Call For Articles: Special issue #CFP: #Women’s #Autobiographical #Filmmaking -Alphaville: Journal of #Film and #Screen #Media,

 Call for Papers

Women’s Autobiographical Filmmaking 

Special issue of Alphaville: Journal of Film and Screen Media, Summer 2026

Guest editors: Dr Felicia Chan (University of Manchester) and Dr Monika Kukolova (University of Salford)

Autobiographical filmmaking refers to films created by filmmakers that tell stories about their lives, experiences and memories. These may be truthful or partially fictionalised, remembered clearly or misremembered, or a combination of these, usually in ways that also explore how film as a medium itself can do this — a form of practice-as-research, if you like. We are interested in exploring with potential contributors whether there might be a gendered nature to this mode of filmmaking / life-remembering / self-narrating? Do filmmakers who identify as women tell different stories about themselves and their lives from those who identify as men, or do they do so in a different way? How do women filmmakers navigate their simultaneous objecthood and subjecthood in the eye of the camera (Everett, 2007)? Much of the canon in film studies is constituted by works of male auteurs, all in one form or another said to be exploring their lives, their pasts and their selves on screen: think of figures like Federico Fellini, Woody Allen, François Truffaut, Shane Meadows, the list goes on. This structural domination is being continually challenged (Gledhill and Knight, 2015) and moves to rehistoricise women’s filmmaking have seen increased attention on figures from Agnès Varda through to Greta Gerwig though much more remains to be done on women filmmakers in the global majority. 

There has been a longer history of scholarship on women’s literary life-writing (Smith and Watson, 1998; Neuman, 2016; Brodzki and Schenck, 2019) but less so on women’s life-writing on/through film as a mode of self-narration. How have women filmmakers had to navigate the industrial structures of filmmaking with all its gatekeeping mechanisms, including access to capital? To what extent are these gatekeeping mechanisms disproportionately discriminatory towards women?  

We are inviting proposals to explore any area of the subject, although we are especially keen to receive proposals from scholars studying the ways women in the global majority use cinema to write themselves and their memories into post/colonial histories. We would also like to invite proposals on alternative publication formats such as the video essay, and shorter provocations, interviews or reports.

Possible topics include (but are not limited to):

• Filmmaker case studies
• Close readings of individual films
• Industry analysis
• Autobiographical film as method
• Challenges to theoretical orthodoxies, e.g. auteur theory, canon-making, etc.
• Decolonial approaches to gender studies and women’s filmmaking 

Full-length articles: 5,500-7,000 words, including notes but excluding references

Video essay: Approx. 3-15 mins, plus accompanying text 500-1000 words

Short reports, provocations, reviews, interviews, reflections: 1,500-2,500 words

Full-length articles and video essays will be subject to full peer review. Guidelines here: https://www.alphavillejournal.com/Guidelines.html

Publication Timeline

15 May 2024, abstract due

31 May 2024, notification of editors’ decision

15 January 2025, full video essay / manuscript due 

Publication: Summer 2026

If you are interested in contributing to this issue, please send a 300-word abstract along with a brief biography, in the same file, to Dr Monika Kukolova (M.Kukolova@salford.ac.uk)

Feel free to contact us with any questions.

 Alphaville is a diamond open-access journal, and it requests no fee from authors or readers. Visit us at https://www.alphavillejournal.com

 

Contact Information

Dr Felicia Chan, University of Manchester, UK: Felicia.Chan@manchester.ac.uk

Dr Monika Kukolova, University of Salford, UK: M.Kukolova@salford.ac.uk

Contact Email

Felicia.Chan@manchester.ac.uk

URL

https://www.alphavillejournal.com

Call For Chapters: EditedThe #Palgrave Handbook of #Monsters and #Monstrous #Bodies

 

Call for Chapters

The Palgrave Handbook of Monsters and Monstrous Bodies, under contract with Palgrave Publishers, is an interdisciplinary collection of chapters, that provides a snapshot of the evolving field of Monster Studies. This Handbook offers a comprehensive review of globalizing and expanding interdisciplinary explorations of monsters and monstrous bodies. It will become the only Handbook of its kind that focuses on both monsters and the monstrous by world-leading experts, established academics, emerging scholars, and new academics bringing together scholarship across disciplines about the monstrous in

multiple contexts and time periods.

We are seeking scholars of diverse identities, races, and genders, especially those from non-Western institutions or whose work examines monsters and monstrous bodies from global perspectives and nonnormative experiences and narratives to complete the text. Scholars will reflect on the tremendous growth and wide-ranging appeal of these engagements throughout the disciplines. The chapters will emphasize how cultures create ideas of monstrous bodies and utilize monsters as allegories for all manner of identities, issues, and socio-cultural experiences. The Handbook will serve as an interdisciplinary holistic reference to those interested in the links between monsters and socio-cultural attitudes.

CURRENT CONTRACTED CHAPTERS

1. “How To Create a Monster: From Anatomy To Trauma And All Points In Between” Sherry Ginn

2. “Abjection,” Dr. Katherine H. Lee, Indiana State University

3. “Imposing Order on the Monstrous: A Cultural Taxonomy of the Modern Zombie,” Rob Smid, Curry College Massachusetts

4. “Demonstrification: How Monsters Can Be Agents of Social Change,” Colleen Karn, Methodist College

5. “Holy Monsters: Bodies, Impairment and the Sacred in the Middle Ages,” Lisa R. Verner,

University of New Orleans

6. “In Sickness and in Hell: Monstrous Revenants and Infectious Disease,” Leah Richards, Ph.D., LaGuardia Community College, City University of New York

7. “Hell is a Teenage Girl”: Revenge and the Monstrous-Feminine in Jennifer’s Body” Hannah Hansen, Massey University New Zealand

8. “Monstrous Monster Makers: Examining Mad Scientists and their Creations,” Heather M. Porter,  M.S. & Michael Starr, University of Northampton, UK.

9. “Black Vampires and Antiblackness: New and Old Histories”, Deanna Koretsky, Spelman College

10. “Jordan Peele’s Horror Noire Oeuvre: Black Studies, White Students, and the Politics of DEI Curricula in this Era of Woke Culture,” Jayson Baker, Curry College,

11. “Let’s Do the Monster Mash” Dance Horror in Vampire Films,” Elizabeth Miller Lewis, The University of New Orleans

The Palgrave Handbook of Monsters and Monstrous Bodies

12. “A Monstrous Hunger: Female Vampires and Appetite,” Robin A. Werner, The University of New Orleans

13. “Monstrous Bodies: The Quadroons Balls of New Orleans,” U. Melissa Anyiwo, The University of Scranton

14. “Dumb show: Mute children in New Zealand literature and cinema,” Jenny Lawn Massey University New Zealand

15. “Obsessed with Fangs, Fur, and Tentacles: Monster Pornography and a Desire for Monstrous Sex,” Amanda Jo Hobson, Rose-Hulman Institute of Technology

16. “The Danger of the White Progressive,” Liza A. Talusan, PhD

17. “The Demamification of Black Women in Educational Leadership: Sirol’s Song,” Loris Adams, National Cathedral School.

TOPICS MAY INCLUDE, BUT ARE NOT LIMITED TO:

✓ Monster Hunters of Eastern Europe

✓ African monsters and monstrous bodies in fiction and folklore

✓ Manga & Anime Monsters: Globalizing Japanese Storytelling

✓ (Re)Envisioning (Dis)Abilities and Monstrous Bodies in Global Media

✓ Monstrosity in Asian contexts

✓ Exploring Monstrosity in International Children’s Media

✓ The Monsters of Nollywood & Bollywood.

✓ Selling Black Bodies in Pain

✓ Monstrous Tourism in Ghana and the US

✓ Making monsters? Historical Narratives of the Other.

✓ Monstrous mythologies of the Diaspora.

✓ Animating Monstrous Bodies in Indie Comics and Graphic Novels

✓ The Impact of Independent and Self-Published Production on Monstrosity in fiction and film

✓ Queering the Monstrous

✓ Monstrous Children and the Horrors of Caretaking

✓ Monstrous Bodies: Envisioning Queer Feminist Pornography

✓ Nasty Women of Gothic Literature

✓ Monstrosity, Comedy, and the Awkward Blurring of Genres

✓ Exploring the Quotidian and the Profane in Contemporary Monsters-Next-Door Fictions

✓ Romancing the Monstrous, Or Why We Want to Date Monsters

✓ Monsters and/or Monstrous Bodies to Redress Cultural Appropriation

✓ Policing Monstrous Flesh

TIMETABLE:

✓ Thursday, February 29th, 2024 – Proposals & Bio due

✓ January 1st, 2025– 1st drafts due

✓ June 15, 2025 – 2nd drafts due

✓ October 30, 2025 – Final Drafts Due

Please email 300-word proposals with a short biographical statement (50 words) and inquiries to Melissa Anyiwo and Amanda Jo Hobson by Thursday, February 29th, 2024. The final chapters will be approximately 7000-9000 words.

Proposals Due by Thursday, February 29th, 2024

Editors:

Amanda Jo Hobson, Associate Director of Diversity, Equity, and Inclusion, Rose-Hulman Institute of Technology, amandajohobson@gmail.com

U. Melissa Anyiwo, Associate Professor History, Director Black Studies, The University of Scranton melissa.anyiwo@scranton.edu

Call for Chapters: The Multiverse in Popular Culture - University Press of Kansas

 

The University Press of Kansas has expressed interest in publishing a book of essays about representations of the multiverse in popular culture.  The theory of the multiverse – the premise that our known universe if merely one iteration of an infinite number of alternate universes – has recently emerged from scientific obscurity to become a common trope of popular fiction.  Everything Everywhere All at Once won 2022’s Academy Award for Best Picture, multiversal timelines are a central feature of the Marvel Cinematic Universe, and representations of parallel realities in television shows such as Sliders, Fringe, Dr. Who, and Rick & Morty have familiarized this radical concept for mass-audiences.  The emergent popularity of the multiverse as a narrative device resonates with critical theories about the "worldmaking" of fiction, the postmodern dissolution of metanarratives, and Deleuzian networks of multiplicity, and it is informed by literary precedents in Jorge Luis Borges, Philip K. Dick, and Italo Calvino.  From a political perspective, multiverse narratives reflect the fractured reality of American political discourse, a condition acknowledged in references to “the Fox News Cinematic Universe” and the Trumpiverse.  The multiverse also reflects the ontology of the Internet, with its countless variations on a single meme, which sometimes disappear or are retroactively rewritten, or that even wobble into uncanny real-world instantiations.  The Internet provides a kind of parallel reality that we all have one foot in all of the time, and our daily exposure to this disruptive state of being certainly influences contemporary ontologies.  Narrative itself, with its long history of representing parallel realities and also of essentially being a parallel reality, may provide the most compelling expressions of these ontologies, as well as the most promising insights about how to navigate and communicate across them. 

We seek proposals for chapters that discuss representations of the multiverse in popular culture.  We particularly welcome close readings of individual films, television episodes, graphic novels, online videos, or other popular texts that address the political, cultural, and/or philosophical implications of specific representations of the multiverse.

40%

Cultural Theory and Popular Culture: An Introduction, 6e

₹699.00

11%

POPULAR CULTURE(PB)

₹350.00

4%

The Oxford History of Popular Print Culture: Volume One: Cheap Print in Britain and Ireland to 1660

₹12,500.00

15%

ESSAYS ON THE POPULAR IN CULTURE

₹795.00

Popular Culture in a Globalised India

11%

Popular Masculine Cultures in India: Critical Essays

₹325.00

The Philosophy of the Western (The Philosophy of Popular Culture)

10%

FINGERPRINTING POPULAR CULTURE (OIP): The Mythic and the Iconic in Indian Cinema

₹495.00

Memory and Modernity: Popular Culture in Latin America (Critical Studies in Latin American Culture)

16%

How I Met Your Mother and Philosophy: Being and Awesomeness: 81.00 (Popular Culture and Philosophy, 81)

₹1,799.00

Please submit 300-word chapter proposals to Randy Laist at rlaist@bridgeport.edu by February 29, 2024.

Contact Information

Randy Laist

University of Bridgeport

rlaist@bridgeport.edu

Contact Email

rlaist@bridgeport.edu

Call For Book Chapters: Beyond Networks of Domination: Rethinking Machinic Media, Digitality & Cinema of our Times

 Editors: Ananya Roy Pratihar(IMIS,Bhubaneswar), Saswat Samay Das (IIT, Kharagpur) & Shashibhushan Nayak(GP Nayagarh)

The biopolitical schemas for restructuring machinic networks of Media, Digital, and cinema do not stand as productive mimicries of mediations prerequisite for effecting an anthropological clearing (with Cracks, throws and blows, as Sloterdjik puts it) or grafting some kind of symbolic unity on chaotic materiality. Rather, such schemas act as ambivalent double-pincered mechanisms, turning loose incessant networked flows on the one hand, only to reduce them to domesticable or governable totalities on the other. If Deleuze & Guattari show how such networks lead to the creation of a control or surveillance society committed to colonizing what Husserl calls Lebenswelt (the life world), reducing its pulsations to algorithmic dividuals, Donna Haraway and Manuel Castells show how an interplay between desiring networks of media, digitality and cinema leads to the production of what they call informatics of domination when it is coupled with biopolitical agendas. Thinkers such as Nancy Fraser indicate how progressive networks in neoliberal societies bear a Janus face, hiding underneath their progressive orientation a regressive economy of ideas, opening up an uncompromising field of dialectical contradictions that turns networked flows, passages, archipelagos and routes to dispositif or worse dead ends.

However, while tracing the historical genesis of networks to colonialism or stressing their subsequent bio-politicization, materialist thinkers such as Deleuze & Guattari, Haraway, Braidotti, or Katherine Hayles do not posit de-essentialized expressions of networks as a kind of insidious metaphysical grammar. Rather, they view networks as actual expressions of machinic materiality and posit faith in the inter-related dynamism of networks to lead humanity out of the morass that humanist reductive mediation of such dynamism leads us to. Deleuze and Guattari turn towards stressing the deterritorializing capacity of networks. The stress they put on the need for finding new weapons of resistance against the biopolitical manipulation of networks only supplements this capacity, for with their conviction that even primary assemblages such as signs or senses arise out of the workings of an abstract machine immanent to these assemblages, they seem least inclined towards indicating that such weapons needs to be dialectically opposed to networks and may be used to arrive at a utopian anthropological clearing beyond them. As Guattari says, "There are material machines and immaterial machines, technical machines and imaginary machines, desiring machines and abstract machines, machine inside the machine, nested like fractals…Guattari advocates viewing machines in their complex totality in all their (networked) avatars and resists attempts to essentialize them or the assemblages they compose. 

Thinkers such as Latour stress the necessity of having broader, bigger and more effective networks comprised of human and non-human actants to release us from the humanist organization of society that leads us to deadlocks. Haraway rethinks the clarion call by Deleuze to find new weapons of resistance only to put forward the machinic and networked figure of Cyborg as the new war machine, a machinic assemblage that she calls the cat’s cradle, which synthesizes the organic and the non-organic, the machine & the body and the physical and the non-physical.

Similarly, thinkers such as Patricia Pisters foreground the machinic orientation of minor films. They view such orientation as nurturing the potential to both abolish clichés, dullness, and normative subjectivation and transform subjects puppeteered by representationalist populist cinema into what they call super-jects who might bear the potential to create a new world order.

Is then becoming a pure network, nodes of machinic connections or Haraway’s string figures, the only rejoinder against the biopolitical restructuration of Networks? One needs to remember that networked movements such as the Arab Spring, the Occupy Movement and most recently, the Gezi Park protests in Turkey have failed to bring about the required shift, let alone create fresh ethical bindings between the chaotic multitudes and that many social commentaries claim that such networked protests have large bark, but no bite.

However, then, is there any alternative to combating networks with networks, pitting open-ended ecosophical networks against crampy and claustrophobic networks of neoliberalism, with the redundancy of classical Marxist struggle against the biopolitical machinery? How does critical disclosure of schizoanalytic desire to blur the libidinal and political economy divide help us, with Berardi and Fisher putting forward such ampliative networks as effective tools, meant both for mapping and effecting a revolutionary breakthrough, a Kairos, in relation to the current scenario? With experimentations in media, digitality and cinema constituting the liminal zone of nomad science, will creating a Spherological unity among such sciences effect a deterritorializing rupture with the current predicament. With creative thinking making way for the untimely, can we have an alternative mechanism of resistance to grassroot the flows, as Manuel Castells puts it?

21%

Film Studies: An Introduction (Four Colour Edition)

₹1,395.00

TEACH YOURSELF FILM STUDIES: AN INTRODUCTION

3%

Film Studies (CC1 and CC2)

₹350.00

1%

Film Studies(2)- CC3 and CC4

₹375.00

5%

Beginning Film Studies: Sixth Edition

₹1,436.00

Film Studies, second edition: An Introduction (Film and Culture Series)

20%

FILM STUDIES Calicut University 6th Semester B.A

₹160.00

The Oxford Handbook of Film and Media Studies (Oxford Handbooks)

12%

A DICTIONARY OF FILM STUDIES 2E P OQR (Oxford Quick Reference)

₹800.00

Male Jealousy: Literature and Film (Continuum Literary Studies)

We invite papers that could both extend and critique the experimental media, digitality and cinema of our times. Simultaneously, we also need papers that reflect the potential for reinventing the schizoanalytic or experimental mode of media, digitality and cinema in order to do justice to Deleuze’s clarion call for finding new weapons of resistance.

Submissions

Abstracts of about 200 words, including six keywords, a 50-word bio-note, institutional affiliation, and contact details, should be emailed by 01 March 2024 to shashienglish@gmail.com as a single MS Word document attachment.

Chapter requirements: A chapter should be 4000-5000 words, including footnotes and bibliography adhering to the MLA 9th edition.

Important Dates:

Deadline for abstract submission: 01 March 2024

Abstract selection notification: 30 March 2024

Complete Paper Submission: 01 October 2024

Contact Information

Dr. Shashibhusan Nayak

MLA Bibliography Fellow

Contact Email

shashienglish@gmail.com

Call For Articles: Urdu Studies-(ISSN: 2583-8784)

 

Call for Papers

(Vol. 4 Issue 1, 2024)

Urdu Studies (ISSN: 2583-8784) is an online open-access bilingual (Urdu and English) journal bringing together academics, scholars, and researchers engaged in areas of theoretical, comparative, and cultural research and criticism in Urdu language, literature, film, and theatre studies. We focus on original and innovative research and exploration and encourage interdisciplinary studies. We accept translations and book reviews.

We are now accepting submissions for the 2024 issue.

Our Thrust Areas include:

• Postcolonial debates on Urdu language, literature, and culture
• Contemporary Eastern and Western critical theories, and their reception in Urdu
• South Asian cultural and historical studies
• Urdu and contemporary Western scholarship
• Intercultural & Comparative Studies
• Urdu theatre & cinema
• Translation Studies

Note: Urdu Research papers; book reviews; and translations from any language into Urdu; may be emailed to the Chief Editor (hashmiam68@gmail.com). Research papers in English; book reviews; and Urdu-English translations; may be emailed to the Guest Editor (rizvifatima67@gmail.com). Authors are requested to submit research papers/ translations/ book reviews in Urdu or English by 30^th May 2024. They will be notified about acceptance/ revision/ rejection by 30^th June 2024. Revised papers should be emailed by 30^th July 2024. The journal, included in the UGC-CARE List, will be published online in August 2024.

Please visit the following link for the submission guidelines.

https://urdustudies.in/call-for-papers-submission-guidelines/

Contact Information

Arshad Masood Hashmi, Professor, Department of Urdu, jai Prakash University, Chapra 841302 (India) hashmiam68@gmail.com

Fatima Rizvi, Professor, Department of English and Modern European Languages, University of Lucknow 226007 (India) rizvifatima67@gmail.com

Contact Email

hashmiam68@gmail.com

URL

https://urdustudies.in/

CFP: REIMAGINING MEDIA: NARRATIVES ON THE MARGINALIZED AND INCLUSIVITY IN THE MEDIA AND CONSUMPTION INDUSTRIES-Symbiosis Centre for Media & Communications

 REIMAGINING MEDIA: NARRATIVES ON THE MARGINALIZED AND INCLUSIVITY IN THE MEDIA AND CONSUMPTION INDUSTRIES

The many emergent voices in Indian media shape contemporary discourses on gender, consumption, economy, narratives, race, language, caste and identities. Such voices help contribute to how we view and understand the world, especially in the way inequalities are encountered and perpetuated by contemporary media, resulting in representational signals that reimagine the status quo. In this, the role of film, social media and brand communications appear to have been more significant, when compared to their conventional mainstream counterparts, such as print and broadcast media. The second edition of SCMC’s Pramana Research Conference strives to examine the contemporary construction of inclusivity in both cultural and business contexts, simultaneously looking at media representations as well as consumption practices. In a combined Call for Papers to educators, researchers and academicians, the Pramana Conference aims to explore the role and potential of ‘change agents’ as guides who influence the consumers’ imagination of intersectionality and inclusivity, unravel socio-cultural marginalization.

Theme 1: The Marginalized in Contemporary Indian Media

Social and cultural marginalizations of various types exist in all complex societies, including India; and with the advent of modern public life, many such enduring, yet historically changing, deeply ingrained marginalizations practiced in the subcontinent have been matters of significant discussion. The presence of constitutional and legal safeguards has not however amounted to such consciousness permeating into the social fabric, which continues to promote socially ingrained privileges, while keeping the conversation about discrimination and marginalization on the periphery. Many media industries remained overwhelmingly populated by privileged, educated social elites (Kureel 2021, Kumar 2009) and popular cinema narratives remained aligned to privileged social groups, with few tokenistic representations of lower social groups. The Mandal agitations of early 1990s and the immediately preceding militant anti-caste movements compelled representational space to lower caste and class groups, their realities and specificities. Simultaneously, this is also the moment when Dalit literature burst onto the Indian literary scene as an unavoidable force to reckon with. It is in the longue-durée context of this gradual emergence of representation of caste, gender and the marginalized in Indian public life that we want to situate our discussion of the politics of representation in contemporary Indian media: including in cinema, broadcast media, print and digital journalism, digital content and social media platforms. We especially want to delve into the use of the contemporary mediascape by socially marginalized groups for self-assertion and representation.

Topics (but not limited to):

• Contemporary Media Representation: Portrayals of the Marginalized in News, Entertainment, and Popular Culture;
• The Marginalized in the Digital Spaces: Online Platforms and Social Media Networks;
• Marginalized Groups and Journalism: Study of Caste-based Biases etc. and Reporting in Indian Media;
• Social Media Activism: Assessment of Social Media's Role in Mobilizing Anti-caste Movements etc. and Raising Awareness;
• The Marginalized, Media, and Policy: Evaluation of Policies Addressing caste-related and other issues in the media sector;
• Intersectionality, Class and Caste: Analysis of how these intersect with other identity markers in media representations;
• Marginalization and Hate: Examination of dogwhistling, hate speech and cyberbullying on Social Media;
• Media Initiatives for Social Change: Case studies of media projects promoting inclusivity and social equality.

Theme 2: Inclusivity in Brand Ecosystems: Structural and Marketplace Influences, Representational Narratives, and New-age Brand Philosophies

The integration of social awareness has emerged as a pivotal guiding principle for contemporary marketing strategies and this has led practitioners to shift their branding strategies towards content and communication that cater to varied sub-cultures and socially disadvantaged consumer groups. Despite this, many societal groups remain stereotyped, misportrayed and under-represented, with invasive and harmful imagery continuing to surface in the world of brand communication, media and branded content. Presently, there is a growing body of case studies and anecdotal evidence that show that inclusive marketing practices have a discernible impact across various dimensions of marketing (Thompson 2021). Many scholars specializing in marketing, such as Licsandru and Cui (2018) and Kuppelwieser and Klaus (2020), further developed and enhanced the theoretical framework underlying this notion. Despite extensive global research conducted in various areas such as inclusive marketing, there remains a notable dearth of comprehensive research in the field of inclusive branding and communication within mainstream marketing theory. We would like to enhance the field’s research potentials through the exploration of connections between existing research-based studies on inclusive brand communication and the development of research frameworks which aim at broadening the scope of inclusive brand communication as a practical domain. The track will focus on understanding the role of inclusivity’s contribution to social progress and brand growth, and its influence in shaping effective brand communication.

Topics (but not limited to):

• Exploring the internal and external motivation of brands to leverage inclusive marketing and communication;
• Effectiveness and efficiency of media platform to communicate inclusivity and consumers perception of the same;
• Inclusivity in Corporate Communications, employee relations and stakeholder relationships;
• Role of inclusive marketing communication in Advocacy and Internal Communication stakeholder management etc.;
• Marginalized groups in social and cultural space, Advertising, and Marketing: Exploration of marginalized-centric marketing strategies and their effects on consumers;
• Marginalized, Labour and Media Industry: The stratifications of Marginalized, class, linguistic, regions and caste in the labour hierarchy of various Indian media;
• Factors driving the effectiveness of inclusive advertising campaigns, DEI (Diversity, equity, and inclusion) in the media agencies;
• Role of AI (artificial intelligence) as enabling or hindering advertising inclusivity;
• Discussing the power dynamics between communication industry, government, politics, and consumer activists in promoting, negotiating, or resisting diversity and inclusivity movements.

Submission Guidelines:

Abstract Submission: Interested contributors are invited to submit an abstract of their proposed paper (250-300 words) along with a brief bio-note (50 words).

Language: English

Completed papers should be between 6,000 to 8,000 words, inclusive of references and citations can be submitted for a Conference compendium. Submissions must adhere to the APA style guidelines. We welcome original research, discussion notes, unpublished work, working papers etc.

Important Dates:

Abstract Submission Deadline: 30^th November, 2023

Notification of Acceptance: 15^th December, 2023

Conference Date: 19^th and 20^th January, 2024

Submission Process:

Please submit your abstract and bio-note as a Word document to pramana.conference@scmc.edu.in. Submissions will undergo a double-blind peer-review process, and selected researchers will be notified duly.

Conference Venue:

Symbiosis Campus in Viman Nagar situated in Pune.

Registration:

The conference registration details will be announced after the acceptance of abstracts.

 

Contact Information

Please submit your abstract and bio-note as a Word document to

pramana.conference@scmc.edu.in. Submissions will undergo a double-blind

peer-review process, and selected researchers will be notified duly.

CONFERENCE VENUE:

Symbiosis Campus in Viman Nagar situated in Pune.

REGISTRATION:

The conference registration details will be announced after the acceptance of

abstracts.

CONTACT INFORMATION:

For any inquiries regarding the conference or submission process, please

contact pramana.conference@scmc.edu.in.

Contact Email

pramana.conference@scmc.edu.in

URL

https://www.scmc.edu.in/SCMC-Pramana-2024

Call for Chapters for an Edited Volume Human Rights in the Age of Drones: Critical Perspectives on Post-9/11 Literature, Film and Art

 Call for Chapters for an Edited Volume

Human Rights in the Age of Drones: Critical Perspectives on Post-9/11 Literature, Film and Art

Editor: Muhammad Waqar Azeem, PhD (Binghamton University)

Email: mazeem1@binghamton.edu

Abstract Deadline: June 15, 2023

This edited volume titled Human Rights in the Age of Drones: Critical Perspectives on Post-9/11 Literature, Film and Art is under an advanced contract with a major publisher and aims to produce critical, theoretical, and analytical debates on the literary and cultural representations of the weaponized drones. We seek chapters on the intersections between human rights and the representation of drone warfare in post-9/11 visual and graffiti art, film and documentaries, plays and stage performances, and poetry, memoirs and fiction. Within the broader context of war on terror, the chapters may contemplate: how do drones complicate the conceptualization of human rights and war both in national and international discourses? How, and with what consequences, do UAVs bypass juridical procedures and normalize target-killing? What challenges do surveillance drones pose to the notions of privacy and biopolitics? How does drone aesthetics produce a counter-archive against the power and hegemonic control of the Empire? How do cultural artefacts capture and resist the violence from above? A strong engagement with the recent critical and theoretical debates on human rights and literature/art is encouraged.

If interested, please email your abstract (150-200 words) and a brief bio to mazeem1@binghamton.edu by June 15, 2023. You will hear about your abstract by the end of June and polished drafts of the chapters (7000-9000 words) will be due on September 30, 2023.

 

Contact Email: 

mazeem1@binghamton.edu