Archive for January 2010

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[ecrea] Mediascape cfp

Tue Jan 19 08:09:30 GMT 2010



From: Mediascape <(mediascape /at/ TFT.UCLA.EDU)>
Mediascape, UCLAâ??s journal of Cinema and Media Studies, is pleased to announce the publication of the Fall 2009 issue. In light of the increasingly diverse range of texts available for study in the present media environment, we sought in this issue to consider genre from our contemporary and multi-media point of view. This issue features work by scholars on topics ranging from westerns and sex comedies to sports media, and includes another round table discussion between Jason Mittell, Scott Ruston, Timothy Shary, and Vernon Shetley. We are also very excited to include a section dedicated to scholarly work done in the medium of visual essays. You can view this spectacular new issue here:

http://www.tft.ucla.edu/mediascape/


We are also beginning work on our new issue and are welcoming submissions:

CALL FOR PAPERS - SPRING 2010 ISSUE

For this issue, Mediascape is considering the theme of the local and global in cinema and media, and visual culture. The deadline for submissions is 30 January 2010.

FEATURES

â??Featuresâ?? is seeking articles that consider themes and variations on traversing the local and global mediascape within all areas of media studies.

To understand media today one must examine the global system of media industries, while also taking into account national and local identities and differences. Synergy between local and global communities has surfaced not only in the broader geo-political arena, but in our creation and consumption of media. As a result, the possibility or predicament of local collective identity enculturation within newly established global marketplace presents itself as a primary concern for media scholars. Do global programs eliminate local production? Has the globalization of the media brought about a Westernization of world media systems? How does the role of the internet come into play regarding the relationship between local users and the power of global media corporations?

Topics may include, but are not limited to:

* Transnational media productions, e.g., How can we conceive of national cinemas in the contemporary media landscape? Are there local or national cinemas anymore? What is the role of local and international film festivals in the global film market? * The role of state and local institutions in shaping transnational strategies, e.g., How have different local government regulations, such as quotas on imports/exports or censorship, affected the flow of media across nations? * Global media governance and the migration of intellectual properties between nations, e.g., How are television shows adapted from one country to another such as American Idol or The Office? * How have new media technologies like the internet and the increased migration of texts across borders impacted the notion of the public sphere? * The use of advertising and marketing in reaching diverse local and global audiences, e.g., How is a film marketed differently for a domestic US market vs. specific states, cities or regions, as compared to the way it is marketed internationally?

Feature submissions should offer a unique perspective on film, television, and digital media are encouraged to address more than one area of moving image culture. Please direct feature section questions, proposals, and submissions to (michelleton86 /at/ ucla.edu) by January 30, 2010.


REVIEWS

Reviews seeks submissions which analyze discourses that complicate the notion of the local and the global in any medium. The object of review can be a film, a TV program, a website, an architectural design, a book, an artwork, an industry/trade report, an advertisement, a tourist brochure, a piece of hardware, a movie review, an academic conference, merchandise ?anything. Becaause the scope of local and global as a theme encompasses a large spectrum of concepts, it is imperative to distinguish between, and specify, the different scales of the local and global. Subjects that may arise include:

* How has the concept of the local and global evolved over time? E.g., how this concept was originally used as a dichotomy (local/global), but is now increasingly used as mutually dependent construct (local.global). * How are the national cinema paradigm and locally specific film conventions being complicated today? Consider the attempt to globally market films dealing with local themes and concerns to â??art-houseâ?? audiences. * How do communities and/or multinational corporations market themselves to their own perceptions of a local market/audience? For instance, how have schools of visual art often presented themselves in highly strategized ways in internationally-renowned museums? And McDonaldâ??s, for example, adopts slightly altered menus and employs highly different marketing strategies for various regions of the world. * How is exhibition operated across cultures? Consider how films originally targeted for a mainstream audience in a non-Western nation, often end up either being exhibited only in film festivals or university circuits in the West. * What are similarities and differences between international gaming cultures and productions? How are video games developed in the US and abroad, and how video games have become a social unifier on a global scale with online gaming technology? * What are the effects of the increased quality in home theater systems in light of technological advances in and content produced for theatrical 3-D projection and the IMAX format? Consider how these two movements relate to issues of spectatorship. * How do the local and global coexist and function in, while addressing dimensions of space, both the localized and the dispersed? Consider new architectural works such as Millennium Park in Chicago.

Reviews must be original, and creativity (in argumentation and/or style) is encouraged. Reviews should be a minimum of 2,500 words, although exceptions may be granted. There is no maximum word limit, provided work is readable, structured, and visually appealing in the online format. Please direct reviews section questions, proposals, and submissions to Dennis Lo at (dennislo /at/ ucla.edu) by January 30, 2010.

COLUMNS

Documentaries, perhaps more than any other media form, have the ability to highlight the tensions between local cultures and the global community. While bringing an observant eye to underreported issues, documentaries may also raise questions concerning the representation of local/national cultures. This issue of â??Columnsâ?? seeks short papers (800-1500 words) on the role of documentary filmmaking in the larger framework of local/global.

Topics may or may not address:

    * Issues of production and/or collaboration, distribution and exhibition
    * Minority and/or cultural expression in documentary
    * Effects of globalization on documentary form and aesthetics
* National/local documentaries and issues of nationalism/cultural performance
    * Documentary as a political, social and historical agent
    * Documentary as memory
* Effects of new media on the documentary form and its ability to communicate local concerns globally
    * Journalism and issues of representation
    * Virtual essays and documentary scholarship

Please submit columns and inquiries to Ben Sampson at (sampson615 /at/ ucla.edu) by January 30, 2010.

META

The pursuit of cinema and media scholarship often leaves unexamined questions about the practice of scholarship itself: how we formulate analysis and argument, why certain issues emerge to the fore, what new forms and expressions of media and cultural analysis enhance our understanding. The META section presents students and scholars of cinema and other media the opportunity to publish work that exemplifies scholastic self-awareness?papers and projects that contempplate academic methods, critique their implications and limitations, and propagate new approaches to media scholarship.

As the very name Mediascape invokes a sense of place and space in visual culture, META presents an opportunity to reflect upon the ways we explore the elastic boundaries of the global and the local in student and scholarly work:

* How have the expanding parameters of production, reception and distribution challenged classical definitions of â??national,â?? â??international,â?? and â??transnationalâ?? for scholars in the field of visual studies today? * What historical and theoretical methodologies are employed to complicate the apparent dichotomy of local/global? * How are borders and territories of media scholarship being contested and revised in the turn toward the global while at the same time calling attention to the importance of local specificity?
    * What does it mean to do transnational scholarship?
* What does the broad concept of â??global villageâ?? mean for visual studies and its future; that is, as scholars we often interrogate global media structures but rarely reflect on the notion of a global village of scholars? * How are spatial geographies mapped onto the study of cinema, television and digital culture that position the object of study but also (re)situate the scholar? * What are the problems and benefits related to the digitization of local archives, and how have they hindered, improved or facilitated scholarship?

These are just a sampling of questions of interest to META for the next issue and we welcome you to present your own lines of inquiry in an original paper or project.

If you have questions about META submissions, or wish to submit a paper or project for consideration, please contact Heather Collette-VanDeraa at (collette17 /at/ ucla.edu) with the subject header â??Mediascape METAâ?? by January 30, 2010.

GENERAL GUIDELINES:

All submissions should follow MLA Style guidelines, employ endnote citations, and comply with the following formatting requirements:

1. No cover page, with title instead centered at the top of the first page of the articleâ?¨2. Language of document set to Englishâ?¨3. Double spaced paragraphs in 12 point fontâ?¨4. 1" Marginsâ?¨5. Endnotes rather than footnotesâ?¨6. Images correctly sized outside of word (sizing them in word slows web editing process) and then placed within the word document's layout where they should appear at publication

Because of the peer review and editorial processes of the journal's different sections, it may take as long as eight to twelve weeks for decisions on submissions to reach the writers. General email inquiries can be sent to (Mediascape /at/ tft.ucla.edu).

MEDIASCAPE COPYRIGHT POLICY:

Articles appearing in Mediascape are accepted on the basis that the material is the original, uncopied work of the author or authors. The ownership of manuscripts for publication in Mediascape shall reside with the author(s), though Mediascape reserves exclusive first rights of publication. This means that Mediascape alone may publish the article for the first time, and the author(s) may not publish the piece elsewhere for a period of 6 months following initial publication.

Following the 6 month first-rights period, the author will retain full rights and ownership to the material, and will be free to re-publish the manuscript elsewhere, provided that full and appropriate credit for first publication be given to Mediascape. In exchange for retaining author ownership rights post-publication, Mediascape requires that authors not submit their manuscripts simultaneously to other journals/publishers while under consideration for publication in Medisascape.

Note on images: Mediascape uses images by permission of the original creator(s), or under the parameters and protections afforded non-profit, educational use by the principles of Fair Use.

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Nico Carpentier (Phd)
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Vrije Universiteit Brussel - Free University of Brussels
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E-mail: (Nico.Carpentier /at/ vub.ac.be)
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