[Commlist] CfP: Media & Jornalismo - Journalism and fiction

Cfp: Media & Jornalismo - Journalism and fiction

Editors:
Mar Chicharro-Merayo (Universidad de Burgos)
Javier Mateos-Pérez (Universidad Complutense de Madrid)
Lorena Antezana (Universidad de Chile)

Important dates:
Article submission deadline: January 15, 2024
Editors’ decision: May 2024
Expected publication date: May/June, 2024

Important note: no payment from the authors will be required.

The history of journalism was first captured on celluloid with the 
Lumières’ 1895 moving image of a train steaming into a station. The 
brothers wished to open "their objectives to the world", to reflect the 
reality of the planet, to inform. It is well established that 
audiovisual journalism was born and developed within the framework of 
cinema. The seventh art fostered and popularized journalism through 
documentaries and newsreels from around the globe which, together with 
fiction, were the genres most beloved and followed by the public.
Audiovisual journalism was to later establish itself on television, 
where it spread as informative content, consolidating its place on 
programming schedules and creating its own audiovisual language. At the 
same time, journalism was carving out a space for itself in audiovisual 
fiction through stories showing the profession in practice, events based 
on real life, or stories featuring journalists themselves -or others 
from the communication industry-, that have configured a subgenre of 
journalistic fiction, an area which in recent times has produced some 
outstanding work, and which has been broadcast on the many different 
screen formats that make up the audiovisual industry.
Thus, films like Citizen Kane (Orson Welles, 1941); Ace in the Hole 
(Billy Wilder, 1951); All the President's Men (Alan J. Pakula, 1976); 
The Year of Living Dangerously (Peter Weir, 1982); The Truman Show 
(Peter Weir, 1998); The insider (Michael Mann, 1999); Good Night, and 
Good Luck (George Clooney, 2005); State of Play (Kevin Macdonald, 2009); 
Spotlight (Tom McCarthy, 2015); The Post (Steven Spielberg, 2017); 
etcetera, make up a solid legacy of work about journalism and the media, 
which have been joined by another small contingent of programs 
conceived, produced and broadcast on television, such as Lou Grant (CBS, 
1977); Murphy Brown (CBS, 1988); Periodistas (Tele5, 1998); State of 
Play (BBC, 2003); The Hour (Prime, 2011); The Newsroom (HBO, 2012); 
Secret City (Foxtel, 2016); Crónica de sucesos (TVE1, 2016); Press (BBC, 
2018); The Morning Show (AppleTV, 2019); Blinded (TV4, Sweden, 2019); 
Bala loca (Netflix, 2016); July 22 (NRK, 2020); among others.
Apart from being represented in film and television fiction, journalism 
is also capable of presenting its work in feature film format. 
Documentaries are the most common genre for this perspective, though in 
recent times narratives typical of fiction have been appearing and have 
shifted to the setting of journalistic genres to give greater appeal to 
the author’s message, to make it touch the audience. In the same way, 
techniques such as storytelling, proposals such as docudramas, or more 
heterodox formats such as docuseries or audiovisual essays have become 
more commonplace. They propose mixtures of codes that broaden the 
horizons and blur the boundaries between information and entertainment.
Starting from these initial coordinates, the monograph proposed for 
Media & Jornalismo aims to contribute to debate, to research, and to 
reflection, setting out the academic implications. Researchers are 
encouraged to submit papers that address approaches such as 
representations of journalism in the audiovisual world; the relations 
between information and fiction; or the new hybrid formats that are 
being used to showcase journalists’ work.

Contributions to the monograph may include, but are not limited to, the 
following topics:
- The relationship between news genres and fiction formats: general issues.
- The creation, dissemination, and consumption of products in which 
information and fiction are connected.
- Uses of genres and strategies that hybridize information and fiction: 
docudrama,
- docuseries, reality television.
- Professional deontology and ethics in the face of the hybridization of 
content and codes.
- Information and fiction narratives: synergies and contagion.
- Fiction as a source of information. The case of historical fiction and 
memorial processes.
- Television fiction and journalistic imaginaries. Representations of 
journalism through fiction. The female journalist in fiction.
- Film journalism. Case Studies. The adaptation of journalism to fiction.
- Representing reality. The documentary and the audiovisual essay.
- Reception processes: audiences face confusion between reality and fiction.

Revista Media & Jornalismo (RMJ) is an open-access peer-reviewed 
scientific journal that operates in a double-blind review process and is 
indexed in Scopus. Each submitted work will be distributed to two 
reviewers previously invited to evaluate it, according to academic 
quality, originality, and relevance to the objectives and scope of the 
theme of this edition of the journal.

Articles can be submitted in English, Spanish, or Portuguese.
Manuscripts must be submitted through the journal's website 
<https://impactum-journals.uc.pt/mj 
<https://impactum-journals.uc.pt/mj>>. When accessing RMJ for the first 
time, you must register to be able to submit your article and accompany 
it throughout the editorial process. Consult the Instructions for 
Authors and Conditions for Submission.

For more information, contact: (patriciacontreiras /at/ fcsh.unl.pt) 
<mailto:(patriciacontreiras /at/ fcsh.unl.pt)>

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