CFP: Post-Screen Cultures/Practices (London)

Friday 10 June 2016, London South Bank University
A one-day practice/research symposium hosted by the School of Arts and Creative Industries at London South Bank University, with support from the Journal of Media Practice and the MeCCSA Practice network.
Deadline for proposals: Monday 30 April 2016.
end your proposal to:

With the proliferation of mobile devices the presence of the screen in everyday life is ever more pervasive, personal and immersive. In the last five years, for example, the tablet has become the must-have device, with over half of UK households (54%) now owning one (Ofcom, 2015). Raised as ‘screenagers’, one in ten (11%) 3-4 year olds now have their own tablet as a pacifier, educational aid and entertainer (Ofcom, 2015). Our urban spaces offer up new forms of interaction as the numbers of screens multiply. Via the screen we navigate an evolving media and cultural landscape that is increasingly interactive, intuitive and always on.
How has the ubiquity of the screen affected broader visual and media culture? How do we imagine life on screen for Generation Alpha? We welcome contributions from practitioners and practice researchers that explore the theme of post-screen cultures/practices. The prefix “post” is used here to refer to the state of being ?after in time or order?, but we are interested in approaches that address screen-oriented cultures/practices past, present and future. Contributions that seek to question, challenge or disrupt existing screen-oriented cultures or practices, or that consider life ?beyond? the screen, are also encouraged.
Possible topic areas include:

  • Ubiquitous photography and the networked image
  • New screen modalities and spectatorship/audience
  • Repurposing and remediation
  • Hybridity and Multi-platform practices
  • Gaming and gasification
  • The Internet of Things and wearable technologies
  • Collaborative interactions
  • Augmented/Mixed/Hybrid reality
  • Virtual reality and immersive environments
  • Surveillance, Sousveillance and Omnipresence
  • Big data visualisation
  • Commercialisation

This symposium will focus on practice research and will feature papers, presentations of practice, screenings and demonstrations. A special issue of the Journal of Media Practice will be devoted to publishing a selection of practice research presented at the symposium. All work accepted for the symposium will be considered for the JMP edition.

We invite papers/presentations of 20 minutes from academics, practitioners, scholars and researchers working in the area of photography, film and video practice, documentary, experimental media, art practice, gaming and multiplatform/ multimedia production, digital technologies, film studies, media and cultural studies, and associated fields and subject areas.

We plan to arrange screenings, demonstrations and presentations of projects during the symposium. If you would like to contribute by showing work please send a proposal with a description of the work, including format and duration (if appropriate) by the deadline.

Please send your proposal as a Word document or PDF to, including the following information:

  • Author(s)
  • Institutional Affiliation
  • Title of Proposal
  • 250-word proposal for paper/presentation, or work
  • Biography (not more than 50 words)

Please enter the following in the email subject line depending on the nature of your proposal:

  • Post-screen Proposal: Paper/Presentation
  • Post-screen Proposal: Work

Deadline for proposals: Monday 30 April 2016.
Organisers: Dr Tahera Aziz, Prof Lizzie Jackson and Prof Phil Hammond
Please send your proposal to, following the guidelines in the CfP (online here:

CFP: New Research on Horror (Dunedin)

An international conference hosted by the Department of Media, Film and Communication at the University of Otago, Dunedin, New Zealand 16-18 November 2016.

Confirmed Keynote Speakers: Prof. Angela Ndalianis (University of Melbourne) and Assoc. Prof. Kevin Heffernan (Southern Methodist University) Horror is currently experiencing a cultural renaissance across media, including film, television, comic books, videogames, music, and literature. Despite this, most scholarship on horror remains confined within disciplinary limits. The conference will contest this by engaging with horror both within and across these media, bringing scholars into an interdisciplinary dialogue. We will look at horror as a transnational, transmedia, transhistorical phenomenon, but with a particular focus on contemporary iterations of the genre.
Areas of inquiry may include:

  • Why is horror so popular at this cultural moment? What permutations have risen in the new digital media environment, and what impact have these had on film, television, and literature?
  • What forms and conventions of horror predominate, and what are the most notable variations on them?
  • What economic strategies subtend current trends in horror? What social and cultural factors inform these trends, their genealogy, and their contemporary relevance?
  • What can new research into horror?s affects on its audiences tell us about the historical and contemporary appeal of horror to viewers?
  • How can we theorize the aesthetics of horror? How do the aesthetics of horror vary across media and across national boundaries and historical periods?
  • How can we map the shifting gender, racial, and class politics of horror?

New Research on Horror will be an interdisciplinary conference that will encompass a broad range of issues that will illuminate both the current state of the genre and the current state of research on the subject. In this way, it will not only engage with but also intervene in contemporary debates around this important cultural phenomenon.
Deadline for abstracts is 1 August 2016.
Paper abstracts of no more than 250 words and bios of no more than 100 words should be sent to Dr. Paul Ramaeker

CFP: SSAAANZ Conference – Sea Change: Transforming Industries, Screens, Texts (Wellington)

The Screen Studies Association of Australia and Aotearoa New Zealand in conjunction with Victoria University of Wellington will hold the first biennial SSAAANZ conference in Wellington from November 23-25 2016. This inaugural conference (which incorporates FHAANZ) presents a unique opportunity to reassess the links between film, media, culture and society in Australia and Aotearoa New Zealand. While categories such as location and nation remain important to the cultural industries of both countries, significant economic, technological and social developments mean that our understandings of identity and place are evolving constantly. Australia and New Zealand are not only nations, but also islands that share an ocean with numerous other countries and cultures. The changing mediascapes are evident in the continuing relationships with media industries of the United States, but also in emerging connections and cultural exchanges with Asia and the Pacific.
We invite scholarly presentations that address the conference themes, including:

  • The relationship between Australia, Aotearoa New Zealand and/or Pacific rim screen industries and cultures
  • Local and regional cinemas
  • Geographies of Australia, New Zealand and Pasifika media
  • New histories of Australian and/or Aotearoa New Zealand screen industries and cultures
  • Australian Aboriginal and Torres Strait Islander, M?ori, and Pasifika film and television practices
  • Economic, government and regulatory influences on Australia and Aotearoa New Zealand screen industries
  • Creative personnel and Trans-Tasman success
  • New theoretical approaches to Screen Studies
  • Changing distribution and exhibition practices
  • Gender and sexuality in Australia and/or Aotearoa New Zealand screen cultures
  • Critiques of labour circulation and practices in the Australian and Aotearoa New Zealand screen industries
  • New perspectives on local and regional screen audiences
  • Digital media and transnationalism
  • The effects of globalization on local and regional film and media
  • New interpretations of Australian and New Zealand film and media texts, genres, cycles and aesthetics

We also welcome general papers on any area of Film, Television and Media Studies


Individual papers will be 20 minutes in length. Pre-constituted panels are welcome.
Please send abstracts of 150-200 words to > by June 15, 2016. Abstracts should include name, institutional affiliation, full contact details, and a short biographical note.
Please visit our website at for conference information and regular updates.

CFP: Practices of Transformation (Roskilde)


27- 28 October 2016

Venue: Roskilde University, Department of Communication and Arts

Roskilde, Denmark

Organised cultural encounters (OCEs) are activities that through particular intervention strategies aim at creating transformation. They may be cultural exchange programmes, reconciliation projects, community cohesion initiatives, interfaith dialogue meetings or various projects related to integration of immigrants. These interventions are organised around differences considered to be identity formative and divisive, in particular ethnicity, religion, nationality or ‘culture’, sometimes also including other socio-cultural categories that are seen as intersecting axes of differentiation or diversity (gender, sexual orientation, class, age, (dis)ability). Setting up these kinds of encounters is a widespread practice that aims at facilitating for instance integration, tolerance and community cohesion in the context of culturally diverse societies. Thus, OCEs are invested with much hope for transformation not only of the attendees, but also in the society, societies or contexts addressed by the encounter. Organisers (implicit or explicit) lean on assumptions concerning the nature of differences, encounters and social change.
The conference is interdisciplinary and we invite papers that critically examine these assumptions and practices through the study of particular kinds of OCEs, their arenas and methods. Theoretical as well as empirical papers are welcome. While other themes are welcome, we in particular invite papers within the following themes:

  • Transformative methods in OCEs (narratives, art, exhibition, ritual, travel)
  • Producing and/or managing (cultural) differences
  • Staging and scripting cultural encounters
  • Performativities of cultural encounters
  • Bodies and affects related to cultural encounters
  • Intersecting access of differentiation
  • Research methodologies of OCEs
  • Genealogies of OCEs
  • Activism and research: when practitioners of OCEs are also researchers of OCEs
  • The spatio-temporality of OCEs
  • OCEs and global power dynamics

Keynotes by:

Professor Sarah Pink, RMIT University, Melbourne

Professor Gill Valentine, The University of Sheffield

Professor Awad Ibrahim, University of Ottawa

Professor Emma Renolds, Cardiff University


If you are interested in participating in the conference, please send an abstract (no more than 250 words) and a short biography (no more than 100 words) by 2 May to Helle Bach Riis (<>) and Lise Paulsen Galal (<>). Successful applicants will be notified by 3 June, 2016.

Cultural Studies Review

Cultural Studies ReviewCultural Studies Review is a peer-refereed open-access e-journal published twice a year (in March and September) by UTSePress. It is available here.

Access is free but you will need to register to make online submissions and to receive publication alerts.

CFP: 10th International Somatechnics Conference – Technicity, Temporality, Embodiment

Byron Bay, NSW

1-3 December 2016

CFP Deadline: 15 April 2016

Following recent conferences in Linköping (2013), Otago (2014) and Tucson (2015), we are pleased to announce that the tenth International Somatechnics Conference will be held in Byron Bay, from Dec 1-3 2016. The conference is co-hosted by the University of Queensland and Southern Cross University, with the support of the ARC’s Centre of Excellence for the History of Emotions.

The term “somatechnics” was coined in 2003, as a new means by which to conceptualise the relationship between bodies and technē (craftsmanship). As Sullivan argues: ”techné is not something we add or apply to the already constituted body (as object), nor is it a tool that the embodied self employs to its own ends. Rather, technés are the dynamic means in and through which corporealities are crafted” (TSQ 2014).

This conference is intended to extend this focus on bodily techniques and embodied technologies to engage with recent work in feminist, queer and trans historiography, as well as critical theories of time. Time and critical investigations of past, present and future technologies have been important concerns in studies of embodiment from its inception, but recently it has received a more central position. Studies of the historical construction of gender, embodied memory, as well as various durational approaches to materiality have all made technicity and temporality primary conditions of corporeality. The differences and similarities between these conceptions of time and technology require further investigation.

For more information about the conference and submission details, see

CFP: InASA – Re-imagining Australia: Encounter, Recognition, Responsibility

Hosted by the Centre for Human Rights Education, Australia-Asia-Pacific Institute, the School of Media, Culture and Creative Arts, Curtin University.

Under the theme of ‘Re-imagining Australia: Encounter, Recognition, Responsibility,’ the conference will offer the opportunity of addressing the intensification of overlapping, interpenetrating and mixing of cultures and peoples in everyday life in Australia – and how its public culture has become increasingly re-imagined through intense conversations and inter-epistemic dialogue. The conference will showcase contemporary research and creativity in understanding Australia through interdisciplinary and multidisciplinary approaches.

Submissions due: 30 June 2016

For more details or to submit, see the conference website:

Shakespeare 400: A Special Issue of TEXT

Editors: Associate Professor Laurie Johnson, Dr. Dallas J. Baker

This special issue of TEXT takes the opportunity of the 400th anniversary of William Shakespeare’s death to explore the nexus between Creative Writing and Shakespeare Studies, in particular the ways that Shakespeare and his work are being studied and applied in the context of the practice and pedagogy of creative writing (broadly defined). This special issue aims to provide researchers and creative practitioners with an opportunity to:

  • “write back” to Shakespeare
  • discuss/explore writing practice, process or pedagogy informed or inspired by Shakespeare
  • explore and discuss Shakespeare’s work as works of a writing practice (scriptwriting, poetry)
  • discuss aspects of Shakespeare’s writerly biography
  • engage in broader discussion of Shakespeare that connects literary studies and creative writing
  • explore questions such as how might Creative Writing as a discipline inform Shakespeare Studies and vice versa.

For this Special Edition of TEXT, we are calling for submissions of research papers that engage with the work of William Shakespeare in the context of Creative Writing, including the teaching of writing and playwriting. In the context of the teaching and practice of Creative Writing, papers can address questions or themes such as:

  • Presentism: What Shakespeare and his work might mean in the current historical moment.
  • Eco-critical Shakespeare Studies
  • Textual materialism: understanding Shakespeare’s written works and/or or ways of writing back to Shakespeare based on an understanding of the technologies of text in early-modern theatre (cue scripts, parts, plots etc.)
  • The nexus between Digital Humanities and Shakespeare Studies (e.g. computational analysis, stylistics)
  • Re-imagining Shakespeare and his writing in relation to “the other 99%” (Shakespeare’s contemporaries, lost plays etc.)

Fiction, scholarly non-fiction, plays and essays may also be acceptable but need to be negotiated with the editors (by email). If accepted, creative work must be accompanied by an ERA research statement that clearly explains the submission’s relevance as a research outcome. Peruse any of TEXT journal’s Creative Writing as Research special issues to familiarize yourself with the ERA statements.

Deadline for initial submissions: June 15th 2016

Please include an abstract of no more than 250 words and a brief biography (200 words max, in TEXT style) and ensure that you include your email address for reply. Submissions MUST be in TEXT style and formatting.

Final revised submissions Due: September 1st 2016. Publication Date: October 2016

Email: or

CSAA Mentorship Scheme

Elizabeth Stephens, our Memberships Officer, is happy to announce that this year the CSAA will be piloting a mentorship scheme for its members. Our aim is to support the professional development of members, with an emphasis on early career researchers and scholars without institutional support.

Elizabeth would like to invite those of you who would like to apply to be mentees, or who would be willing to offer their support as mentors, to contact her at to indicate your interest. Mentees should identify the key areas in which they are seeking mentoring (eg: publication, promotion etc). Any questions about the scheme should also be directed to Elizabeth.

Please note that this offer is open to members only. If you are not a member already, but would like to be a part of this scheme, please submit your details to the CSAA membership database under the ‘Join CSAA’ tab. We’re very close to having the Paypal account operational, so submit your details and sit tight, and we’ll contact you about payment soon. And don’t forget that if you registered for the 2012 CSAA conference, you are now a member and eligible to participate.