[ecrea] CFP: NECSUS Spring 2019 on the newsletter

*/CFP: NECSUS Spring 2019 Emotions /*

*//*

**

Guest edited by Jens Eder (Film University Babelsberg Konrad Wolf), 
Julian Hanich (University of Groningen), and Jane Stadler (Swinburne 
University)

For more than two decades emotions have been a major topic of discussion 
and contention in film and media studies. From cognitive theories and 
phenomenology to affect studies, many different approaches have been 
suggested, many books written, and many insights won. However, some 
crucial questions have barely been discussed. This special section 
#Emotions takes stock and seeks to advance the field in new directions. 
We suggest a /conceptual/, a /contextual/, an /ethical/, a /political/, 
and a /media-comparative/ expansion, thus showing the urgency of 
thinking further about the interconnection between contemporary media 
and the emotions of their audiences.

We are primarily interested in contributions that focus on emotions that 
are actually felt by viewers, readers, gamers, users, or prosumers, and 
not emotions represented in media, for instance by way of characters. We 
are also looking for thick descriptions of emotional experiences and 
well-chosen examples of how it feels to undergo a specific emotion in 
concrete media engagements and environments. Moreover, we are interested 
in the specific dynamics of situated, collective emotional experiences 
of different kinds and groups of viewers and users.

*Contributions may focus on but are not restricted to the following 
topics: *

* Conceptual clarifications: What distinguishes emotions from affects, 
moods, feelings, desires, and other cognitive and embodied responses to 
media texts, technologies, and experiences?

* Unnamed emotions: Which emotions do we experience when we engage with 
films, television series, or computer games, and which of them do not 
have a name (yet)? Do some societies and cultures have names for 
emotional experiences which others lack (e.g. /rasa, Schadenfreude, 
ijirashi/)?

* Collective emotions: When, why, and in what media contexts do we 
experience collective emotions? What does it mean to share an emotion 
when engaged with a film, a television series, a computer game etc.? Can 
this have moral or political effects?

* Emotions and media specificity: How do media differ in their 
potentials and strategies of eliciting emotions? For instance, how do 
social media or virtual reality experiences steer user emotions? What 
are the emotional characteristics of different algorithms, applications, 
and platforms on the internet and what affective labor is involved? What 
can video games do that films cannot, and vice versa?

* Emotions of different audiences: How and why do the emotions of media 
users, of social groups, political factions, or cultural spheres differ? 
How can it be explained, for instance, that one and the same tweet or 
video triggers glee in one part of the audience and outrage in another part?

* Emotions and attention economies: How do changing economies of 
attention (for instance, in the context of new media or ‘hybrid media 
systems’ as described by Andrew Chadwick) impact on viewer/user emotions?

* Affective algorithms, emotional AI, and emotion capture: How do 
digital and sensory media capture and process user emotional responses? 
What forms of emotion capture are emerging, for instance, in virtual 
assistants, fitness trackers, software for emotion recognition, or 
sentiment analysis? What are their political, legal, cultural, and moral 
implications?

* Emotions, media, and ethics: How are emotions of media audiences and 
users connected to moral questions and ethical issues? When and how, for 
instance, do media manipulate emotions? Can insights from affective 
computing and critical perspectives on algorithmic culture help us to 
understand the ethics of new media and the emotions they elicit?

* Emotions, rhetoric, and persuasion: How are emotions used for 
persuasive purposes in the media? Which are the most important forms of 
emotional persuasion?

* Emotions, media, and politics/the political: How do different kinds of 
media elicit political emotions like outrage, fear, hate, pride, or 
hope? How do they construct power relations by triggering those and 
other emotions? How do they block empathy or compassion?

*/ We invite authors to submit an abstract of 300 words plus 3-5 
bibliographic references and a short biography of 100 words by15 
September 2018. Please make sure your attachment file name is formatted 
with your last name and your abstract title. Abstracts should be sent 
directly to the NECSUS editorial board at the following 
address:(g.decuir /at/ aup.nl) <mailto:(g.decuir /at/ aup.nl)>. On the basis of 
selected abstracts, authors will be invited to submit full manuscripts 
of 5-7,000 words by15 February 2019, which will subsequently go through 
a double-blind peer review process. /*

**

*References: *

** Bellour, R. Le corps du cinéma: hypnoses, émotions, animalités. 
Paris: POL/Trafic, 2009.
Eder, J. ‘Collateral Emotions: Political Web Videos and Divergent 
Audience Responses’ in Cognitive theory and documentary film, edited by 
C. Brylla and M. Kramer. London: Palgrave Macmillan, 2018.
Hanich, J. The audience effect: On the collective cinema experience. 
Edinburgh: Edinburgh University Press, 2018.
Laine, T. Feeling cinema: Emotional dynamics in film studies. New York: 
Continuum, 2013.
McStay, A. Emotional AI: The rise of empathic media. Thousand Oaks: 
Sage, 2018.
Ngai, S. Ugly feelings. Cambridge: Harvard University Press, 2007.
Plantinga, C. Screen stories. Oxford: Oxford University Press, 2018.
Sampson, T., Maddison, S., and Ellis, D (eds). Affect and social media: 
Emotion, mediation, anxiety and contagion. Lanham: Rowman & Littlefield, 
2018.
Sinnerbrink, R. Cinematic ethics: Exploring ethical experience through 
film. London: Routledge, 2016.
Smith, M. Film, art, and the third culture: A naturalized aesthetics of 
film. Oxford: Oxford University Press, 2017.
Stadler, J. Pulling focus: Intersubjective experience, narrative film, 
and ethics. New York: Continuum, 2008.

**
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