery in both contemporary and historical contexts; and secondly, to address the relationship between public and private memory and tourist imagery, and thirdly, to address the use of visual methods in tourism research.

Possible themes include film and TV tourism, including documentaries and films about tourism; the ways in which the visual informs tourist behaviour; the use of personal photographs, home movies and videos; the use of digital images in travel blogs; using photography and video as a research method; analysing photo and film archives and tourism history; analysing postcards and visual memorabilia such as travel posters and other ephemera.

We welcome contributions from a range of disciplines including filmmakers/video producers and photographers who have focussed on tourism or who have worked with the tourism industry in the production of visual promotional material.

Submissions:  Abstracts of no more than 250 words can be submitted to members of the organising committee by June 5th

In addition we strongly encourage people to offer works for screening and exhibition as well as posters, for further details please send an outline of you proposed exhibition/screening to Kevin Meethan / Graham Busby

Organising Committee:

Kevin Meethan           Plymouth University

Hazel Andrews           Liverpool John Moore’s

Graham Busby            Plymouth University

Les Roberts                 Liverpool University

Matthew Pontin       Fotonow, Plymouth

Film Tourism Workshop

April 2, 2015

On May 15th 2015, Film and Television Studies at the University of Glasgow is delighted to host a one day workshop on Developing Film Tourism: Theory and Practice. 

This workshop brings together academics and industry professionals in order to enhance our understanding of film tourism and to consider the resonances it has with other forms of tourism, such as festival, heritage, dark, and medical tourisms. 

Full details, including full abstracts and speaker information, and info on how to register, are available at the link below:

You can also find us on facebook:

Chelsea Birks
PhD Student, Film and Television Studies

Punk Scholars Network 2nd Annual Conference and Postgraduate Symposium 2015

March 26, 2015

In Association with Birmingham City University, The Birmingham Centre for Media and Cultural Research and the London College of Communication.


Following the dynamic emergence of punk in the UK, USA and Europe in the 1970s, the subculture spread widely. As punk and new wave gained commercial and critical success, together with an attractive notoriety, it soon began an ongoing journey around the globe – both as a product and as an ideology. Punk, then, despite its omnipresence in contemporary underground and popular cultures, is clearly more than legacy music. More than forty years after the proto-punk progenitors of Detroit and New York unconsciously launched an underground revolution, to continue what some of the 60’s and 70’s anarchic counter culture propagated, and after untold premature obituaries, it appears that punk – in terms of music, philosophy, and identity – remains in rude health.

Punk scenes continue to thrive as far afield as Russia, South America, India, Pakistan, China, Japan, Eastern Europe, Africa, the Middle East and Indonesia – 2011 saw the first official record release from a Saudi Arabian punk band, Sound of Ruby, while other scenes have established their mark in Madagascar, Algeria, Uzbekistan, Kyrgyzstan, even Tibet and the Himalayas. Meanwhile, nearer to home, an underground punk scene never actually went away and continues to ‘mutate and survive’– ranging from the continued support for longstanding bands and scenes, to the network of emerging small-scale gigs, fanzines, music distribution, (sub)cultural and political activities of a truly cross-generational subculture.

This joint conference and postgraduate symposium seeks to illuminate the current landscape of contemporary punk in all of its global, musical, political and (sub) cultural manifestations. Suggested topics include (but are not limited to)

·        International/national contemporary punk scenes and networks

·        Contemporary punk and politics

·        Contemporary punk and gender

·        Subcultural scenes, tribes and neo-tribes informed/influenced by punk

·        Contemporary punk identity

·        The Design and Aesthetics of Contemporary Punk

·        Contemporary punk fanzines and digital publishing

·        Ageing in a contemporary punk scene

·        The old and the new; inter/intra generational scenes, retro scenes, controversy and tensions.

·        Fan practices in contemporary punk;

·        Contemporary punk as resistance

·        Contemporary punk music: Musicology, performance, new genres and hybridization

·        Punk commodities and consumerism: From the role of the boutique to the online punk distro

·        Contemporary punk and digital media; digital production, distribution and consumption. DiY media, YouTube, social media.

·        Punk for Sale: New genres and hybrid musical developments in punk musical aesthetics

The programme will consist of keynote speakers (tbc) and a number of thematically grouped panels for both academics and postgraduates.  By creating a dual purpose to the conference the Punk Scholars Network aims to bring together established academics and the next generation of punk scholars in a supportive and colloquial environment, which we hope will encourage networking opportunities, ideas exchange and potential future research collaborations.

Post graduates and graduates can present work-in-progress papers on their PhD thesis, Master’s dissertation or graduate dissertation.

Alongside this the organisers plan to have an art exhibition exploring the visual identity of contemporary punk and live music from Birmingham’s resilient punk scene.

Each paper should last no more than 20 minutes and proposals should be submitted in the form of an abstract of c.250 words. All proposal submissions should also include:

§  Full title of the paper

§  Full name, contact details, 150 word biography and institutional affiliation

§  Your academic status-post graduate/graduate or ‘established’ academic (this is for the purpose of panel allocation)

§  Any requirements (projector, CD/DVD player, OHP, etc)

Deadline for receipt of proposals/abstracts is 31st June 2015.

Proposals should be sent in the form of an abstract as an  e-mail attachment

The conference programme will be announced in September 2015.

The conference and symposium is scheduled to take place at Birmingham City University either 29th/30th of October 2015 or 5th/6th November 2015 (TBC).

It is intended that a book of conference proceedings will published.

Call for Submissions to a Special Issue of the Journal of Popular Film and Television on Holmes Onscreen (Tentative Title)

March 22, 2015

Call for Submissions to a Special Issue of the Journal of Popular Film and Television on Holmes Onscreen (Tentative Title)

Edited by Tom Ue, Department of English, University College London

Heralded by The Telegraph as a ‘global phenomenon,’ BBC’s Sherlock is now one of the most commercially and critically successful television series of all time. The global recognition of Sherlock, combined with the recent discovery of Arthur Berthelet’s 1916 silent film Sherlock Holmes starring William Gillette in his only screen appearance as the famous sleuth, makes it especially timely for film scholars, students, and audiences to reassess the cultural legacy of Holmes onscreen. Forthcoming work by Hills (2016) and Poore (2016) argue strongly for Holmes as a continuing source of scholarly interest, spurring us to look at Holmes’ filmic lives.

This special issue of the Journal of Popular Film and Television will bring together original scholarship on Holmes adaptations. This collection will draw upon, and build on, recent work on Holmes’ reception by Porter (2012), Vanacker and Wynne (2012), and Stein and Busse (2012), and on Holmes’ early readers and viewers by Clarke (2014) and Werner (2014) by historicizing and by exploring manifestations of Holmes in films and on television. Holmes Onscreen (tentative title) will analyze the reasons behind Holmes’ continuing fascination for viewers and examine their treatments of a wide range of social issues including race, gender, terrorism, and international relations. This special issue will expand upon the conversations that began in New Directions in Sherlock, a one-day symposium organized by Tom Ue and held at University College London. We encourage new historical, theoretical, analytical, and critical perspectives on Holmesian adaptations, both the canonical and the neglected, with a view of furthering scholarship both about the character and about his persistence in filmic imagination.

Sample topics:

Holmes and women
Holmes and men
Holmes and the world
Holmes and the form of detective writing
Holmes and fear
Holmes and doubt
Sherlock and Holmes
Holmes in black and white
Holmes and comedy
Holmes and the neo-Victorians
William Gillette and Holmes
Holmes and Raffles
Holmes in theatre and film
Holmes and the family film
Holmes’ reception

Please note that papers that involve only literature/film and/or literature/television comparisons will not be considered. Please direct your queries and your 200-word working abstract, along with a one-paragraph biography, to Tom Ue at by 15 July, and feedback will be returned by 20 July. Completed papers of no more than 25 double-spaced and MLA-styled pages are due 15 November, whence they will be sent out for peer review.

Participations: Journal of Audience & Reception Studies

March 19, 2015

Special themed issue – Inside-the-scenes: The rise of experiential cinema

Guest Editors: Sarah Atkinson and Helen W. Kennedy, University of Brighton

In recent years, there has been a growing trend toward the creation of a cinema that escapes beyond the boundaries of the auditorium whereby film-screenings are augmented by synchronous live performance, site-specific locations, technological intervention[1], social media engagement, and all manner of simultaneous interactive moments including singing[2], dancing, eating, drinking[3] and smelling[4].  Whilst recognizing that these experiences are not radically new (some belong in a continuum of peripheral marketing around film screenings that have existed since early cinema) we do now see these previously marginal experiences (i.e.  The Rocky Horror Picture Show) beginning to find access to a much wider public, and a significant rise in organisations dedicated to the design and delivery of augmented cinematic main events (such as Secret Cinema[5] and Sneaky Experience). We would like to make the distinction between the focus of this CFP – which is directed toward the study of ‘event-led’ cinema – the creation of live events around a particular film screening, and its contrasting proposition – ‘event cinema’ – thecoverage of live events in cinema auditoriums (such as sport, opera and theatre – around which there is already much lively academic discussion, and an organization established to support such activities[6]). This CFP is situated with the context of a growing demand for atmospheric, immersive and participatory cinematic experiences and the recent turn towards event-led distribution models, within a burgeoning experience economy. This area presents a fertile site for analysis and one that remains relatively untapped within past and current academic literature. This special issue aims to bring together the latest audience research into these areas to interrogate and explore the experiential cinema economy and to provide deepened understandings of recent immersive cinema phenomena through the analysis of both industrial and audience perspectives; to reveal economic, social and technological imperatives which underpin these innovations; and to evolve new conceptual frameworks and language of analyses suitable for their study.

The editors are particularly interested in encouraging submissions from a range of research contexts and from a diversity of methodological approaches. We are happy to receive submissions from a variety of disciplines such as film, media, games, theatre & social media studies. We are keen to encourage submissions from work that has combined multiple methodologies leading to innovations in audience research. Contributions will be welcomed, but are not limited to, articles addressing the following questions or areas of enquiry:

·      To what extent do these experiences extend and intensify narrative affect, heighten spectatorial absorption and enable vicarious audience engagement?

·      How are non-fictional augmentations such as cast and crew satellite link-ups to Q&A staged in order to engage an audience with a greater expectations of interactivity?

·      What new business models are emerging? At recent film festival events, industry talk and focus has turned to ‘eventising’. This is high on the agenda of an industry seeking to evolve new business models which address an apparent audience demand for enhanced and/or augmented experiences.  

·      How do such experiences embrace or challenge existing fan practices including cosplay?

·      How are the relations and tensions between the experience economy and the social media economy played out within these experiences?  (i.e. participation in events engendered by the experience economy  provide audience members who are engaged in the social media economy with the fodder with which to sustain their voracious social media streams)

·      How far can these augmented cinematic events be understood with recourse to a wider understanding of a shift in focus towards the design of experiences and multiple points of access around key (and often much loved) intellectual properties?

·      Where do the boundaries of the filmic-text, traditionally the key site for analysis in film studies, begin and end within immersive and participatory cinema experiences?

While we expect that not every submission will include any specific kind of audience research, we would welcome submissions that address the implications their investigations and arguments have for audience experience.

Please submit 500-word abstracts along with 100-word author biographies to both :

Sarah Atkinson: Helen Kennedy:

·      Deadline for abstracts: Tuesday 5thMay, 2015

·      Decisions issued to authors: w/b 1st June, 2015

·      Deadline for full papers: Tuesday 1st September, 2015

·      Journal publication: May 2016

Please see journal information including submission guidelines at:

[1] The first 4DX cinema opened in the UK earlier this year in Milton Keynes, UK.

[2] See

[3] Last year, Edible Cinema delivered a screening of Paolo Sorrentino’s The Great Beauty, using ‘taste, aroma and texture to heighten the viewers’ sensory experience of the film’s most famous scenes.’

[4] Polyester, the 1981 John Waters film was recently re-screened at 35 UK cinemas, in the way that it was originally intended, accompanied by audience interaction with the Odorama ‘Scratch n’ Sniff’ cards, as part of the National Scalarama film festival.

[5] The editors have themselves carried out extensive analyses of Secret Cinema, see bothAtkinson, S. and Kennedy, H. (2015):

–        Tell no one: Cinema as game-space – Audience participation, performance and play, G|A|M|E: The Italian Journal of Game Studies, 5/2015

–        Not so secret cinema: when independent immersive cinematic events go mainstream, SCMS conference, Montreal, March 2015

[6] The Event Cinema Association seeks to support and promote event cinema – see

MeCCSA 2016 Conference – Call for Papers

March 19, 2015

6-8 January 2016

Canterbury Christ Church University

Theme: Communities

Deadline for proposals: 8 September 2015

We are pleased to invite you to submit abstracts, panel proposals and 
posters for the next Annual MeCCSA Conference, to be held 6-8 January 
2016 at the School of Media, Art and Design, Canterbury Christ Church 
University, Canterbury, UK.

The theme of the MeCCSA 2016 is ‘Communities’. We invite papers and 
panel proposals that address this theme, examining how we might advance thinking on for example: communities in the digital age; communities and the commons; communities and cultures; communities on the margins; local and community media; politics and policies of communities; community engagement and cohesion; inclusion and exclusion in communities; communities and the past; media, cultural and communication practices of different types of communities.

We also welcome scholarly papers, panels, practice contributions, film 
screenings, and posters across the full range of interests represented by MeCCSA and its networks, including, but not limited to:

·         Film and television studies and practice

·         Radio studies and practice

·         Cultural and media policy

·         Representation, identity, ideology

·         Social movements

·         Women’s Media Studies

·         Disability Studies within media studies

·         Approaches to media pedagogy

·         Children, young people and media

·         Diasporic and ethnic minority media

·         Political communication

·         Methodological approaches

·         MeCCSA subject areas as disciplines

Confirmed plenary speakers

Confirmed speakers that will participate in keynote panels include:

·         Professor Mark Deuze, University of Amsterdam

·         Professor Jeremy Gilbert, University of East London

·         Dr Peter Lewis, London Metropolitan University

·         Professor Robin Mansell, London School of Economics

·         Sara Moseley, Distinguished Visiting Fellow and Development 
Director, Cardiff University

·         Jeremy Seabrook, Author and Journalist

·         Professor Helena Sousa, University of Minho

·         Hilary Wainwright, Journalist and Researcher, Transnational 

·         Professor Claire Wallace, University of Aberdeen

Submission guidelines

Abstracts of up to 250 words should be submitted by 8 September 2015 through the conference website ( We also welcome panel proposals and these should include a short description and rationale (200 words) together with abstracts for each of the papers (150-200 words each including details of the contributor), together with the name and contact details of the panel proposer. The panel proposer should co-ordinate the submissions for that panel as a single proposal.


We actively support the presentation of practice-as-research, in particular when there is insufficient time to present a complete work during parallel sessions. We are therefore providing a dedicated 
presentation space to display practice artefacts including screenings, 
computer-based and multi-screen work (where possible). For displaying  practice work, please include specific technical data (eg duration, format) and an URL pointing to any support material when submitting your abstract.

Conference contacts:


Email address:

Twitter: @meccsa2016

We look forward to seeing you in Canterbury!

About MeCCSA

MeCCSA is the subject association for the field of media, communication and cultural studies in UK Higher Education. The field encompasses the study of audiovisual and print media including film and TV; journalism; radio; photography; creative writing; publishing; interactive media and the web. The field also includes higher education for media practice and 
practice research – film and TV production, journalism practice, and the use of new, digital information technologies in the arts, entertainment, 
social media and gaming. For further information please see:

About Canterbury

Canterbury is an important historical city in the south east of England, one hour by train from London. The conference will be held on the main 
campus of Canterbury Christ Church University, which is part of the 
Canterbury UNESCO World Heritage Site. The University has offered degrees in media and related subjects since 1980.  The School of Media, Art and Design currently provides undergraduate and postgraduate programmes in media and communication, journalism, film, television, radio, animation, photography, digital media, web design, graphic design and fine and applied art. The School has a strong ethos of theory-practice interchange and an interdisciplinary research culture. The School runs the Centre for Research on Communities and Cultures and is a leading player in the Centre for Practice-Based Research in the Arts.

CFP: Turning the Page: Digitalization, movie magazines and historical audience studies

March 19, 2015

A Conference organized by NoRMMA, CIMS and DICIS
Ghent University (Ghent, Belgium), 12 and 13 November 2015

Keynotes: Geneviève Sellier, University of Bordeaux; Eric Hoyt, University of Wisconsin-Madison

NoRMMA, the University of Kent’s Network of Research: Movies, Magazines and Audiences, and CIMS, the Ghent University’s Centre for Cinema and Media Studies, will be holding a conference on the impact of 
digitalization for the study of movie magazines and historical audiences. The conference is supported by the Digital Cinema Studies network DICIS. Proposals for papers are now invited.

The recent advances in research made by proponents of New Cinema History 
underline the importance of extending the field of scholarly focus beyond the film text to the wider movie-going experience. While material objects such as company records, theatre ledgers and fan letters have now gained a respectable place in this research, the movie magazine, whether fan or trade, still seems to be neglected or regarded with suspicion. This is perhaps due to the fan magazines’ reputation for purveying scandal and gossip, their frequent mingling of gushing tone and blatant falsehood. Since the trade papers were aimed at industry insiders, theatre owners and exhibitors, studio employees and agents, periodicals such as Variety, The Hollywood Reporter and Motion Picture Herald have also been overlooked as somehow biased towards business interests. However, by treating movie magazines as the objects of primary rather than secondary research, important findings can be generated.

As Anthony Slide has noted, in their heyday from 1920s to 1950s, there 
were around 20 major movie magazines on offer every month at American newsstands (2010: 3), with more offered in Europe and across Latin America; trade publications, though sold to and for different markets, were also produced in steady numbers within each country involved in film production and distribution. This resulting material gives investigators a huge potential resource for study, especially now that the digitalization of periodical collections is becoming more common. With the Media History Digital Library making multi-issues of both fans and trades available for download, one of the major problems with working on these publications – access – is partially solved, for researchers now and in the future when even fewer of these ephemeral 
artefacts may remain physically available.

Robert Scholes and Sean Latham, modernist magazine scholars, announced the birth of a new academic area of interest in 2006, periodical 
studies, and noted further that “The rapid expansion of new media technologies over the last two decades…has begun to transform the way we view, handle, and gain access to these objects. This immediacy, in turn, reveals these objects to us anew, so that we have begun to see them not 
as resources to be disaggregated into their individual components but as 
texts requiring new methodologies and new types of collaborative investigation.” (PMLA 121.2) The networks hosting this conference believe that the study of movie magazines can be just as revealing to film and cultural historians as the highbrow Modernist and Little 
Magazines, and that the fans and trades equally demand “new methodologies and new types of collaborative investigation.”

This conference therefore aims to bring together researchers whose work 
examines movie magazines intended for any audience and from any period 
or locale. We hope to attract colleagues from a wide range of disciplines who wish to pose questions about how to read these artifacts, how to interpret them, and how to assess the impact of 
digitalization on periodical research. We are seeking abstracts for individual papers and panels of three or four contributors on topics including, but not limited to:

* the advantages and potential disadvantages of digitalisation

* comparative studies of a topic in the trades and fan magazines

* imagining/recovering the audience of the fan magazines

* reading movie magazines as extensions of the cinema-going experience

* idiosyncrasies of national models of movie magazine – alternatives to the Hollywood template

* methodologies for working with the fans and trades

* issues of censorship and industry regulation

* cross-overs in methods and objects of research between the areas of magazine, and periodical, studies

* we are particularly keen to see proposals that cross the borders 
between academia and industry, and/or archives and libraries

Please send abstracts of 300 words and a 100-word biography to by 15 May 2015, and address any queries to the same email. After the conference, you may be invited to submit a revised 
version of your paper for consideration in a special issue or edited volume to be organized by the planners.

Conference committee: Tamar Jeffers McDonald & Lies Lanckman, University 
of Kent (UK) * /// Daniël Biltereyst & Lies Van de 
Vijver, Ghent University (Belgium) * *

CFP: Convergence: Special themed issue

March 13, 2015

CFP: Convergence: Special themed issue
Vol 22, no 3 (August 2016)

Connected Viewing: Multi-Platform Media in the Digital Era
Guest Editors: Jennifer Holt and Karen Petruska

This special issue aims to bring together researchers from film, television, internet, and game studies to examine evolving trends in connected viewing, an evolution in how screen media is created, circulated, and consumed. Specifically referring to a multi-platform entertainment experience, connected viewing also relates to a larger trend across the media industries to integrate digital technology and socially networked
communication with traditional screen media practices. This special issue will explore connected viewing as a crucial frame through which we can understand contemporary media in the digital era.

Connected viewing is more than digital distribution, for it encapsulates the broader ecosystem in which digital distribution is rendered possible
and new forms of user engagement take shape. Connected viewing is as much about the aesthetic and social experience of second-screen media as it is about the intermediaries that deliver content to mobile devices and the gatekeepers that regulate access. It also extends to those firms and
individuals operating outside of the mainstream who are looking to create
innovative connections to the digital, global, and mobile audience.

This call for papers invites contributions that focus on the evolving economics, technologies, regulations, texts, and audience practices of
connected viewing. Possible topics may include digital distribution
technologies and platforms; global markets and audiences; the economics of connected viewing; web series and transmedia content; data collection and
privacy; cloud technologies and internet infrastructure; network neutrality, internet governance, and other regulatory issues; audience engagement and fandom.

Contributions on the following questions are welcome, but we are open to any substantive inquiry:

**What are the historical continuities that limit or expand the landscape
for digital media innovations?

**Legacy companies today compete not only with each other but also with new entrants like Netflix and Amazon. How is the struggle between these
companies transforming traditional media practices?

**What innovations has connected viewing brought to the production and
circulation of content, especially across platforms? How has this affected
creative labor?

**What are the emerging business models driving connected viewing, and how might these impact audience practices and priorities (i.e. in terms of
digital divides, affordable content, privacy protections, etc.)?

**What are the most dynamic connected viewing developments in Latin American, Asian, European, or emerging economic markets?

**Do “independent” companies have a competitive advantage in the connected viewing market for either film, TV, or games?

**What audiences have the advances of connected viewing left behind,
particularly considering racial, gender, class, and age differences? Alternatively, how have audiences pushed connected viewing practices forward in ways media companies have not?

**How is connected viewing transforming ideals of the public sphere and community life?

Research articles will be in the range of 6,000-8,000 words and all submissions should be formatted in the SAGE Harvard reference style.

We are also interested in publishing interviews of 3,000-5,000 words with
connected viewing creators, intermediaries, distributors, etc. If you are interested in conducting an interview for this issue, please email the editors with a brief description to determine suitability.

Please send submissions of full papers to the editors by 31 July 2015. All
correspondence and submissions to Karen Petruska (

You can read more about Convergence: The International Journal of Research
into New Media Technologies here:

Audience research in a ‘post-media’ age? Reflections on media-centric and non-media centric approaches to researching audiences in the 21st century

March 9, 2015

ECREA Audience and Reception Studies Conference 2015

25-27 June 2015, University of Tartu, Estonia

Deadline for submission: 15th April 2015. Notification of acceptance: 25 
April. Conference Fee – 55 Euros.

As media environments diversity around us, and audiences continuously 
commute across a range of different communicative spaces, encompassing a wide variety of platforms, the centrality of media and its texts in our 
analysis of audiences has started being questioned. There is a strong argument for retaining a focus on texts (and their interpretation) at a time when it is only too easy to claim that texts are far too fluid, far too many and far too ambiguous now for ‘text’ to be retained as a basis of interrogation in audience studies. Audiences continue to interpret, listen, receive, produce and share texts and therefore, the media 
continues to be central in our endeavour as audience researchers. On the other hand, a new wave of research in our field argues for a non-media 
centric approach to audiences, where there is a shift of focus from the interpretation of specific texts to the spaces occupied by audiences, to 
audiencing being analysed not in response to a particular genre or 
format, where the focus on media and reception is replaced by a focus on 
spatiality and practices outside of the space in front of the television screen. This conference seeks to bring together scholars who advocate a retention of focus on texts and interpretation with scholars who ask for a non-media centric approach to the field.

We are looking for abstracts from both sides of the media-centric and non-media centric approaches to audience research. Abstracts could be theoretical reflections, methodological reflections or conventional presentations of well-theorised empirical work, as long as the topic relates to the theme of this conference. Some potential areas we are looking to address include, but are not restricted to –

• Non-media centric theoretical approaches to audiences

• Text-centric theoretical approaches

• New media, audiences and the role of ‘text’

• Spaces, places, urban geographies in relation to being audiences

• Advertising and audiences

• Cities and audiences

• Ethics, morality and audiences in an age of converged media

• Tourism, global flows and transnational audiences

• Meta reviews or birds’ eye views of the field

• Empirical and theoretical papers

Keynote speakers

Prof. Triin Vihalemm, University of Tartu, Institute of Social Studies

Prof. Louise Phillips, University of Roskilde, The Department of Communication, Business and Information Technologies, Dialogic communication

Additional session: Young scholars’ short intensive course: Analysing 
Dialogue, Participation and Power.

Around the conference, prof Louise Phillips and prof. Pille Pruulmann-Vengerfeldt will also host a designated young scholars seminar looking at the questions of dialogue, participation and power where the focus will be on prof. Phillips’ Integrated Framework for Analysing Dialogic Knowledge Production and Communication (IFADIA) which combines Bakhtin’s dialogue theory, Foucauldian discourse analysis and elements of Action Research and STS. The focus on the course will be on theorising and analysing forms of participation in terms of IFADIA’s Bakhtinian and discourse analytical approach. The framework will be introduced during lectures and then students’ PhD projects will be discussed through a focus on how to analyse the co-production and negotiation of meanings in different contexts that co-constitute/shape processes of meaning-making. Event is open to all interested young scholars from across and around communication studies interested in the issues of dialogue, power and communication. If you wish to include your PhD project in the discussion, please submit short project abstract via the conference submission form

There is no additional fee for Young Scholars course.

Formats for submission

Please submit abstracts up to 200 words by 15th April on our conference 
paper submission portal available at this link:

Notification of acceptance/rejection will be made by 25th April.

Best regards,

Ranjana, Pille and Jakob (ARS Section Management Team)

Local organisers: University of Tartu, Institute of Social Sciences: 
Ragne Kõuts, Inga Kald, Ene Selart,Katre Sakala and Kristel Vits.

Conference fee is 55 EUR and this includes conference materials, coffees 
lunch and dinner during the conference.


The conference will take place in the University of Tartu, Institute of 
Social Sciences ( The sessions of the conference 
will be located at the historical building of Institute of Social Sciences, in the very heart of the beautiful downtown of Tartu (, in the walking distance of number of 
hotels and restaurants.

The nearest airport in Tartu has direct flights to Helsinki, the biggest Estonian airport in Tallinn is 2.5h bus ride or 2 hour train ride away, but bus connections also provided access to Riga airport.

CFP: Routledge Companion to Adaptation

March 5, 2015

We are soliciting contributions for the new Routledge Companion to Adaptation.  The book is under contract, and publication is expected in late 2016 or early 2017.

As a Routledge Companion, this book will offer a wide-ranging overview or perspective on current critical approaches and discourses as well as develop new perspectives as and when appropriate. It will still include source-oriented studies, such as novel-to-stage, film-musical-to-stage-musical etc., but it will go beyond the confines of such parameters by structuring itself around adaptive attitudes, processes and histories. Thus, instead of focusing entirely on the rather limiting and limited singular case-study approach so common in Adaptation Studies to date, its emphasis will be on the “big questions” of adaptation, the history of adaptation, and on adaptation as scholarly practice.

We are looking for contributions under the following headings:

This section will broadly fall into two sections: the history of adaptation, and adaptation as historiography.  Proposals which deal with one of the following are particularly welcome:

·         Adaptation in a pre- and post- copy-right context (for example, an analysis of stage adaptations pre-1886-Berne Convention)

·         Adaptation and changing notions of the author and authorship

·         Adaptation and the concept of the original

·         Adaptation and the archive

·         Marginalisations of adaptation histories

·         Critical history of attitudes toward adaptation as a creative form

·         Massive texts and/as adaptation

·         Defining adaptation as a function of History

This section will address adaptation in terms of global politics and power relations. Proposals which fall under the following headings, and include an assessment of non-western practices, are particularly welcome, as are investigations of the relationship between first, second and third world flows of adaptation:

·         Mapping of adaptation activities in terms of political hegemonies

·         Mapping of adaptation activities in terms of ideological hegemonies

·         Mapping of adaptation activities in terms of cultural hegemonies

·         Adaptation of / in space and place

·         Adaptation and notions of diaspora

·         Cultural adaptations and adapting culture

·         Defining adaptation as a function of place

Adaptation changes identities, but may also be described as a function of Identity-building. Adaptations are shaped by individual, often idiosyncratic choices, but are also crucially determined by contexts of identity politics and cultural ideologies (and in turn intervene in these fields). This section invites contributions that address the interplay of adaptation and identity on a variety of classic sociocultural levels (nation, ethnicity, class, gender, age).Furthermore, this section will question the binary established between source and adaptation and instead, investigate text as a site of multiple identities:

·         Adaptation, nation and heritage

·         Adaptation and ethnicity

·         Adaptation and class

·         Adaptation and acculturation

·         Gendered adaptation

·         Idiosyncrasy and adaptation (originality)

·         Age and adaptation (identity formation, youth, young adult markets, other age groups)

Adaptation must be, necessarily, intertwined with and embedded in uses and displays of technology. This section aims to investigate the relationship between adaptation and technology not only with regards to specific adaptions but also whether and to what extent the nature of technology available shapes the process, the product, and the reception of adaptation.

·         Defining adaptation as a function of technology

·         Adaptation in temporal (i.e. novel, drama, moving image) and spatial arts (i.e. photography, painting, installation)

·         Stage technologies and adaptation (puppets, opera, laterna magica, shadow play etc.)

·         Adaptation, intermediality and media specificity (adaptation as transcoding)

·         Intramedial adaptation ( screenwriting, illustrated books, poetry-into-novel, drama-into-poetry, pastiche, simplified versions, bowldlerisation, censorship))

·         Adaptation and transmediality (social media, franchises, crossing media borders, ekphrasis, filmed theatre, ‘theatred’ film)

·         Adaptation and serialization (serialized novels, TV)

·         The sounds of adaptation (radio, audiobooks, music)

Adaptation and new visual cultures (videogames, graphic novels)


All adaptations are “receptions,” from one perspective, but this section of the book will focus specifically on the structuring and de-structuring consequences of recognizing that adaptations exist only in their reception and recognition. 

·         Defining adaptation in terms of reception

·         Adaptation as ‘enacted reception’

·         Familiarity and recognition

·         Adaptation and memory

·         Adaptation of scholarly or critical contexts

·         ‘Phantom’ adaptations

·         Fan fiction and film as adaptation

Please, send a 300-500 word abstract no later than 17 April 2015.

If your proposal is accepted for inclusion in the Companion, you will be notified during May 2015. We expect the chapters to be submitted in September 2015 with an aim to publish the Companion by 2016/17. A more detailed time-line will be made available to authors once their proposals have been accepted.

With best wishes from the editorial team, Dennis Cutchins, Katja Krebs and Eckart Voigts


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