Feminist Scholarship is interested in exploring the relationship of gender and communication, both mediated and non-mediated, within a context of feminist theories, methodologies, and practices.
The Division explores issues such as feminist teaching; international commonalities and differences by race, class and gender; women's alternative media; and feminist cultural studies. Members support and encourage feminist scholarship in other divisions, and work with the Committee on the Status of Women to link scholarship to issues concerning women professionals.
Imperfection in Women’s Film
Unexpected Spaces of Feminine Freedom.
Call for paper for: Forum Annuale delle Studiose di Cinema e Audiovisivi
Conference date and location: 5 - 7 November, Sassari.
Proposals are to be submitted by 2 October 2015 at email@example.com.
All presenters are obliged to provide: title, abstract of maximum 150 words, 3-5 key words, bibliographical references, short bio.
Italian is the main language of the conference, but papers in English are accepted.
You will be notified of acceptance shortly afterwards.
Created in 2012 in Sassari, Forum Annuale delle Studiose di Cinema e Audiovisivi (FASCinA) is one of the most important national meetings for film and media scholars interested in gender cultures. This year FASCinA Conference aims at analysing the topic of ‘imperfection’ in women’s film, television, and visual arts. The conference is focused on the Italian scenario, but it is open to contributions on different cultural contexts. The papers selected will be publishedby Edizioni ETS,in a volume of thebook series FASCinA, directed by Lucia Cardone and Mariagrazia Fanchi (http://www.edizioniets.com/view-Collana.asp?col=FAScinA.%20Collana%20del%20forum%20delle%20Studiose%20di%20Cinema%20e%20Audiovisivi).
The presenceof womenin the film andcultural industryisoftenassociated with the ideaofimperfection;animperfectpresence, as it is discontinuous,mediatedwithother activities,out of the norm,different.Thisdifferenceis a source ofmarginalization,butalso assuresconsiderable freedom to women: toexperiment new languages,styles,types of production. The FASCinA conference focuses on thisambivalence to explore itsformsin the Italian cinema and media.
Possible, but not exclusive, topics:
Call for Papers
Interdisciplinary Colloquium of Gender Research
at the University of Rostock
19-21 May 2016
POPULAR CULTURE ? GENDER ? AGENCY
?I definitely can feel the third or fourth feminist wave in the air, so maybe this is a good time to open that Pandora?s box a little bit and air it out.? (Björk, /Pitchfork/, January 2015)
In the light of recent heated debates around questions of gender in popular culture?for instance around the feminist implications of Charlotte Roche?s novels, the political relevance of Lady Gaga?s pop music, or Emma Watson?s speech in front of the UN?it is fair to say that the pop-cultural field is both object of and the stage for several discourses around the production, performance and representation of gender. The diversity of discourses corresponds to the diversity of media and actors: the aforementioned debates can be found on all levels of public sphere, in blogs, pop songs, in YouTube videos, in film as well as in newspapers and academic writing. Gender, it seems, is the new leading paradigm for the ethical and moral evaluation of pop-cultural artefacts.
We invite scholars of all disciplines to join an interdisciplinary exchange on popular culture and gender.
We welcome national and international papers, which address one of the following issues:
(New) presentations of gender
Gender-specific conditions of (pop) cultural production
Historical gender discourses and forms of media
Social movement/activism/politics and gender
Reception of popular culture
Education and training
Paper presentations should not exceed 20 minutes. If you are interested to participate, please send your abstract (300 words) by 30 November 2015 to Lisa Waschkewitsch firstname.lastname@example.org On behalf of the work group ?Gender Research? at the University of Rostock.
FEMINIST MEDIA STUDIES
Commentary and Criticism Call for Papers
16.2 Gender and Technologies of Work
In recent years, there has been increasing academic scrutiny of the cultures of work in response to the growing demands of the technologized/mediated workplace, heavy workloads, shifting contexts of labor, and heightened precarity of jobs. This issue of Commentary and Criticism invites essay contributions that specifically consider gendered dimensions of these diverse and changing work environments. We are particularly interested in submissions from beyond North America and the UK and welcome contributions from media industry professionals as well as feminist scholars.
Possible paper topics might include, but are not limited to, the following:
The Commentary and Criticism section of /Feminist Media Studies/ aims to publish brief (~1000 words), timely responses to current issues in feminist media culture, for an international readership. Submissions may pose a provocation, describe work in progress, or propose areas for future study. We will also consider book and event reviews, as well as contributions that depart from traditional academic formats.
We encourage all submissions to strategically mobilize critique to also offer a productive contribution to both feminist politics and media studies. Submissions must go beyond mere description in order to be considered for publication in Commentary and Criticism.
Please submit contributions by 1 December 2015, via email to both Susan Berridge (Susan.Berridge@stir.ac.uk) and Laura Portwood-Stacer (email@example.com). Questions and expressions of interest can also be addressed to Drs. Berridge and Portwood-Stacer in advance of the deadline.
Email submissions directly to both Susan Berridge and Laura Portwood-Stacer, as submissions for Commentary and Criticism will not be correctly processed if submitted through the main /Feminist MediaStudies/ site.
Please be sure to follow the /Feminist Media Studies/ style guide, which can be found at the following link:
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Feminist Reception Studies in a Post-Audience Age: Returning to Audiences and Everyday Life
Andre Cavalcante, University of Virginia,
Andrea Press, University of Virginia,
Katherine Sender, University of Auckland,
From its inception, the qualitative study of media audiences has been informed by feminist concerns. Pioneering work in the field such as Herzog’s classic study about female listeners of daytime radio soap operas, Hobson’s analysis of the role of television in working class housewives’ daily round, and Radway’s exploration into female readers of romance novels, foregrounded women’s experiences with media, and pushed the boundaries of the social science/humanities divide that existed in media studies. In doing so, they exposed the lived realities of women’s everyday lives, which emerged as a worthy object of academic analysis, transcending existing methodological boundaries in the process.
Since this work, feminist media and communication studies has continued to pioneer analyses of media reception in the context of everyday life. Extending beyond women, the field has offered insight into lesbian, gay, bisexual, transgender, and queer (LGBTQ) experiences with media. It has also explored the changing role of sex, gender, and desire, as media have become increasingly portable, social, and integrated into the fabric of commerce, politics, culture, and daily life. In light of rapid and widespread shifts in contemporary communications technologies and the emergence of new media environments, we argue for a reinvestment in scholarship that critically attends to the relationship between media, audiences and everyday life, and that continues to transcend the divide between the social science and humanities in the tradition of earlier feminist audience research.
In this special issue of Feminist Media Studies, we call for abstracts that reflect a commitment to feminist and/or queer audience scholarship in our contemporary media environment, or what some call a “post-audience” age. We seek feminist audience research that interrogates the everyday world, attending to how it is differently experienced by individuals across the gender spectrum. In other words, our goal is to bring together a diverse body of work that deploys a feminist lens to study how our contemporary media culture deploys a feminist lens to study how audiences make media meaningful in the gendered context of everyday life.
Possible topics include, but are not limited to:
- What the ‘post-audience’ age means for everyday experiences of gender
- The ways LGBTQ individuals use new media in their everyday lives
- Conducting feminist audience research in the ‘post audience’ age
- The significance of media to women at various stages of life
- The gendered dimensions of transnational audiences
- The way gender influences audiences’ practices of reception and reading strategies
- How audiences conceive of feminism
- Media’s role in daily experiences of gender, embodiment, sexuality, and desire
- Experiences of gender and sexual subjectivity in virtual worlds
- The relationship between media, affect, and the body
- Thoughts on audience research methodology in the ‘post audience’ age of new media
- The impact of feminism and postfeminism on audience research methodology
Abstracts should be no more than 750 words and should be sent to all three special issue editors (firstname.lastname@example.org, email@example.com and firstname.lastname@example.org) by May 15, 2015. Please give your email the subject head “Abstract for special issue of Feminist Media Studies.” Abstracts should be submitted as a Word document. Please make sure your name and the paper title is on the abstract itself, not only in the email.
If accepted, final papers should be no more than 7,000 words long including bibliography, notes, and so on. Feminist Media Studies uses the Chicago-Author-Date citation style. Please refer to the general instructions for preparation of manuscripts here:
Submissions significantly over length or not consistent with the journal style will be returned for editing.
Abstracts to editors: May 15, 2015
First drafts to editors: January 20, 2016
Second drafts to editors: June 1, 2016
Final revisions to editors: November 1, 2016
Publication: February 2017