Mostrando entradas con la etiqueta multimedia. Mostrar todas las entradas
Mostrando entradas con la etiqueta multimedia. Mostrar todas las entradas

CFP: "WORLDS OF IMAGINATION: MEDIA, PLACE AND TOURISM IN TODAY’S GLOBAL WORLD" ONLINE CONFERENCE


"Worlds of Imagination: Media, Place and Tourism in Today’s Global World"

April 7th- 9th 2021

Online conference / Erasmus University Rotterdam


Keynote speakers:


In today’s globalized, transnational and digitalized media environment, popular culture plays a significant role in the establishment and (re)negotiation of place identities and the ways in which people relate to physical locations. Traveling to film locations, participating in fan re-enactments or visiting theme parks are some of the varied and multifaceted ways in which the ties between people’s worlds of imagination and the real worlds they inhabit are made tangible through place. 

This conference highlights the interconnections between media, tourism and place and aims to bring together the diverse perspectives, approaches and actors involved in this process while focusing on critical issues accompanying this multifaceted phenomenon. We venture off the beaten track by adopting a decidedly global perspective and putting emphasis on the exploration, analysis and comparison of cases from around the world. Consider Bollywood, which produces more films, for a larger audience, than Hollywood does every year, and how Chinese, Indian and Russian travellers increasingly determine the face of international tourist flows. This conference aims to broaden the horizons by including and comparing research into, for example, Bollywood films, Brazilian telenovelas and South Korean K-pop culture. 

We proudly present the following keynote speakers: Prof. Dal Yong Jin (Simon Fraser University), editor of Transmedia Storytelling in East Asia: The Age of Digital Media (2020) and author of Transnational Korean Cinema: Cultural Politics, Film Genres, and Digital Technologies (2019);  Prof. Sangkyun Kim (Edith Cowan University), editor of Food Tourism in Asia (2019, with Ian Yeoman and Eerang Park) and Film tourism in Asia: Evolution, transformation and trajectory (2018, with prof. dr. Stijn Reijnders); Prof. Mimi Sheller (Drexel University), author of Island Futures: Caribbean Survival in the Anthropocene (expected 2020) and Mobility Justice: The Politics of Movement in an Age of Extremes (2018); Prof. Peter U. C. Dieke (University of Nigeria), editor of Research Themes for Tourism (2011, with Peter Robinson and Sine Heitmann) and The Political Economy of Tourism Development in Africa (2000); Prof. Lúcia Nagib (University of Reading), author of Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema (expected 2020) and Brazil on screen: Cinema Novo, new cinema and utopia (2007), and Prof. Matt Hills (University of Huddersfield), author of Fan Cultures (2002) and Doctor Who: The Unfolding Event (2015).

This year the current Corona crisis has hit the world hard, also with regard to its media and tourism industries. The lockdown has seriously hampered filming and all other media production practices both on location and in the studio. At the same time, the tourism industry as a whole is suffering a disastrous year after a virtually constant annual growth since the late 1950s. At the time of writing there are modest signs the media and tourism industries are finding answers to the current crisis. It is clear, though, that the need to find more sustainable ways to deal with the interrelation between popular culture and tourism is even more relevant now that the Corona crisis has become part of the global agenda. This conference also aims to address this issue.

We seek to bring together scholars across disciplines, including, but not limited to, media studies, cultural studies, cultural geography, fan studies, tourism studies, and development studies. We invite papers that address all themes around media, place and tourism, such as:

  • Media tourism
  • Popular culture and heritage
  • Film location production
  • Film (and) tourism policies
  • Impacts of filmmaking and tourism on locations and communities
  • Imaginative geographies in media and tourism
  • Fan re-enactments
  • Place identity and belonging
  • Media tourist experiences
  • Theme-parks and tourism
  • Critical issues in media tourism
  • Comparative studies on media tourism
  • (Interdisciplinary) theories on media tourism

Creative presentation formats are welcomed. Moreover, we warmly encourage participation by scholars from the Global South, early career researchers and filmmakers working at the intersection of media, place and tourism. The conference aims to include a special (online) movie screening session, where filmmakers are invited to showcase and discuss their work on this topic. 

Due to governmental measures regarding COVID-19, the conference will take place predominantly online. We plan on organizing some live events in the city of Rotterdam (such as public lectures), but these will also be livestreamed for those preferring to participate fully online. The conference is organized by the ‘Worlds of Imagination’ research group consisting of Prof. dr. Stijn Reijnders, dr. Emiel Martens, Débora Póvoa, Apoorva Nanjangud, Henry Chow and Rosa Schiavone, and sponsored by the European Research Council (ERC). 

Please submit your abstracts of max. 300 words and a short biographical statement (max. 50 words) to info@worldsofimagination.eu before December 1st, 2020. For more information, please access our website. 

Kind regards,

Worlds of Imagination Organizers 


Contact Info: 

The Worlds of Imagination research group: 

Prof. dr. Stijn Reijnders, dr. Emiel Martens, Débora Póvoa, Apoorva Nanjangud, Henry Chow and Rosa Schiavone


Contact Email: info@worldsofimagination.eu

URL

CFP: LONELY NERDS? SPECIAL ISSUE OF EXCHANGES. THE INTERDISCIPLINARY RESEARCH JOURNAL


Call for papers: Lonely Nerds?


We are seeking expressions of interest in contributing to a special issue of Exchanges. The Interdisciplinary Research Journal.

We are looking for contributions to our special issue exploring fictional representations of nerds and loneliness across various media and cultures.

Traditionally associated with a particular niche culture, nerds entered the mainstream through popular formats such as the highly successful TV show The Big Bang Theory (2007-2019) in the early 21st Century. Besides, the pervasiveness of the popular image of nerds has crossed linguistic borders and depictions of nerds are frequent beyond the Anglo-American context, as attested by the term “nerd” being widely used in languages such as Italian or German.

Although nerds are a frequent subject of cultural representations, and academic studies on them are slowly increasing, there is still a dearth of comprehensively structured comparative studies. Most studies on nerds remain firmly anchored in North American culture: Kathryn E. Lane’s recent anthology Age of the Geek (2018), for example, analyses the influence of television, film, and social media on spreading the stereotype in the US and asks the question why American culture can accept a geek character in the media but not in real life. Whilst Lane claims that “the nerd stereotype is accepted as is” it becomes clear that nerds nonetheless often occupy the position of the “other”. This suggests that the term “nerd” is used as a “label” for shifting perceptions of what is deviant from the norm, which correlates with Kam's analysis of the germane Japanese notion of otaku (2015). Our issue will identify relevant parallels with other marginal identities across cultures and explore them in a comparative transnational context and across different media.

The second main premise of the special issue is to challenge the perception of the nerd as the lonely “other”. The 2016 entry in the Oxford English Dictionary defines a “nerd” as “an insignificant, foolish, or socially inept person; a person who is boringly conventional or studious. Now also: specifically a person who pursues an unfashionable or highly technical interest with obsessive or exclusive dedication.” Although more specific definitions are up for debate, it is clear that nerds are closely associated with anti-social behaviours, isolation, obsessive interests (especially for technology and popular culture) or mental pathologies. Within nerds’ supposed confinement and isolation, loneliness is an aspect that is often associated with their interaction with and consumption of technology, particularly since the rise of the tech industry in the 1980s and 1990s. At the turn of the 21st century, technological advancements such as the rise of the internet, Artificial Intelligence and advancements in robotics have complicated notions of loneliness in the context of human-machine interaction. On the one hand, people are constantly tethered together in machine mediated interactions, but are still feeling lonely; on the other, Sherry Turkle argues for a “robotic moment” (2011), when people are ready to accept machines as partners and mediators so that technology becomes the tool with which loneliness can be defeated. This conflicting assessment of technology’s potential to solve the central societal issue of loneliness mirrors the broader polarised discussion of whether machines will solve problems or lead us down a dystopian path (Husain 2017).

Through its analysis of artistic takes on nerds, our issue aims to intervene in the debate about technologies' and popular media’s influence on social bonds, with a particular focus on loneliness. We suggest a broad understanding of loneliness that includes a wide range of societal issues such as stances vis-à-vis society, the positionality of nerds within or outside of it, their intergroup behaviour dynamics and belonging, their feeling of loneliness both derived from physical and/or emotional isolation, or even conceptualised as loneliness within a group.

The issue will hence analyse varying cultural representations of the nerd’s relationship with society in order to critically discuss how various art forms approach the notion of the “lonely nerd”. We want to ask questions such as: Can we still find common characteristics in representations that are not overtly about nerds? Is loneliness inextricable from any representation of nerds, or do we see narratives where nerds actually become, quite anti-canonically, the centre of their community, as small as it may be? And if so, what do these representations tell us about their culture? Are they representational? If this is the case, how can it be used to interrogate relevant phenomena of isolation and loneliness in general?

Possible topics include, but are not limited to, fictional explorations of nerds and loneliness in relation to gender, ethnicity, (mental) health, genius, social status and space, as well as their questioning of traditional cultural representations and genres.

Abstracts of up to 300 words and queries should be submitted to lonelynerds2021@gmail.com by 18th May 2020. Articles should be written in English. Please note: We are also planning a preparatory workshop for accepted submissions, that will be held at SOAS (London) in spring 2021.


Contact information:

Name: Dr Filippo Cervelli - Senior Teaching Fellow in Japanese (SOAS, University of London)
Email: fc15@soas.ac.uk

Email: benjamin.schaper@st-hughs.ox.ac.uk
Other contact email: benjamin.schaper@t-online.de

CFP: BTS (방탄소년단) A GLOBAL INTERDISCIPLINARY CONFERENCE PROJECT.


BTS (방탄소년단) A global interdisciplinary conference project
Kingston University


Korean boy group BTS are the first ever Korean act to perform at Wembley Stadium as part of their Love Yourself: Speak Yourself world tour. Debuting in 2013 under Big Hit Entertainment, BTS initially struggled to gain recognition in Korea as they didn’t come from one of the big three Korean entertainment companies. However, the last few years have seen BTS become the most internationally successful Korean act of all time, amassing not only domestic awards but prestigious US awards including The Best Duo/Group at the 2019 Billboard Music Awards. Their recent sold-out concerts at Wembley clearly delineate BTS as a dominant force in global music and within popular culture. This inclusive inter-and multi-disciplinary conference seeks to examine the success and popularity of BTS from a variety of academic, practice, and fan-based perspectives.
Suscribirse a: Entradas (Atom)