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

CFP: "ARE WE THERE YET? JOURNALISM EDUCATION DURING THE SOCIAL MEDIA AGE IN ASIA"


“Are We There Yet? Journalism Education

During the Social Media Age in Asia”


Social Media have brought a paradigm shift in journalism and journalism education is in transition in this ever-changing media landscape in the Global South. The process of news has been getting complex and challenging as the journalists have to adapt with the social media tools from gathering to disseminating news.

As a continent, Asia is unique with 60% of world population and one third of area in the globe. The history and civilization of this region date back to thousands of years and Asia is the birthplace of major religions. Journalism education was not started in Asia but this region is known for its pioneering and thought-provoking educational initiatives starting from ancient Babylonian civilization to modern day’s leading role in STEM.

Journalism in Asia has been developed based on both the North American and European models as many countries of this region were colonized by either a North American or a European, mostly British, ruler. Likewise, journalism education has been modeled by both North American and European pedagogies.

With the advancement of digital media, Asian journalism educational institutions have been trying to adopt new pedagogy, redesign curricular alongside utmost struggle to adapt with the new and changing scenario.

The process of news has been ever evolving as social media provides unlimited opportunities to get information from the digital sphere. In addition, the traditional model of getting information from the mainstream media is withering away and the economic existence of journalism is in jeopardy. The access to the sources has become much easier and journalists could reach new audiences and increase the visibility of news. On the other hand, the social media landscape also has been putting pressure on journalists to keep up with the pace of breaking the news.

Given the ever-evolving Asian journalism education landscape, this book aims to address the following questions: Are Asian journalism educational institutions ready and equipped to train journalists in the social media age? What are the challenges of journalism education and how should those challenges be addressed?

In this book, the authors from the Asian countries will highlight the challenges and opportunities of journalism education in the digital and social media age in Asia.

The book aims to house scholars from various backgrounds who have experience in journalism education in all Asian countries. It tends to cover the scenario of journalism education in various Asian countries of diverse socio-political backgrounds and cultures. The book aims to cover the issue in the methodological and theoretical discussion and challenges regarding the reciprocal engagement between journalism educational institutions and journalists from both local and regional perspective.


Notes on editors

Neelam Sharma (Ph.D.) is an Associate Professor of Journalism and Media Studies and the Director of Graduate Program in the Department of Communication, Media and Persuasion at Idaho State University, USA. Dr. Sharma earned her Ph.D. in Public Communication and Technology from Colorado State University, Fort Collins. She also received her M.A. from Panjab University, India. Dr. Sharma teaches courses in Media Writing, Business Journalism, Social Media, and Research Methods. Her research interests include social media, journalism, and the South Asian news and entertainment media. Her research appears in journals including the International Journal of Communication, Psychology of Popular Media, Journal of Communication Inquiry, Global Media and Communication, and Atlantic Journal of Communication, among others. She is currently working on her sole-author book project, Online Abuse, hatred and women journalists in India. Dr. Sharma served as the PF&R chair of the International Communication Division (ICD), AEJMC. Before starting her doctoral studies in the US, Dr. Sharma worked as a journalist with the two-leading media, The Times of India and The Indian Express, in India.

Delaware Arif (Ph.D.) is a digital journalism Associate Professor and Graduate Program Director in the Department of Communication at the University of South Alabama, USA. He teaches Digital Writing & Production, Multimedia Storytelling, Social Media, and Ethics and Social Responsibility. Dr. Arif also taught mass communication courses at the University of Wisconsin-Whitewater. He was an Assistant Professor in the Department of Communication and Journalism at the University of Chittagong in Bangladesh. He also served as Chairman of the department until coming to the U.S. to pursue his Ph.D. Before joining teaching in 2002, Dr. Arif worked for Reuters, Bangladesh National News Agency (BSS) and an international NGO, the Hunger Project. He earned his Ph.D. in Mass Communication and Media Arts at Southern Illinois University Carbondale (SIUC) focusing on the patterns of usage of social media among the South Asian diaspora group in the U.S. He also received his M.A. in media theory & research from SIUC. Dr. Arif completed the Training for Trainers course at the International Institute for Journalism (IIJ) in Germany. He received his B.A. and M.A. in Mass Communication and Journalism from the University of Dhaka in Bangladesh. His teaching and research areas revolve around social media, new media, political communication, international communication, journalism studies, race and media, and mass media ethics.


Important Deadlines
  • Abstract submission: December 31, 2023
  • Final manuscript: March 31, 2024
  • Tentative Publication: August 2024
Potential publishers:



Please send your abstract:
  • sharneel@isu.edu
  • darif@southalabama.edu​​
Contact Information
Contact Email: darif@southalabama.edu

CURSO ONLINE "ESCRITORAS COREANAS DESDE LA ANTIGÜEDAD A LA ACTUALIDAD", CASA ASIA


Curso online Casa Asia

“Escritoras coreanas desde la antigüedad a la actualidad”


A través de este curso haremos un recorrido histórico de la mano de las escritoras coreanas más representativas de cada periodo para finalizar con las tendencias literarias más actuales. Con frecuencia, la labor de las escritoras se ha visto marginada en la historia de la literatura debido al peso del patriarcado en un ámbito tradicionalmente dominado por hombres. Teniendo en cuenta esto y también el gran peso de las escritoras en las tendencias literarias actuales surcoreanas consideramos pertinente presentar este curso en el que se dará a conocer y profundizará en la representación literaria coreana desde una mirada femenina que enfatice la problemática que enfrentaron las escritoras en distintos periodos y al mismo tiempo trabaje sobre sus obras más relevantes.


Programa:
  • 1ª Sesión: Escritoras de la dinastía Joseon
Durante la dinastía Joseon, la sociedad de carácter patriarcal relegaba a las mujeres al ámbito doméstico. Sin embargo, existen excepciones de mujeres, especialmente de la aristocracia, que dejaron valiosos testimonios literarios que constituyen una ventana a sus vidas durante esta época. En esta sesión ejemplos de la poesía escrita por las kisaeng, así como formas poéticas como la Kasa de alcoba escritas por mujeres de la aristocracia que trataban temáticas femeninas.
  • 2ª Sesión: Las sinyeosong y el surgimiento de la literatura moderna
Se dedicará esta segunda sesión a analizar el concepto de «nueva mujer» o sinyeosong y a las escritoras que emergieron en esta época turbulenta marcada por el fin de la dinastía, la modernización de Corea y la ocupación Japonesa. Estudiaremos diferentes autoras, su relación con las corrientes feministas de otros países y las dificultades que suponía desempeñar su actividad en una sociedad aún muy conservadora.
  • 3ª Sesión: Posguerra e industrialización
El gran trauma de la Guerra de Corea (1950-1953) que terminó en armisticio y la posterior industrialización rápida de Corea del Sur, en ocasiones denominada “milagro del río Han”, marcaron las literatura de este periodo. A través de esta sesión analizaremos a autoras clásicas del canon literario surcoreano y las visiones que nos ofrecen de esta época autoras como Park Wansoh, Park Kyeongni o O Jeonghui desde una mirada diferente a la de sus homónimos masculinos.
  • 4ª Sesión: El resurgir de las escritoras a partir de la década de los 80
La década de los 80 se perfila como un momento de gran importancia para las escritoras surcoreanas. La mayor igualdad de oportunidades en materia educativa hace que más mujeres puedan acceder a la educación universitaria y las condiciones sociales del país asientan una base de lectores para sus obras dando lugar a un aumento cuantitativo y cualitativo de literatura escrita por mujeres. Analizaremos algunos grandes éxitos cosechados por autoras de esta generación como Shin Kyeongsuk y Gong Ji Young, así como otros ejemplos menos conocidos.
  • 5ª sesión: Literatura contemporánea y tendencias actuales
Finalizaremos nuestro recorrido dedicando una sesión a las tendencias literarias más actuales, en especial, a la gran repercusión que están teniendo obras de escritoras que se enmarcan en géneros tradicionalmente considerados menores como la ciencia ficción y la fantasía en la sociedad contemporánea.


Lecturas recomendadas:

I: Selección de textos ofrecida durante el curso

También se recomienda la obra anónima La Guerrera Bang Gwanju (Hwarang 2023)

II: ¿Por qué te empeñas en sufrir así? Pioneras del feminismo coreano (Hwarang, 2022)

III: Río de fuego (O Jeonghui, Arde, 2023)

IV: ¡Corre, papá, corre! (Kim Aeran, Godall, 2018)

V: Viajando a la velocidad de la luz (Kim Cheoyop, Temas de hoy, 2022)


Profesor:

Álvaro Trigo Maldonado, doctor en Lenguas Modernas y profesor de estudios coreanos en la Universidad de Salamanca. Además de cursar otros dos posgrados relacionados con el ámbito de Asia Oriental en dicha institución se especializó con un Máster en Historia y cultura de Corea en La Academia de Estudios Coreanos y estudió traducción literaria coreano-español en el Instituto de Traducción Literaria de Corea, actividad que combina ocasionalmente con su labor académica. En la actualidad imparte cursos sobre lengua, literatura y cine coreano en la Universidad de Salamanca, áreas en las que reside principalmente su interés investigador.


Más Información:
  • Fecha: del 2 al 20 de noviembre. Jueves, de 18.00 h a 19.30 h
    • 5 sesiones de 1,5 horas, un total de 7,5 horas
    • Las sesiones que componen este curso se grabarán y las grabaciones estarán disponibles durante diez días.
  • Lugar: Online. 24 horas antes del acto las personas inscritas recibirán la información necesaria para acceder. Comprueba tu bandeja de correo no deseado en caso de no haberla recibirlo.
  • Precio: 49 euros. Casa Asia entregará por correo electrónico un certificado de asistencia al curso a quien lo solicite y que haya asistido al 80% de las clases.

CFP: VERGE ISSUE 11.2 “THE ASIAN CENTURY: IDEA, METHOD, AND MEDIA”




Call for Papers for Verge Issue 11.2

“The Asian Century: Idea, Method, and Media”


What is the Asian Century? Are we living in it? Do its recent invocations—by writers and readers, politicians and pundits, journalists and academics—mark a return to earlier eras of relative Asian centrality on the world stage or announce a future we have yet to inhabit? Is it a paranoid, U.S.-centered discourse of Western decline or a triumphant announcement of Asian economic-semiotic arrival? Is the Asian Century an aspiration or a threat—and to whom?

The term “Asian Century” has more than one origin story. Narrators are multiple, located in both Asia and the West. In a 1988 summit, China’s Deng Xiaoping, alongside Indian Prime Minister Rajiv Gandhi, may have coined the phrase by calling it into question: “In recent years, people have been saying that the next century will be the century of Asia and the Pacific, as if that were sure to be the case. I disagree with this view.” For Deng, skepticism about the inevitability of Asia’s rise was going to be crucial to the India-China partnership against the “developed” world; his skepticism hasn’t aged well. In the wake of the 2008 financial crisis, US Secretary of State Hillary Clinton declared a “pivot to Asia” in “America’s Pacific Century.” Clinton’s emphatic recapitulation of the “Asian Century” revived Western tropes of Asian ascendancy that predated Asia’s contemporary economic rise by more than a hundred years, while betraying American anxieties about the decline of US hegemony. In fact, both Deng and Clinton were responding to a process that had been underway since at least the early-1970s: the “long downturn” or tendential decline in profitability of Western economies that ran alongside the “economic miracles” of many Asian economies, including Japan’s Cold War-era boom and India’s and China’s eventual liberalization. For some, the Asian Century was, or is, a solution. Now, in an era of mounting deglobalization, its contradictions are just as sharply felt as its curious staying power.

What distinguishes the current round of Asian Century discourse is perhaps its mutual construction by “Asians” and “Westerners” alike. When the Asian Century came into wide currency in the 1990s, replacing a then-regnant “Pacific Rim” and “Pacific Century” rhetoric, it remediated a long history of similarly totalizing visions that issued not least from the “Asians” themselves: from Japan’s monstrous pursuit of the Greater East Asian Co-prosperity Sphere and Ferdinand Marcos’s dictatorial imposition of neoliberal programs in the Philippines, to the advertisement of the “Singapore model” and even China’s “century of humiliation,” which continues to vouchsafe its nationalist ressentiment. As Wang Hui’s analysis of the politics of imagining Asia has shown, visions of the Asian Century betray contradictory regionalist and nationalist ambitions that are held in focus by the apparatuses of the state and the culture industries. Thus Asian Century discourse is typically inflected by a nation or speaker’s position vis-a-vis key market and state brokers. Given that the meaning of “Asia” looks different depending on the vantage of Taiwan, Sri Lanka, Vietnam, or for that matter Saudi Arabia, what is the role of pan-Asian alliances and inter-Asian competition in constituting the Asian Century? Is Asia “one”—or only in the eyes of the West?

This special issue invites critical perspectives from scholars working in and across multiple languages and disciplines. We seek submissions that explore the Asian Century as idea, method, and media, and that examine its genealogies and itineraries from a range of contexts and histories, including of labor, empire, capital, war, technology, pandemics, dispossession, modernization, culture, and aesthetics. With “idea, method, and media,” we intend to inspire, but not circumscribe, the possible range of disciplinary approaches and primary sources that might be enlisted in responding to this call. Indeed, the idea of the Asian Century may very well be predicated on counter-articulations of its impossibility. While the Asian Century may appear at first as periodizing marker or geopolitical diagnostic, we propose that it can also be read across media and cultural forms, as an affective relation to the past, present, and future, as a structure of feeling, and as a visual and sensorial regime. Finally, in proposing the Asian Century as method, we seek to revisit and reimagine the interdisciplinary stakes of the longstanding conversation on “Asia as method.”

For example, what humanistic and social scientific methods can best track the concept’s intellectual and institutional emergence, circulation, and mediation, including well before the 21st century? How might regional Asian rivalries shape the supply chains and the capital flows of emerging trade blocs like the Regional Comprehensive Economic Partnership (RCEP) and the Trans-Pacific Partnership (TPP)? How have cultural production and intellectual exchange furnished the cognitive and affective frameworks for these blocs, and for Asian visions of global expansion like China’s “Belt and Road” initiative, South Korea’s cultural exports, and Taiwan’s advanced semiconductor industry? Given the increasing salience of the Asian Century as a concept for periodizing the contradictions of neoliberal capitalism, how might we trace its effects and iterations in and beyond political economy? What was the Asian Century, understood as visions and projections of Asia’s rise promoted by those who stood to benefit from such characterizations? What of the legacy and future of Third World decolonization and Indigenous struggles when Asian peripheries become, or have threatened to become, global powers? Rather than take for granted the rise of Asia as such, we seek to understand how and why Asia’s ostensible ascendance has seen not a lessening but rather a retrenchment of the conditions of planetary inequality.
Convergence Feature Proposals

One of Verge: Studies in Global Asias’ distinctive features is an opening section called Convergence, where we curate a rotating series of rubrics that emphasize collaborative intellectual engagement and exchange. Each issue features four of the following rubrics: A&Q, a responsive dialogue, either in interview or roundtable format, inspired by a set of questions; Codex, a collaborative discussion and assessment of books, films, or exhibits; Translation, for texts, primary or secondary, not yet available in English; Field Trip, reports from various subfields of the disciplines; Portfolio, commentaries on visual images; and Interface, texts exploring the resources of the print-digital world. We welcome those interested in these features to submit a Convergence proposal for the issue.

Proposals should be 1–2 pages in length and indicate what kind of feature is being proposed; demonstrate an awareness of the formats utilized by the journal; include an abstract and, if collaborative, a list of proposed contributors; and include a short (2 pg) cv.

The Convergence proposals deadline is September 8, 2023, however, we encourage those interested in submitting to contact co-editors about their ideas in advance of this date. Please direct all inquiries and submissions to verge@psu.edu.

Essay Submissions:

Essays (between 6,000–10,000 words) and abstracts (125 words) should be submitted electronically through this submission form by May 1, 2024 and prepared according to the author-date + bibliography format of the Chicago Manual of Style. See section 2.38 of the University of Minnesota Press style guide or chapter 15 of the Chicago Manual of Style Online for additional formatting information.

Authors’ names should not appear on manuscripts; instead, please include a separate document with the author’s name, address, institutional affiliations, and the title of the article with your electronic submission. Authors should not refer to themselves in the first person in the submitted text or notes if such references would identify them; any necessary references to the author’s previous work, for example, should be in the third person.

Please direct all inquiries to verge@psu.edu.

Deadlines
  • Convergence proposals: September 8, 2023
  • Essays: May 1, 2024
A PDF of this call is available here. For questions, contact verge@psu.edu.

CFP: ASIAN POPULAR CULTURE AND THE GOTHIC


Asian Popular Culture and the Gothic



Article proposals are welcome for an upcoming collection on Asian Popular Culture and the Gothic, edited by Li-hsin Hsu, Deimantas Valančiūnas and Katarzyna Ancuta. The collection is planned for submission to the Routledge Advances in Popular Culture Studies series.

Popular culture is often described as “the culture of the people,” containing cultural elements related to objects, beliefs, and practices that embody shared social meanings, and regularly produced for and consumed by mass audiences. As an object of investigation, it is mostly conceived of as a study of cultural products and media, such as literature, film, television, radio, games, comics, digital media, or fashion, that have mass accessibility and appeal. In today’s globalised world, more than ever, popular culture is increasingly diverse, expansive, dynamic, mobile, and often transnational, regardless of its point of origin.

In their introduction to the special Asian issue of The Journal of Popular Culture, published in 2016, Lisa Funnel and Yuya Kuchi remonstrate that in popular and critical imagination, “Asian Popular Culture” tends to be limited to selected East Asian genres and media, such as Japanese manga and anime, or Chinese martial arts films (2016, p. 963). Today we can safely add Korean music and television drama to this list but this does not quite change the fact that while we have seen dozens of publications focused on East Asian pop culture, large areas of popular Asian cultural production remain routinely excluded from scholarly examinations. While South Asian popular culture studies are a relatively vibrant discipline, even if the investigation here tends to be focused mostly on India and rarely goes beyond the study of popular cinema, Southeast Asian pop culture, in contrast, has so far received very limited attention, with studies examining the impact of “Japanisation” or Korean wave outshining those on local production. The field of Asian popular culture and its connection to the Gothic remains also an under-examined area.

Recent scholarship on the Gothic has extended the analysis of cultural production beyond the usual references to literature and cinema, and often includes a variety of media forms and practices of public/popular culture, such as television, video games, music, fashion etc. The term has also transcended not only its generic and historical, but also geographical boundaries, becoming a truly transnational phenomenon. The contemporary Gothic manifests in a variety of media forms way beyond the European or American contexts, and the appearance of Asia in the Gothic-related debates is not an oddity anymore. The ongoing decentralisation of Gothic studies and de-westernisation of its methodologies has opened up new possibilities for including cultural productions from diverse geographical locations, and the willingness to accept Asian Gothic as a legitimate category has rapidly increased with most edited collections and companions now carrying at least one chapter discussing Asian texts and contexts.

Asia has long been regarded as a vital hub of production and consumption of popular culture, with an extensive variety and spectrum of media forms and topics. However, the Gothic aspect of popular culture of Asia has not been addressed in a systematic and extensive way. Therefore, this collection for the first time invites papers to explore the ways Gothic manifests in popular culture and its consumption in Asia. By the term “popular culture” we imply both a variety of media forms of everyday consumption – video and digital games, comic books, television, music etc., as well as forms of everyday public culture and practices, associated with festivals, fashion, rituals, ceremonies etc. We also invite papers that explore the issues of knowledge production and cultural reception in Asia, rethinking the social and political role the Gothic might play in the circulation and transmission of popular culture in an Asian context, and how Asian popular culture might redefine or reshape the Gothic mode / aesthetics as we know it.

We invite proposals that consider the Gothic not as a fixed western-centred generic category, but as a fluid and shifting conceptual framework through which distinctive local cultural practices, historical and social traumas, anxieties, collective violent histories and diverse belief systems are expressed and discussed. In this sense, the Gothic can be read as a distinctive aesthetical and narrative practice, where conventional gothic tropes and imagery (monsters, ghosts, haunting, obscurity, darkness, madness etc.) are assessed anew, and disseminated and consumed through the many forms of popular culture. We also encourage approaches that rethink the affective power of the Gothic, and how its heterogeneous, transmedia, transcultural and transnational complexity is manifested in Asian contexts.

We are interested in examining a number of broader issues highlighting the appropriation of Gothic tropes and conventions in popular culture texts that engage with representations of colonial legacy, wars, conflicts, and historical trauma, gender / class / race issues and various forms of social critique. We would like to encourage the examination of the relationship between popular Asian Gothic texts and the audience / the marketplace, as well as the contexts of production and reception of such texts. We are keen on receiving proposals exploring the connection between Asian Pop Gothic and authorship / celebrity culture and possible political contexts related to the use of popular Gothic themes and motifs, for instance in relation to propaganda and censorship.

Below is a list of themes the edited collection is willing to address. It is not an exhaustive list and is intended as a guide, not as a set of limitations. We welcome suggestions and proposals on related topics and various media forms.
  • Gothic/Horror elements in B-movies and popular cinema (e.g., HK Cat III movies, Ramsay Brothers horror films, Japanese splatterpunk and tokusatsu eiga)
  • Popular Asian gangster films (e.g., the Japanese yakuza/ninkyo films, HK Triad films, or Korean kkangpae films)
  • Horror comedies / comic Gothic
  • Gothic/Horror elements in popular / pulp fiction (e.g., supernatural romances, light novels)
  • Popular Asian crime fiction (e.g., honkaku and henkaku mysteries, or gong’an crime-case fiction.
  • Asian horror television series and game shows
  • Serial killer television series
  • Mediums, shamans and ghost detectives in supernatural crime procedurals
  • Gothic cyberpunk / post-human in manga and anime
  • Eco-Gothic approaches to manga and anime
  • Horror comics in Asia
  • Asian ghosts and monsters in popular culture
  • Sentimentalism and sensationalism in Asian ghost story
  • Asian pop culture adaptations of Gothic texts (e.g., Dracula in Asian texts, Japanese reworkings on Chinese zhiguai, Rebecca in India)
  • Vampires in Asian music videos
  • Visual Kei and post-punk / Goth music
  • Gothic/Horror elements in Asian heavy metal music
  • Gothic/Horror and gaming cultures
  • Survival video games and survival game films and TV shows
  • Horror-themed RPGs and ARGs inspired by Asian folklore
  • Gothic/Horror themes in user-generated fiction and Internet-based lore
  • Ghosts, curses and viral videos
  • Ghost-hunting and paranormal radio broadcasts / podcasts
  • Gothic/Horror in popular theatre (e.g., kabuki plays, likay, Chinese/Taiwanese opera, Tamasha, Jatra)
  • Gothic/Horror in puppet theatre (e.g., budaixi, nang yai, wayang kulit, kathputli)
  • Gothic traditions and (religious) festivals
  • Asian Gothic folklore and urban lore
  • Ghost storytelling and oral lore
  • Asian Horror fandom and audiences
  • Gothic Lolitas and Gothic cosplay
  • Asian Goth subcultures / Gothic fashion
  • Gothic/Horror-themed merchandise
  • Gothic/Horror-themed attractions (e.g., haunted houses, amusement parks, escape rooms)
  • Ghost tours and dark tourism
  • Gothic media personalities / TV and radio hosts
Proposals of approx. 300 words accompanied with a short biographical note of max. 150 words should be sent to the editors at asianpopgothic@gmail.com by 31 October 2022.


Contact email: kancuta@gmail.com

CFP: CULTURE-BOUND SYNDROMES IN POPULAR CULTURE


Culture-bound syndromes in Popular Culture


UPDATE: Deadline Extended 1 May 2022

We welcome chapter proposals on Native American cultural syndromes and their representations in popular culture. Please see the above call for chapters for more information. We are also open to suggestions regarding the table of contents and wish to include more culture-bound syndromes. Thank you. Apologies for crossposting.


Dear colleagues,

You are invited to submit an abstract for the upcoming edited collection Culture-bound syndromes in Popular Culture. The volume aims to provide in-depth and analytical insight into the representations of cultural imagery and narratives of various culture-bound syndromes through the lens of global and national popular culture, covering movies, television, literature, visual arts, fashion, festivals, popular music, and graphic novels.

What does a culture-bound syndrome mean? The concept has come to define a pattern of symptoms (mental, physical, and relational) experienced only by members of a specific cultural group and recognized as a disorder by members of those groups.

"Culture-bound Syndromes in Popular Culture" takes its readers on a journey across (popular) cultures and introduces them to an entirely new subfield of studies, at the conjunction of medical anthropology and popular culture, focusing on folk illnesses.

Thus, this book covers a broad range of case studies, subjects, texts, and cultural practices that lie at the intersection of folk illnesses and cultural studies and include national, transnational, and international media representations, with an accent on the reception and interpretation of the phenomenon from the perspective of its original space.

We warmly invite established and emerging scholars specializing in all areas of media and cultural studies, anthropology, sociology, social/cultural geography, and other relevant research fields to propose a book chapter on an individual culture-bound syndrome and its representations in popular culture. Both single and multiple-authored works will be considered. All work should be original and previously unpublished.

We are also very interested in hearing open proposals for possible chapters about other cultural syndromes from any other country if the Table of Contents strikes you as improvable in any way.

Please make sure to refer to a specific cultural syndrome (or more) in your abstract and title.

Chapters might explore but are not limited to:


SECTION 1 East Asia and India
  • Zou huo ru mo (China)
  • Dhat syndrome (India)
  • Hikikomori (Japan) Already taken!
  • Taijin Kyofusho (Japan) Already taken!
  • Hwabyeong (South Korea)
  • Pa-leng (Taiwan)

SECTION 2 Southeast Asia
  • Lanti (Philippines)
  • Latah (Indonesia, Malaysia)
  • Amok (Malaysia)
  • Koro (Singapore)

SECTION 3 Latin America and Native American culture
  • Locura
  • Mal de pelea
  • Nervios
  • Susto
  • Saladera (Peruvian Amazon)
  • Windigo Psychosis (Native American)

SECTION 4 Africa and the Middle East
  • Zar (Israel, Ethiopia)
  • Ufufuyane, Saka (Kenya)
  • Voodoo death (Haiti, Africa, Australia)

Routledge has expressed keen interest in the volume for their Research in Cultural and Media Studies Series.


Key dates

Abstract submission deadline: 1 May 2022 (after this date, please contact the editor to check if submissions are still possible)

Notification of acceptance: 15 May 2022

Full chapter submission (max 8000 words): 1 November 2022

Publication: January 2023

Please send in a working title, abstracts of max 500 words, and a brief biographical note of 150 words to:

prof.irina.pelea@gmail.com

Please feel free to contact the volume’s editor (Irina Pelea) with any questions or queries. I look forward to receiving your abstracts.

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: "MEDIA FREEDOM IN ASIA: CHALLENGES FROM BELOW", SPECIAL ISSUE, ASIAN JOURNAL OF COMMUNICATION


Call for papers

"Media Freedom in Asia: challenges from below"

Special issue, Asian Journal of Communication


Advancing media freedom has been one of the megatrends in Asian communication over the past 30-40 years. Media space has been opened up by political revolutions and reform movements, television deregulation, the rollout of the internet, and demands for more choice and voice by hundreds of millions of better educated and more economically empowered citizens.

Over the past decade, however, this trend has slowed, stalled, or even reversed in several Asian societies. This is in line with a global pattern of “democratic recession” and “authoritarian resilience” observed by many analysts. The most obvious cause is the emergence of authoritarian leaders. However, top-down explanations do not capture fully the current dynamics. One striking feature of the state of media freedom in many Asian societies is the ambiguous role of the publics that are ostensibly the main beneficiaries of the right to freedom of expression.

In some settings, popular responses to state interventions range from indifference and apathy to active, partisan support for authoritarian leaders’ attacks on media. In other cases, the attacks come directly from popular movements. Religious and other identity-based groups may even be the main drivers of censorship and self-censorship, in societies where government control is less of an issue. Sometimes, in the absence of well-functioning independent media accountability systems, the public’s legitimate ethical concerns can result in interventions that obstruct the media.

We invite papers that expand our theoretical and empirical understanding of Asian media freedom’s “challenges from below”. The guest editors’ working definition of “media” covers traditional mass media, online media, and internet intermediaries and platforms. We will focus on media that already or potentially contribute to public discourse and political culture, especially news media but also entertainment formats. In line with the Asian Journal of Communication’s scope, papers must be grounded in one or more Asian jurisdictions, and can address the topic from any appropriate disciplinary tradition and methodological approach, including historical, legal and comparative methods.


Submissions are invited on questions such as:

  • How and why has support for media freedom changed over time in selected Asian countries? 
  • How have the rhetorical strategies of populist leaders in Asia sought to delegitimise independent media? 
  • How do decentralised attacks on media, such as through cyber troops and vigilante violence, operate in Asia and what are their effects? 
  • How do publics in Asia understand media freedom, for what historical or cultural reasons, and to what extent are their framings compatible with the idea of freedom of expression as a universal human right? 
  • Based on trends in Asia, how can we better conceptualise media and their publics? 
  • What makes “free” Asian countries stand out and how in the mostly partly free or not free Asia?

 

Full papers are due by 11 January 2021.


Editors:

Cherian George, Hong Kong Baptist University (cherian@hkbu.edu.hk)

Kyu Ho Youm, University of Oregon

CFP: SITUATIONS: CULTURAL STUDIES IN THE ASIAN CONTEXT, FALL 2020 ISSUE


CFP: Situations: Cultural Studies in the Asian Context Fall 2020 Issue
A SCOPUS-indexed International Journal

“The Personal and the Political in Contemporary North Korean Culture and Cinema”


Call for papers:
We invite submissions of full-length essays on the important but largely understudied topic of “North Korean Culture and Cinema” for the September 2020 issue. The existing studies on North Korean cinema have mainly focused on the ideological role of the cinema as a propaganda tool of the state. Given the rapidly changing circumstances of North Korea under Kim Jong-un’s leadership and his ongoing attempts to reform and open the regime, however, we seek to illuminate North Korean cinema from a broader set of perspectives, including thematic, formal and technical approaches to the topic as well as its relationship with other artistic forms and emergent technologies. This special issue will feature articles from the following scholars, and we anticipate that many other scholars will be interested in taking part in this important unfolding scholarly debate:

"LA INFLUENCIA CHINA EN LA EVOLUCIÓN DE COREA DEL NORTE" CONFERENCIA


Ciclo de conferencias con corresponsales en Asia. Isidre Ambrós y Joaquín Luna: "La influencia china en la evolución de Corea del Norte"

El proceso de distensión en la península coreana iniciado con la celebración de dos cumbres (junio 2018/febrero 2019) y el papel que han desempeñado China y Estados Unidos con el régimen de Corea del Norte, será analizado por los periodistas Isidre Ambrós y Joaquín Luna, que han sido corresponsales para La Vanguardia en China y Estados Unidos, respectivamente, en el marco de una conferencia que tendrá lugar el lunes 29 de abril, en el auditorio del Campus de Comunicació-Poblenou de la Universitat Pompeu Fabra.

Corea del Norte es el país más hermético del planeta. Nadie sabe prácticamente nada de él excepto lo que sus dirigentes permiten transmitir, que es muy poco por otra parte. En el último año y medio, sin embargo, el régimen que lidera Kim Jong Un ha iniciado una tímida apertura que le ha llevado a mantener canales de diálogo con su vecina Corea del Sur y a protagonizar dos históricas cumbres con Estados Unidos, su enemigo desde la Guerra de Corea de 1950-53.

CFP: "NORTH KOREA AND COMMUNICATION", ICA PRE-CONFERENCE 2019




North Korea and Communication
ICA Pre-Conference at Hilton Washington DC
May 24, 2019

North Korea has been an under-explored area in communication research. Limitations on movement and communication, as well as physical isolation of the country in the global arena, has made it difficult for scholars to produce meaningful research about North Korea. In recent years, however, there have been major developments in the communication infrastructure, with the introduction of cellular phones to the general public, resulting in over 70% of Pyongyang citizens having access. Foreign correspondents from the US, Europe and South Korea have been allowed to set up permanent foreign bureaus. In 2018, the North Korean leader has engaged in fast-paced diplomacy with the US, South Korea and China. Taken together, these changes are leading to a new era in communication about, within and around North Korea.

CFP: CALL FOR PAPERS, SOUTHEAST ASIAN MEDIA STUDIES


 

The Southeast Asian Media Studies is the official international, blind peer-reviewed, and open-access scholarly journal of the newly-formed Southeast Asian Media Studies Association (SEAMSA).

Subject Fields: Area Studies, Asian History/Studies, Film and Film History, Journalism and Media Studies, Southeast Asian History/Studies

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