[ecrea] MEDIASCAPE New Issue, "Space in Film, Media, and Visual Culture", - and CFP, "History and Technology"

/MEDIASCAPE<http://www.tft.ucla.edu/mediascape/>/, UCLAâEUR^(TM)s journal of
Cinema and Media Studies, is pleased to announce the publication of the
Winter 2012 issue, with a theme of âEURoespace.âEUR? We have embraced the
multiple meanings of that word in this issue, with pieces on subjects as
broad as science fiction, video games and city space. As a journal,
/MEDIASCAPE /aspires to represent the complexity of our contemporary
media landscape by not only engaging with a broad range of texts âEUR"
written and moving, film and digital, CGI and human âEUR" but also by
featuring a diverse selection of formats âEUR" video essays and interviews,
scholarly articles and reviews, and round table discussions. As
scholars, researchers, readers and consumers, the spaces in which we
work and the spaces that we study are forever impacting our work, and
this issue hopes to explore some of that complexity with an eye towards
change in the digital realm.

You can view this spectacular new issue here:

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

Submissions: We are also beginning work on our new issue and are still
welcoming submissions until April 1, 2012. Our current Call for Papers
is attached below.



*Call For Papers -/MEDIASCAPE/  - Spring 2012 âEUR" âEURoeHistory and Technology
in Cinema, Media, and Visual CultureâEUR?*

/MEDIASCAPE/, UCLA's online, open-access journal for film, television,
and digital media, is nowaccepting submissions for its next issue. This
next issue considers the theme of History and Technology in Cinema,
Media and Visual Culture. Guidelines for submissions to individual
sections are below.

* *

/MEDIASCAPE/  is proud to publish high quality work that combines the
cutting edge of critical and historical analysis with an impulse to
explore the possibilities of digital publishing. We are eager to work
closely with authors to publish high-quality work that embeds
audio-visual content, video essays, and/or interactive applications. Our
journal also publishes traditional scholarly essays, but we encourage
all authors to consider graphic and video aids. The deadline for
submissions is* April 1, 2012. *

/MEDIASCAPE/  is peer-reviewed and published annually. Andy Young and
Andy Myers, Co-Editors-in-Chief, welcome your queries, comments, and
suggestions by email (atmediascape /at/ tft.ucla.edu)
<mailto:(mediascape /at/ tft.ucla.edu)>.

______________________________________

* *

*FEATURES âEUR" âEURoeDigital HistoryâEUR?*

* *

The digitization of culture writ large âEUR" and the archive in particular âEUR"
necessitates a reevaluation of the study of both media history and
mediated history. How does the transformation of the past into ones
andzeroes affect our conception and study of history? Who owns and
operates the digital archive? What is lost in the continual upgrade of
technology?

/MEDIASCAPE/  is seeking articles that explore new, neglected, or
underdeveloped areas in the field of âEURoeDigital HistoryâEUR? within all areas
of media studies. Topics may included, but are not limited to:

* *

· The effects of digital archives on the study of film and television
history.

· The transformation of our relationship with mediated history due to
the ease at which content creators can dig up cultural artifacts.

· The speed and depth of which the cultural recycling of history has
transformed digital media.

· The voices and artifacts of underrepresented groups (ie. LGBT, race,
ethnicity, gender, etc.) that get marginalized or left out of the
digital archive.

· The dissemination of archived information towards the public at large.

· The increasingly transitory nature of media formats and platforms.

· The history of digital convergence.

· The requirement of multi-platform engagement in historical analysis.

· The historical nature of hyperlinked and embedded media.

· The metadata and organization of digital history.

· The disposability, fragility, and impermanence of digital archives.


Feature submissions should offer a new and unique perspective on digital
history in the field of film, television, and digital media, and are
encouraged to address more than one area of moving image culture. Papers
are accepted from both faculty and graduate students, and should be
15-25 pages in length, formatted with MLA endnote citations, and include
a brief biography of the author. Please direct feature section
questions, proposals, and submissions to Matthew Perkins at
(MatthewCPerkins /at/ gmail.com)  <mailto:(MatthewCPerkins /at/ gmail.com)>  by *April
1, 2012*.

______________________________________

*META âEUR" âEURoeHistory and Digital MediaâEUR?*

* *

Creators of digital media products have significantly altered methods of
film production, distribution and exhibition over the last decade, which
has in turn effectively reshaped academic approaches to film studies.
Scholars who once examined the medium of âEURoefilmâEUR? rather narrowly, as
predominantly text-based, now face with the advent of new technologies a
radically transformed field. Through this process, the archive has
undergone substantial changes as well. Film has become a ubiquitous
medium, readily accessible for both professionals and amateurs. How has
the progression of digital media technologies shaped the role of history
in film and media studies?

The Meta section of/MEDIASCAPE/  is looking for short essays and/or
video essays that examine this central question in regards to the
relation between history and digital media. Submissions may address
subjects which include, but are not limited to:

* *

_The History of Digital Media_

How did digital media evolve and how do scholars approach this
phenomenon in film studies? What are the implications of digital media
for cinema, and what are the connections and incongruities that exist
between the histories of film and digital media?

_Film History in the Digital Age_

How has the practice of film history changed with the advent of the
digital archive? How is film viewed, discussed and perceived in light of
the ubiquitous presence of digital media and what advantages or
disadvantages do digital media technologies pose?

_Historicity and Film Discourse_

How does history figure in the digitally-designed sphere of contemporary
film? How do critics engage with digital media to examine film
historical issues? How does digital media promote or stifle film
historicaleducation?

If you have questions about META submissions, or wish to submit a paper
or project for consideration, please contact Kelly Lake and Matthias
Stork (atMeta.Mediascape /at/ gmail.com)  <mailto:(Meta.Mediascape /at/ gmail.com)>
with the subject header "MEDIASCAPE META" by *April 1, 2012*.

______________________________________

*COLUMNS âEUR" âEURoeHistory Of Media, History Through MediaâEUR?*

* *

The intersection of history and media has created a multiplicity of
complex discourses. For this issue, Columns is seeking submissions that
address the difficultyâEUR"and perhaps improbabilityâEUR"of adequately creating
history /through /media orcreating a history /of /media. Of particular
interest is research that comments on the myth-making power of mediated
history in film, television, and new media. Papers should be
short(800-1500 words, in MLA format) on the role of history in the
larger critical context.

Topics may include but are not limited to:

· What do Historical revisions in Hollywood films do to our concepts of
history?

· In what ways do films treat History as source material for adaptation,
and what methods of adaptation are at play in films about history?

· How do new media texts communicate history and how does it compare to
more traditional forms of media?

· What role does archival and newsreel footage play in constructing
History in documentary films?

· How do historical television shows like/M*A*S*H*/, /The Tudors/,
/Hogan's Heroes, Band of Brothers, /and/  Roots /play in understanding
History?

· What do video game series like/Grand Theft Auto/,/Call of Duty/,
/The Sims/  and/Age of Empires/  tell us about how players encounter history?

Please submit columns and inquiries to Vanessa Mancia at
(vmancia /at/ ucla.edu)  <mailto:(vmancia /at/ ucla.edu)>  by *April 1, 2012*.

______________________________________

*REVIEWS âEUR" âEURoeTechnologies of Media HistoryâEUR?*

* *

Reviews is seeking submissions that investigate how various technologies
of media enable history to be read, constructed, interfaced with,
interfered with, or disseminated. The history of the moving image is
dependent on the technologies used to facilitate a dialogue amongst the
audience, the text, and the extra-text. Digital Media artists and their
audiences have experienced significant technological shifts in the
multi-faceted medium with which they engage, leading to novel styles and
new spaces of representing history. Complicating the ways in which
history is (re)recorded and (re)created by âEURoeolderâEUR? media technologies,
film is now a ubiquitous medium, one that permeates our everyday
consciousness while persistently forging its own historical account. In
general, the history of how media has evolved to its present forms is
rich and varied. This history is intimately connected with the
conversations betweenconsumers and creators, and also dependent on the
technologies of production, distribution, and exhibition.

The following are a few questions that researchers may pursue and
explore in essay, video essay, or other audiovisual formats in reviews
for the upcoming issue of/MEDIASCAPE/:**

_Crafting History/Historical Revision _

How do the technologies employed by media creators enable them to tell
/stories/  of history in contemporary works? What role does fact play and
how do media scholars approach historical incompatibilities presented by
technology?

_Historical Memory in Film _

What are the different ways in which media technologies project memories
onto the filmic narrative? How is the filmic narrative engaged through
memory and identity?

_Media Technology and Economy _

How successful and effective have âEURoevirtualâEUR? technologiesbeen in
transforming or redefining the production, distribution, and reception
of entertainment for audiences? How have these technologies transformed
thebusiness of entertainment in terms of production, distribution and
consumption?

_The Technologies of Film History Pedagogy_

How do the technologies of teaching film history affect the types of
film history taught in higher education institutions, and can these
discursive frameworks be completely mapped to their institutional roles?
Are its methods effective and appropriate for cultivating a new
generation of film and media scholars raised on threats of the âEURoedeath of
cinemaâEUR??

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. The maximum page limit is 20 pages, and the
work must be readable, structured, and visually appealing in the online
format. Please direct reviews section questions, proposals, and
submissions to Dennis Lo, Dana Covit and Janell Rohan at
(mediascapereviews /at/ gmail.com)  <mailto:(mediascapereviews /at/ gmail.com)>  by
*April 1, 2011.*

______________________________________

*General Guidelines:*

All submissions should follow MLA Style guidelines, employ endnote
citations (not parenthetical citations), and comply with the following
formatting requirements:

· No cover page, with title instead centered at the top of the first
page of the article

· Language of document set to English

· Double spaced paragraphs in 12 point font

· 1" Margins

· Endnotes rather than footnotes

· 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 (toMediascape /at/ tft.ucla.edu)  <mailto:(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
/MEDIASCAPE/.

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.