[Commlist] CFP: ZER Journal "Representation and use of social media in television series" special issue

CALL FOR PAPERS: ZER Journal of Communication Studies

ZER has the FECYT seal of quality for scientific journals and is indexed 
in national and international databases such as ERIHPLUS, DOAJ, DIALNET, 
LATINDEX, and REDIB.  ZER provides open access to all its content. The 
publication of papers in *the ZER Journal does not involve any type of 
payment or contribution from the authors*. The journal is published in 
English, Spanish, and Basque.

Calls for the May/June 2025 number (58): Representation and use of 
social media in television series
https://ojs.ehu.eus/index.php/Zer/cfp 
<https://ojs.ehu.eus/index.php/Zer/cfp>

• Guest Editors: Víctor Hernández-Santaolalla, Javier Lozano-Delmar y 
Alberto Hermida
• Submission deadline: February 28, 2025
• This special issue will be published in the number 58 of ZER Journal 
of Communication (May/June de 2025)

• Author guidelines

The usage and proliferation of social media have been analysed from 
various perspectives: communicative, educational, psychological, and 
even, in the case of minors, from health and pediatric standpoints. 
These approaches have undeniably brought about a shift in 
communicative-social relations, enabling, for instance, interaction and 
collaboration among geographically distant individuals (Rheinghold, 
2002; Christakis & Fowler, 2010). However, numerous voices have raised 
concerns about the drawbacks of widespread social media usage, 
highlighting potential negative consequences, such as the reinforcement 
of social inequalities and top-down control (Vallespín, 2011; Dencik & 
Leistert, 2015).

The ubiquity of social media in today's world has made it a prominent 
theme in recent audiovisual fiction. This has helped bring to screens 
the ongoing debate about the advantages and disadvantages of its use. 
Social media in fiction is often depicted as a mere channel for group 
communication, a tool for solving crimes, a means of reconnecting with 
lost contacts, or even as a constructor of social identity (Steinfeld et 
al., 2008; Stern & Moran, 2024). From a more critical perspective, 
fiction has also addressed its misuse for harassment, bullying, or both 
horizontal and vertical surveillance (Andrejevic, 2005; Tokunaga, 2011; 
Lefait, 2013; Hermida & Hernández-Santaolalla, 2020; Mols et al., 2023). 
Examples include films such as Unfriended (Levan Gabriadze, 2015), Nerve 
(Ariel Schulman & Henry Joost, 2016), The Circle (James Ponsoldt, 2017), 
or The Hater (Jan Komasa, 2020), among others.

Beyond these films, television series have given social media a more 
prominent narrative role, functioning as a catalyst for storylines or as 
a space for dialogue and character action. A clear example is Black 
Mirror (Channel 4, 2011–2014; Netflix, 2016), which includes several 
episodes, such as "Nosedive," centred on this phenomenon 
(Hernández-Santaolalla & Hermida, 2015; Martínez-Lucena & Barraycoa, 
2017; Lata & Bhatt, 2024).
Other notable examples include Mr. Robot (USA Network, 2015–2019), 13 
Reasons Why (Netflix, 2017–2020), Kiss Me First (Channel 4, 2018), You 
(Lifetime, 2018; Netflix, 2019–), Clickbait (Netflix, 2021), or Euphoria 
(HBO, 2019–), as well as Spanish productions such as Élite (Netflix, 
2018–2024), SKAM España (Movistar+, 2018–2020), El desorden que dejas 
(Netflix, 2020), or HIT (La 1, 2020–2024). These audiovisual works 
incorporate social media as a significant narrative resource, sometimes 
even establishing it as an aesthetic reference shaping visual 
representation dynamics.

This representation influences audiences, as the portrayal of social 
media on screen affects how these platforms are perceived in real life. 
Moreover, social media plays a promotional role for television 
programmes, extending storylines through transmedia strategies and 
fostering discussions among users on these platforms.
In this practical and analytical context, this call for papers invites 
submissions exploring how television fiction, through series as a 
dominant cultural discourse, represents, promotes, and critiques social 
media usage. We seek contributions that examine how these 
representations reflect and challenge contemporary realities and how 
digital media reshape communication dynamics.

Suggested themes (Submissions may focus on the following themes, though 
other related topics are welcome):

1. Social media and television narratives. This theme examines how 
social media is portrayed in television series, including its influence 
on characters, storylines, and visual representation, as well as its 
narrative significance. Suggested topic include:
- Representation of digital culture and life on social media: how 
characters use social media, including its impact on interpersonal 
relationships, mental health, and self-perception.
- Influence of social media on storytelling: integration of digital 
platforms into plots, addressing themes such as virality, cyberbullying, 
addiction, and digital identity.
- Influence of social media on visual representation: the ways social 
media’s language and platform-specific features shape the visual narrative.
- Social media and gender: how series depict the use of social media in 
the context of gender (in)equality.
- Social media and minors: representations of social media in children’s 
series and how young characters interact with these technologies.
- Professional uses of social media: portrayals of social media and 
platforms in professional environments, especially in communication 
industries.
- Mapping social media in series: which platforms are most represented? 
How do portrayals vary by country or genre?

2. Social impact of representing communication and social media. This 
theme explores the effect of these representations on audiences and 
their role in reflecting on the impact of communication and 
digitalisation in daily life. Topics of interest include:
- Public perception of communication and media: how the depiction of 
communicators and digital platforms in series influences trust in media 
and social networks.
- Digital literacy and awareness: how series shape audiences’ 
understanding of the risks and opportunities of digital life.
- Impact on identity and participatory culture: how television 
narratives contribute to discussions about authenticity, privacy, 
harassment, and surveillance in the digital age.

3. Social media as narrative expansion. This theme investigates social 
media as a transmedia extension of television series, serving as a 
marketing tool, a driver of virality, or a content distribution channel. 
Topics may consider:
- Interaction with audiences through social media: how digital culture 
enables viewers to interact and engage actively with television narratives.
- New models of serial storytelling: case studies on innovative digital 
consumption models using social media.
- The use of influencers or content creators in series: the increasing 
integration of influencers as actors in youth-targeted series, 
leveraging their follower base and influence to enhance the show’s reach.

References

- Andrejevic, M. (2005). The work of watching one another: Lateral 
surveillance, risk, and governance. Surveillance & Society, 2(4), 479-497.
- Christakis, N. A. & Fowler, J. H. (2010). Conectados.  El sorprendente 
poder de las redes sociales y cómo nos afectan. Taurus.
- Dencik, L., & Leistert, O. (eds.) (2015). Critical Perspectives on 
Social Media and Protest. Between Control and Emancipation. Rowman & 
Littlefield.
- Hermida, A., & Hernández-Santaolalla, V. (2020). Horizontal 
surveillance, mobile communication and social networking sites. The lack 
of privacy in young people’s daily lives. Communication & Society, 
33(1), 139-152. https://doi.org/10.15581/003.33.36450
- Hernández-Santaolalla, V., y Hermida, A. (2015). Más allá de la 
distopía tecnológica: videovigilancia y activismo en ‘Black Mirror’ y 
‘Mr. Robot’. Index.Comunicación, 6(2), 53-65.
- Lata y Bhatt, P. (2024). Social media as a cause of emotional distress 
and insecurity in “Nosedive” from Black Mirror. Quarterly Review of Film 
and Video, 41(8), 1520-1535. https://doi.org/10.1080/10509208.2023.2219089
- Lefait, S. (2013). Surveillance on Screen: Monitoring Contemporary 
Films and Television Programs. Rowman & LIttlefield.
- Martínez-Lucena, J., & Barraycoa, J. (2017). Black Mirror: Porvenir y 
tecnología. Editorial UOC.
- Mols, A.; Pereira Campos, J., y Pridmore, J. (2023). Family 
surveillance: Understanding parental monitoring, reciprocal practices, 
and digital resilience. Surveillance & Society, 21(4), 469-484.
Rheinghold, H. (2002). Smart Mobs. The Next Social Revolution. Basic Books.
- Steinfeld, C.; Ellison, N.B., & Lampe, C. (2008). Social capital, 
self-esteem, and use of online social network sites: A longitudinal 
analysis. Journal of Applied Developmental Psychology, 29(6), 434-445. 
https://doi.org/10.1016/j.appdev.2008.07.002
- Stern, S., & Moran, K. (2024). Teens and digital media: How do we move 
toward productive public discourse? Journal of Children and Media, 
18(1), 1-7. https://doi.org/10.1080/17482798.2024.2302257
- Tokunaga, R.S. (2011). Social networking site or social surveillance 
site? Understanding the use of interpersonal electronic surveillance in 
romantic relationships. Computers in Human Behaviour, 27(2), 705–713. 
https://doi.org/10.1016/j.chb.2010.08.014
- Vallespín, F. (2011). Redes sociales y democracia: ¿un cambio 
cualitativo? Revista TELOS, 89.

Biographical profiles of the special issue coordinators:

Víctor Hernández-Santaolalla is an Associate Professor in the Department 
of Audiovisual Communication and Advertising at the Universidad de 
Sevilla (Spain). He holds a PhD in Communication, awarded with the 
Extraordinary Doctorate Prize. His research focuses on the effects of 
mass communication, ideology and popular culture, political 
communication, propaganda, and surveillance on social media. He is the 
lead researcher of the LIGAINCOM group (Research League in Communication 
and Culture. Gender(s), Narrative, Ideology, and Visual Studies). His 
work has been published by major academic publishers such as Emerald, 
Routledge, and Peter Lang, as well as in international journals 
including Information, Communication and Society, Journal of Popular 
Culture, Sexuality & Culture, Surveillance & Society, and European 
Journal of Communication. He has authored a book on the effects of mass 
media and has edited several volumes on television fiction.
Javier Lozano Delmar is an Associate Professor at Universidad Loyola 
Andalucía (Spain), teaching at its campuses in Seville and Córdoba. His 
courses include Audiovisual Narrative and Aesthetics and Communication 
Technology. He is a member of the LIGAINCOM group (Research League in 
Communication and Culture. Gender(s), Narrative, Ideology, and Visual 
Studies). His research primarily focuses on television series, active 
audiences, fandom, and transmedia storytelling in film and television. 
In recent years, his interests have expanded to include topics such as 
fake news, disinformation, and media literacy. He has co-edited two 
collective volumes for Fragua publishing on the Game of Thrones 
phenomenon and contributed to various books analysing television series 
for publishers including Síntesis, Laertes, Oxford University Press, 
Peter Lang, and Routledge. His scholarly articles have appeared in 
national and international journals such as Analisi, Palabra Clave, 
Latina, Journal of Happiness Studies, and Transformative Works and Cultures.

Alberto Hermida is an Associate Professor in the School of Communication 
at the Universidad de Sevilla (Spain). He holds a PhD in Communication 
and a degree in Audiovisual Communication, for which he received the 
Extraordinary Graduation Prize. He is a member of the LIGAINCOM group 
(Research League in Communication and Culture. Gender(s), Narrative, 
Ideology, and Visual Studies). His research interests include 
audiovisual mise en scène, image theory, and the study of new 
audiovisual languages and devices. Visiting scholar at international 
universities in London, Brighton, and Los Angeles, his work has been 
published in high-impact academic journals such as Information, 
Communication & Society, Surveillance & Society, Arte Individuo y 
Sociedad, New Review of Film and Television Studies, and Communication & 
Society. He has also contributed to prominent publishers, including 
Peter Lang Publishing, IGI Global, McGraw-Hill, and Tirant lo Blanch. He 
has participated in various national research projects on television 
fiction and has coordinated several books on this subject, among other 
publications.








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