[Commlist] Call for Papers – digital technologies and Gender in Arts and MEdia: creation, representations, Reception (GAMER)

*Call for Papers – GAMER Conference*

//

*/digital technologies and Gender in Arts and MEdia: creation, 
representations, Reception (GAMER)/**

*

*March 12–13, 2026 | Sorbonne Nouvelle University, Paris, France*//


We are pleased to announce the call for papers for the international 
conference */digital technologies and Gender in Arts and MEdia: 
creation, representations, Reception/ (GAMER)*, which will take place on 
*March 12 and 13, 2026*, at the *Maison de la *

*Recherche, Sorbonne Nouvelle University*.


The *Institute of Communication and Media* at Sorbonne Nouvelle, in 
collaboration with the Departments of *Cinema and Audiovisual Studies* 
and *Cultural Mediation* at Sorbonne Nouvelle, the *IRMÉCCEN* research 
laboratory, Research Committees 14 (Sociology of Communication, 
Knowledge, and Culture) and 37 (Sociology of the Arts) of the 
*International Sociological Association (ISA)*, as well as Research 
Committee 38 (Political Socio-Anthropology: Media and Cultures) of the 
*International Association of French-Speaking Sociologists (AISLF)*, are 
pleased to jointly host an international bilingual conference (French 
and English) entitled */“digital technologies and Gender in Arts and 
MEdia: creation, representation, Reception”/ (GAMER)*.

While the intersections of gender, arts, and media have been widely 
explored in academic literature, their analysis remains crucial in 
today’s world, shaped by the pervasive influence of digital 
technologies. Arts and media are not only spaces where gender relations 
are reproduced, negotiated, and reconfigured (De Lauretis, 2007), but 
also function as true technologies of gender (ibid.), making their study 
a deeply political and essential endeavor.

To begin with gender-related issues, it is important to consider the 
representation of women and femininity. Despite notable progress in 
recent years, women remain underrepresented in the media—both in terms 
of visibility and in their participation in news production. Although 
the field of journalism has undergone a process of feminization over the 
past few decades, this shift has largely taken place “from below”, with 
women journalists disproportionately affected by precarious employment 
conditions compared to their male counterparts (Damian-Gaillard et al., 
2021). Beyond these structural inequalities, newsrooms often continue to 
operate along essentialist lines, assigning women to so-called “soft 
news” topics (related to the private sphere, culture, lifestyle, 
wellness, etc.), while men are more frequently allocated “hard news” 
beats (public affairs, politics, international relations, economics, 
etc.). This gendered division of journalistic labor reinforces 
traditional gender stereotypes (ibid.). Thus, although the presence of 
women—as both journalists and experts—has increased, they remain 
significantly underrepresented and are granted substantially less 
speaking time than their male counterparts, particularly in audiovisual 
media (Arcom, 2023). This situation is further exacerbated by the 
persistence of sexual harassment within newsrooms (ibid.). As a result, 
media content often reproduces essentialist representations of gender, 
shaping public perceptions of gender relations and contributing to the 
normalization of inequality. The media coverage of femicide offers a 
particularly illustrative example of this phenomenon (Sapio, 2019, 
2022). When it comes to gender minorities, representational inequalities 
are even more pronounced. Transgender and non-binary individuals, in 
particular, remain largely marginalized and invisible in media content 
(Arcom, 2023).

These inequalities are also deeply entrenched in the artistic sphere, 
where institutional frameworks have historically curtailed women’s 
access to essential resources such as training, production 
opportunities, and mechanisms of legitimization necessary for 
recognition as “great artists” (Nochlin, 2021). While the visibility of 
women artists has improved in recent years, persistent gender 
disparities continue to characterize the field. For instance, in the 
visual arts, women’s works are systematically exhibited less frequently 
than those of their male counterparts (Corrigan, 2013). Likewise, in 
other cultural sectors—including music (Van Vleet, 2021; Vincent and 
Coles, 2024), dance (Elsesser, 2019), and film (Lauzen, 2024; Lee, 
2024)—women remain disproportionately relegated to subordinate positions 
relative to men.

In response to these structural inequalities, a range of 
counter-hegemonic initiatives has emerged. Networks of women filmmakers, 
such as Collectif 50/50, alongside women-only festivals, have been 
created to amplify the visibility of women’s creative work and to 
cultivate professional solidarity. Parallel efforts, spearheaded by and 
for members of the LGBTQ+ community—exemplified by events like the 
Fringe! Queer Film & Arts Fest—aim to increase the visibility of queer 
artistic productions, promote the professional inclusion of their 
creators, and foster the development of supportive communal spaces.

Some of these dynamics have extended into the digital realm through 
initiatives such as the collective /Cinéastes Non-Alignées/, thereby 
broadening forms of solidarity and mobilization beyond traditional 
institutional frameworks.

The inscription of feminist mobilizations within digital spaces must be 
understood within a broader context marked, since the emergence of Web 
2.0, by considerable optimism about the transformative potential of 
digital technologies in both democratic and economic spheres. The low 
barriers to entry were widely perceived as facilitating greater access 
to public discourse and fostering more equitable participation in 
collective debates (Castells, 2012). This technological context thus 
held promise for the emancipation of historically marginalized groups, 
particularly women, in their struggle against patriarchal structures 
(Plant, 1998). Nevertheless, the digital realm remains an ambivalent 
space, simultaneously enabling contestation and the perpetuation of 
hegemonic social relations. The advent of digital technologies has 
indeed provided subaltern publics with new platforms for expression, 
empowering them to expose structural inequalities embedded in social 
relations, especially in terms of gender, race, and class. It is within 
this framework that movements such as #MeToo, #BalanceTonPorc, and 
#BlackLivesMatter have arisen. Thanks to its decentralized organization 
(Cardon, 2019), digital technology has empowered ordinary users to 
become producers of content—whether through alternative media such as 
podcasts, emblematic of convergence culture (Jenkins, 2006), or via 
distribution platforms like YouTube. In this way, digital technology has 
revealed significant emancipatory potential, particularly for women, by 
providing new avenues for expression and voice (Jouët, 2003). Likewise, 
members of the LGBTQ+ community have leveraged digital technologies to 
challenge heteronormative norms, create queer spaces of expression, and 
forge networks of community solidarity (Gray, 2009).

The 2010s marked the emergence and consolidation of digital feminisms, 
distinguished by innovative forms of media representation and new modes 
of activism facilitated by digital technologies (Breda, 2022). This 
phenomenon is frequently described as a form of “neo-feminism”, 
emphasizing the strategic appropriation of digital tools to enhance the 
visibility of feminist demands and to invigorate activist practices 
(ibid.). Women and gender minorities have thus harnessed digital 
platforms as instruments of resistance, contesting the social norms 
imposed by heteropatriarchal structures and exposing intersecting 
systems of oppression, including sexism, racism, and ableism. 
Furthermore, the digital sphere functions as a crucial space where 
marginalized groups, shaped by existing social hierarchies, can 
cultivate communities of solidarity grounded in mutual support and 
collective care (Larochelle and Bourdeloie, forthcoming).

Beyond everyday activist practices, women artists have also harnessed 
the potential of digital technologies to bypass the structural barriers 
that have long defined the art world—an arena historically shaped by 
white, Western, and masculine norms (Nochlin, 2021; Chadwick, 2020). In 
this context, platforms such as Instagram and YouTube have emerged as 
strategic spaces for the display and circulation of artworks, enabling 
marginalized artists to gain visibility outside traditional 
institutional frameworks, which often remain exclusionary. Digital tools 
are also mobilized for archival and commemorative purposes, notably to 
restore the presence of women in art history—a presence frequently 
overlooked or erased. Projects like @artgirlrising, for example, seek to 
foreground the contributions of women and non-binary artists, thereby 
advancing their recognition in an art world still deeply shaped by 
patriarchal and androcentric structures.

Within the framework of contemporary /mediacultures/ (Maigret & Macé, 
2005), the shift from traditional television broadcasting to 
video-on-demand (VoD) platforms has profoundly transformed the modes of 
production, distribution, and reception of audiovisual content. What is 
particularly noteworthy is that the early stages of audiovisual 
platformization coincided with a heightened visibility of subversive 
gender representations, often resonating with contemporary feminist 
claims. These productions challenged gender and sexual stereotypes while 
denouncing sexist and sexual violence (Breda, 2025). Netflix—the 
U.S.-based platform that holds a dominant position in the global 
audiovisual landscape—serves as a prominent example of this phenomenon. 
In its early years, the platform distinguished itself through 
programming that emphasized diversity, aligned with a communication 
strategy rooted in liberal values designed to appeal to socially engaged 
audiences (Wiart, 2022). It is within this context that series such as 
/13 Reasons Why/ and /Sex Education/ emerged, carrying counter-hegemonic 
discourses.

It is essential to underscore that digital technologies are far from 
neutral instruments; they are shaped by the social, cultural, and 
political biases embedded in their design. Although women have played a 
crucial role in the historical development of technological systems 
(Abbate, 2012; Collet, 2019), the digital sector in Western societies 
remains predominantly male-dominated (Collet, 2019). This structural 
imbalance contributes to the reproduction of hegemonic social relations, 
as digital infrastructures often reflect the values, assumptions, and 
worldviews of their designers. Consequently, these technologies tend to 
reproduce and reinforce existing inequalities related to gender, 
sexuality, race, and class (Cohn, 2019). For example, Instagram’s 
algorithm disproportionately amplifies content that aligns with dominant 
beauty norms, while marginalizing images of bodies that deviate from 
these standards (Ekström, 2021). This algorithmic bias not only 
strengthens hegemonic aesthetic ideals but also contributes to the 
invisibilization of non-conforming bodies, thereby perpetuating the myth 
of beauty (Wolf, 1991) as it circulates in Western patriarchal and 
postcolonial societies. In a similar vein, artificial intelligence (AI) 
systems—now deeply integrated into everyday life—are embedded within 
dominant epistemological and economic frameworks. These tools 
participate in the reproduction of social hierarchies through both image 
generation and knowledge production, often reinforcing gender 
stereotypes and other forms of structural discrimination (UNESCO, 2024).

The influence of algorithmic bias also extends to the online 
dissemination of artistic works. While platforms such as YouTube and 
Instagram ostensibly offer open access for anyone to share original 
content, this accessibility does not equate to guaranteed visibility 
(Cardon, 2019). In practice, these digital environments prioritize 
content likely to generate immediate engagement—through likes, comments, 
and shares—thus pressuring artists to tailor their creations to the 
implicit expectations of platform algorithms (Striphas, 2015). In this 
pursuit of visibility, many artists adopt dominant visual and narrative 
codes, often shaped by global trends, leading to a homogenization of the 
artistic content circulated online (Bishop, 2012). Digital platforms 
thus emerge as ambivalent spaces for artists marginalized within 
traditional art circuits. On the one hand, they offer expanded 
opportunities for visibility that are often harder to obtain within 
conventional institutions. On the other hand, this visibility frequently 
comes at the cost of a certain standardization of artistic production, 
driven by the algorithmic logic that govern digital platforms.

Beyond biased algorithmic logic, it is crucial to recognize the digital 
environment as an ambivalent space—one in which feminist discourses 
coexist with misogynistic and anti-LGBTQ+ rhetoric (Banet-Weiser, 2018). 
Far from being uniformly progressive, the digital realm also serves as a 
platform for reactionary movements that seek to uphold existing social 
hierarchies. Among these digital formations, the "manosphere" stands out 
as a network of websites, forums, and podcasts where masculinist groups 
and audiences hostile to feminist ideals gather. These communities 
circulate antagonistic representations of women and LGBTQ+ individuals, 
advocating for the reassertion of traditional patriarchal structures 
(Marwick & Caplan, 2018; Mésangeau & Morin, 2021).

It is important to emphasize, however, that antifeminism is not 
exclusive to digital environments. On the contrary, it constitutes a 
reactionary rhetoric (Descarries, 2019) that is inherently transnational 
(Larochelle, 2024), as old as feminism itself, and one that testifies to 
the disruptive power of feminist struggles (Lamoureux & Dupuis-Déri, 2019).

Finally, digital technologies contribute to the intensification of 
(self-)surveillance. In authoritarian political contexts, these 
technologies are often deployed to exert increased control over women 
and gender minorities, thereby reinforcing mechanisms of oppression 
characteristic of totalitarian regimes. A notable example is Iran, where 
authorities have, in recent years, heightened digital surveillance to 
enforce strict laws regulating the wearing of the hijab (Parent, 2025). 
Moreover, digital technologies reinforce gender inequalities by 
amplifying self-surveillance practices, notably through self-tracking 
devices inspired by the Quantified Self movement, such as 
body-monitoring applications and connected devices (Dagiral et al., 
2019). Anders Albrechtslund (2008) terms this dynamic “participatory 
surveillance”, a form of horizontal and socially internalized control 
whereby individuals monitor themselves and voluntarily share personal 
data. Although often framed as playful or emancipatory, this logic 
fundamentally rests on the internalization of hegemonic norms regarding 
bodily and behavioral performance (Lupton, 2016), leading users to 
conform to dominant standards. The body—specifically, the female 
body—historically shaped by the patriarchal gaze (Mulvey, 1975) and 
subjected to particularly strict disciplinary norms (Piran, 2016), thus 
becomes a prime target of digital injunctions to conformity.

 From an interdisciplinary and transdisciplinary perspective, this 
conference aims to bring together researchers from diverse fields, such 
as sociology, information and communication sciences, Gender Studies, 
Cultural Studies, anthropology, history, computational sciences, 
political science, and others, to explore critical reflections on gender 
in the arts and media in the digital age. Research adopting an 
intersectional approach that considers the interaction between multiple 
systems of marginalization (e.g., gender, sexuality, social class, race, 
ableism, ageism, etc.) is especially encouraged. Presentations will be 
organized around the following thematic axes:

*Axis 1. Production*

This axis critically explores the gendered social dynamics embedded in 
media and artistic production processes, alongside the opportunities and 
constraints introduced by emerging digital formats that blur the 
traditional distinctions between producers and consumers (e.g., 
podcasts, YouTube channels). It focuses particularly on how marginalized 
actors leverage these formats to produce their own content. The inquiry 
addresses enduring gendered power relations within cultural institutions 
(e.g., museums), artistic domains (including film and theater 
production), /mediacultures/ (e.g., television series), and media 
organizations (e.g., newsrooms), as well as the resistance strategies 
employed by creators to navigate and challenge these structures. 
Additionally, this axis investigates the impact of digital-specific 
characteristics—such as platformization and algorithmic biases—on 
creative practices, and examines how producers either adapt to or 
contest these digital constraints.

*Axis 2. Representations and discourses*

This axis focuses on the analysis of gendered representations and 
discourses within the arts and media in the digital era. While 
incorporating research on traditional artistic forms and so-called 
classical media, it also examines the transformations brought about by 
the development of cultural industries and digital technologies. This 
broad field includes domains such as news media, the arts, fashion, and 
popular culture. Particular attention is given to how gendered 
discourses and representations are constructed within contemporary 
digital platforms, including audiovisual streaming services, artificial 
intelligence (AI) software, and video games.

*Axis 3. Reception and usage*

This research axis explores how gendered representations and discourses 
are perceived, interpreted, and appropriated by audiences broadly 
defined, including users of digital platforms (such as followers and 
subscribers), traditional media audiences, and online communities. It 
aims to analyze, on one hand, the potential effects of these 
representations on individuals—particularly regarding self-image, 
self-relations, and relations to the Other, understood here through the 
lens of alterity—and, on the other hand, the tactics and strategies of 
resistance, subversion, or circumvention employed by these audiences to 
challenge, reinterpret, or deconstruct dominant gender norms.

*Axis 4. Design of technological devices and the co-construction of 
gender norms*

This research axis examines technological devices as spaces where gender 
norms are simultaneously established, reinforced, and potentially 
contested. It focuses on how design choices—including technical 
architecture, user interface, available functionalities, visual 
aesthetics, accessibility, underlying power dynamics, implicit biases, 
and the degree of technological transparency—contribute to the creation 
and normalization of gender relations. The analysis encompasses a 
variety of digital media, such as mobile health and wellness 
applications, social media platforms and networks, as well as websites. 
The core objective is to interrogate the processes of co-construction 
between technological devices and gender norms, taking into account the 
reciprocal interactions between human and non-human actors in the design 
and use of these technologies (Boullier, 2018).

*Axis 5. Gender performances and artistic transformations in the digital 
age*

This axis explores how gender identities are embodied, reinterpreted, or 
challenged through performative practices, particularly within digital 
spaces. It focuses on analyzing subversive forms of performance—such as 
drag—and their dissemination, reception, and reconfiguration online. 
Additionally, this axis examines the transformations of artistic forms 
themselves in the digital era. The emergence of stage performances 
incorporating immersive or substitute technologies (for example, 
concerts featuring holograms of musicians) opens new perspectives on the 
temporality, materiality, and corporeality of artistic acts. These 
developments raise critical questions regarding the influence of 
technological devices on the very nature of performance, as well as on 
the modes of engagement, interpretation, and appropriation by audiences.

*Axis 6. Epistemology, methods, and ethics*

This axis proposes to approach gender not only as an object of analysis 
but also as an epistemological framework, an investigative methodology, 
and a tool for ethical reflection. It seeks to consider gender as a 
critical lens capable of interrogating the modes of knowledge 
production, the power relations embedded within them, as well as the 
situated positionalities of researchers in their scientific practices. 
This framework challenges the assumptions of scientific positivism and 
highlights the social, political, and cultural dimensions shaping 
processes of knowledge creation (Sedgwick, 1990; Harding, 1992; Haraway, 
1988). Methodologically, a gendered approach entails specific choices 
regarding research settings, problematization, and analytical 
techniques, while incorporating an intersectional reading of systems of 
domination—such as those related to gender, race, class, sexuality, or 
ableism. As a reflexive tool, gender also prompts critical consideration 
of the ethical stakes in research, including the potential impacts of 
findings on marginalized groups and the dynamics of co-constructing 
knowledge with research participants (Despontin Lefèvre, 2023). This 
axis thus aims to foster critical reflection on feminist, queer, and 
decolonial epistemologies that question dominant scientific norms and 
reconfigure the relations between knowledge, power, and social justice.

**

*Axis 7. Dialogues between research and professional practices in arts 
and media*

This final axis aims to foster exchanges between academic researchers 
and professionals working in the arts and media sectors, particularly in 
the digital era. It seeks to create a space for dialogue around the 
contemporary transformations of artistic, cultural, and media work by 
encouraging the convergence of perspectives between scholars and 
practitioners. Submissions such as panel discussions, joint interviews, 
or hybrid formats are especially welcome, as they highlight experiential 
insights, critical reflections, and knowledge derived from professional 
practice. Topics for these exchanges may include, but are not limited 
to, changes in working conditions, creative processes, visibility 
challenges, and tensions between commercial pressures and artistic or 
activist commitments, all within the context of increasing digitization 
of practices.

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*_Submission Guidelines:_*

Communication proposals must not exceed *500 words* (excluding 
bibliography) and should be submitted in English or French by *October 
1, 2025*, to the following email address:

(isa-rc14 /at/ isa-sociology.org) <mailto:(isa-rc14 /at/ isa-sociology.org)>
Notifications of acceptance will be sent by email on November 1, 2025.

*_Format:_*
The file should be submitted in .doc or .odt format and named as 
follows: LASTNAME_Firstname_TitleOfThePresentation_GAMER2026
The document must include the following information: full names, email 
addresses, affiliations/institutions, presentation title, and abstract 
of the presentation.

*_Conference dates_*: March 12 and 13, 2026

*_Conference venue_*: Maison de la Recherche (4, rue des Irlandais, 
75005 Paris), Athéna room


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