Popular Communication


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Popular Communication is concerned with providing a forum for scholarly investigation, analysis, and dialogue among communication researchers interested in a wide variety of communication symbols, forms, phenomena and strategic systems of symbols within the context of contemporary popular culture.

Division members encourage and employ a variety of empirical and critical methodologies with application to diverse human communication acts, processes, products and artifacts which have informational, entertainment, or suasory potential or effect among mass audiences.



THE DEPARTMENT OF ENGLISH AND FILM STUDIES AT THE UNIVERSITY OF ALBERTA is accepting applications for a tenure-track position, at the level of assistant professor, in New Media Studies.

Attached is the link to the official job advertisement:   http://www.careers.ualberta.ca/Competition/A110424038/


QUEENSLAND UNIVERSITY OF TECHNOLOGY’s Creative Industries Faculty seeks an innovative, enthusiastic lecturer with a demonstrated track record in Entertainment Industries teaching and research. The successful applicant will contribute to teaching, research and administration in our Bachelor of Entertainment Industries program and must have a strong understanding of the process of getting entertainment products made: either from industry experience, or from research into industry processes. Applicants may be trained in Business or Creative Industries. The program focuses on cross-sector generic producing skills, and we encourage applicants with an interdisciplinary interest and expertise in any commercial entertainment sector, including but not limited to publishing, music, television, radio, computer games, theatre, dance, live entertainment, events, theme parks, sport or transmedia.



Head of Discipline (Entertainment and Arts Management),

Associate Professor Christy Collis on +61 7 3138 8189 or c.collis@qut.edu.au



Special Issue: Digital Labor, Below-the-Line
Submission deadline: January 12, 2015
Final drafts due: April 12, 2015
Publication: August 2015

The work required to produce the web and to fill the media devices that increasingly occupy 21st century life is often difficult to see. With a click content appears, images proliferate, and text, sound and video streams across our screens. However, behind the screen exists a globally distributed network of people who toil to create, manage, distribute, promote and update digital content. Their labor reflects new modes of production and shifting divisions of labor that characterize media production in a digital economy.
For this special issue of Critical Studies in Media Communication, issue editor Nina Huntemann seeks papers that explore digital media workers “behind the screen.” Submissions should advance scholarship about invisible labor in the digital media industries, and should principally consider the labor produced by those engaged in below-the-line work. Cultural producers in such positions might include social media interns, web content editors and copywriters, online community managers, video game playtesters, 3D animation modelers and riggers, texture artists, video loggers, and digital content asset managers. In addition to workers involved in cultural production, this special issue also invites papers that consider the labor of those working to create and maintain the digital media infrastructure, such as hardware assembly line workers, miners in raw materials extraction, technical support staff (e.g. Genius Bar/Geek Squad), and security personnel at data centers.
The editor is particularly interested in manuscripts that consider the special issue theme at the intersections of gender, race/ethnicity, nation/region, sexual orientation, class, and ability.
To discuss possible submissions, please email the issue editor Nina Huntemann at nhuntemann@suffolk.edu.
About the Journal
Critical Studies in Media Communication (CSMC) publishes scholarship in media and mass communication written from a Cultural Studies and critical perspective. Research articles selected for publication make a substantial contribution to existing literature in media studies, provide novel theoretical insights that have the potential to stimulate further research, and serve as foundational contributions for debates within and beyond the field of communication. While each essay is well researched, primary emphasis is on the theoretical contribution the essay makes through the development of concepts, terms, and ideas that move the field in new and exciting directions.
Submission Details
All manuscripts must conform to the Publication Manual of the American Psychological Association (6th edition, 2010) and should not exceed 7,000 words including references, notes, figures, and tables. Shorter pieces will be considered. Essays significantly longer than 7,000 words may be returned. All submissions should be made online at Critical Studies in Media Communication’s ScholarOne Manuscripts site. Please see the journal website for the complete submission instructions for authors.



Sound Studies: An Interdisciplinary Journal Launching in 2015


Editors Michael Bull, Professor of Sound Studies, U of Sussex, UK 

Veit Erlmann, Professor of Ethnomusicology and Anthropology, U of Texas at Austin, USA


Call for Papers

Sound Studies: An Interdisciplinary Journal will be an international, peer reviewed and inter-disciplinary journal in sound studies, providing a unique forum for the development of the subject within a range of disciplines such as ethno/musicology history, sociology, media and cultural studies, film studies, anthropology, philosophy, urban studies, architecture, arts and performance studies. The journal will encourage the study and research of sound by publishing submissions that are interdisciplinary, theoretical, empirically rich and critical in nature and situated at the cutting edge of sound studies. It will build upon the pioneering work of key academics in the field such as Veit Erlmann, Douglas Kahn and Jonathan Sterne, and encourage further innovative thinking.

For its inaugural issue Sound Studies invites original work on any aspect of sound that meets the above criteria.

(Print): ISSN 2055-1940

(Online): ISSN 2055-1959


Paper submission, if you wish to be considered for the first issue: 15 August 2014 

Notification of acceptance: 15 October 2014 

Final Draft submitted to editors: 15 November 2014

Initially, please submit an abstract of between 300-500 words, accompanied by a C.V. to the editors at (soundstudies@bloomsbury.com).

If you would like your article to be considered for inclusion in the first issue of Sound Studies then abstracts should be submitted no later than 15 May 2014. Full manuscripts would need to be submitted no later than 15 August 2014. Articles submitted after this date will be considered for future issues of the journal.


For more information, and a copy of the journal's style guide, contact the editors at soundstudies@bloomsbury.com or visit www.bloomsbury.com/journal/sound-studies/


Call for Chapters

Marvel Feature Films

Edited by Robert Moses Peaslee, Matt McEniry, and Robert G. Weiner

The recent release of Guardians of the Galaxy marks the penultimate film in the so-called second “phase” of the Marvel Cinematic Universe, a group of big-budget tentpole films that include Marvel’s The Avengers, Captain America: The Winter Solider, Thor: Dark World, Iron Man 1-3, and the Incredible Hulk. Meanwhile, other studios like Sony and Fox have had success with films based on Marvel properties such as the X-Men and Spider-Man.

Feature films and full-length television movies based on Marvel characters go back to the 1970s, however, and very little scholarship has been produced on these films. The editors of this volume seek essays that discuss Marvel feature-length films, and while we will consider essays that deal with the Marvel Cinematic Universe and more recent films, we are particularly interested in those films that have not received a lot of scholarly attention (including television and animated features).  We are also interested in work dealing with films produced when certain characters were Marvel properties (like Transformers, G. I.

Joe, and Conan). Please note we are not interested in television series, per se, but rather the full-length films produced from them. We are also interested in the business aspect of Marvel Films and Marvel Animation. 

We will also consider essays on those unauthorized foreign films based on Marvel characters like Turkish Captain America/Spider-Man, etc.

We are particularly interested in considering essays dealing with:

Transfomers (1986), G.I. Joe (1987), Howard the Duck (1986), Captain America  (1979, 1990), Inhumanoids: the Movie (1986),  Trial of the Incredible Hulk (1989), Man-Thing (2005), Ghost Rider (2007, 2011),

Spider-Man: The Dragon’s Challenge (1979), Dr. Strange (1979), Generation X (1996), Power Pack (1991), Punisher (1989), Nick Fury:

Agents of Shield (1998), Blade 1-3 (1998, 2002, 2004), Elektra (2005),

Thor: Tales of Asgard (2011), Iron Man: Rise of Technovore (2013), Planet Hulk (2010), Fantastic Four (1994) and Next Avengers (2008).

A brief but by no means conclusive list of interesting questions to consider:

     * How has Disney’s acquisition of Marvel changed the comic/film landscape?

     * Why were certain television or direct to video films like Captain America (1990), Captain America: Death Too Soon or Spider-Man: The Dragon’s Challenge released theatrically overseas?

     * Why did Howard the Duck fail to live up to its hype, and what are we to make of his recent reappearance in the CMU?

     * How can we think more deeply about the use of legend and myth in these films?

     * What was the production history of Transformers (1986) and how did the film eventually factor into the continuity of the Marvel comics series?

     * Cyberpunk influences, particularly in films like Iron Man: Rise of Technovore

     * Faustian influences in the Ghost Rider films and the use of the original Ghost Rider, Carter Slade, in the first film.

     * How Daredevil and Thor were used in the Hulk television films?

     * While Blade was moderately successfully in 1998, why did it take the 2000’s X-Men to kick start the current wave of Marvel and superhero films?

     * Generation X as an example of X-film?

     * Has Marvel Animation been successful compared to DC in producing high quality animated films?

     * Planet Hulk as Greek/Roman myth?

     * Traditional vampire lore in the Blade series.

     * Spider-Man as a villain in the Turkish 3 Dev Adam, also featuring Captain America.

     * The Bollywood 'Tu Mera Superman featuring a mash-up of Superman and Spider-Woman?

     * Production history of producer Roger Corman’s ill-fated attempt at the $2 million Fantastic Four film.


Please submit a 200-500 word abstract by November 15th rob.weiner@ttu.edu and  Matthew.mceniry@ttu.edu

Upon acceptance, final essays will be due on Feb 15th



DATA POWER: A two-day, international conference
Date: Monday 22nd and Tuesday 23rd JUNE 2015
Venue: Faculty of Social Sciences, University of Sheffield, UK

Data make many promises. Through data, we can access opinions, feelings, behaviours, people, in real time, at great volume and at great speed. Tracking data is the holy grail. Data have the potential to transform all aspects of society, making all of its operations more efficient. Big data represent opportunities for social researchers to enhance understanding of human behaviour. The numbers speak for themselves.

But what is the cost of the data delirium (van Zoonen)? What kind of power is enacted when data are employed by governments and security agencies to monitor populations or by private corporations to accumulate knowledge about consumers in an increasingly ‘knowing capitalism’ (Thrift)? Because contemporary forms of data mining and analytics open up the potential for new, unaccountable and opaque forms of population management in a growing range of social realms, questions urgently need to be asked not only about who gets access to data and whose privacy is invaded, but also about control, discrimination, and social sorting – about data power. We also need to ask about the possibility of agency in the face of data power, of social groups sidestepping the dominating interests of big business and big government in our increasingly big-data-driven world.

This conference creates a space to reflect on these and other critical issues relating to data’s ever more ubiquitous power. Keynote speakers include these fantastic commentators on data power:

Mark Andrejevic, Center for Critical and Cultural Studies, University of Queensland, author of AOIR book award winner Infoglut (2013);
Nick Couldry, London School of Economics, author and editor of 11 books & numerous articles, including ‘Big data from the bottom up’ (Big Data and Society);
Kate Crawford, Microsoft Social Media Research Collective, author of numerous articles on big data and Understanding the Internet: Language, Technology, Media, Power (forthcoming) (participation to be confirmed);
José van Dijck, Comparative Media Studies, University of Amsterdam, author of The Culture of Connectivity (2013);
Alison Hearn, Faculty of Information and Media Studies, University of Western Ontario, author of numerous articles on data, labour and subjectivity;
Richard Rogers, Digital Methods Initiative, University of Amsterdam, author of ICA book award winner Digital Methods (2013);
Evelyn Ruppert, Department of Sociology, Goldsmiths College, University of London, author (with Engin Isin) of Being Digital Citizens (forthcoming) & editor of Big Data and Society;
Joseph Turow, Annenberg School of Communication, University of Pennslyvania, author of The Daily You (2012), amongst many other publications.
Papers are invited on the following – and other relevant – topics:

The political economy of data
Data cultures (data and the cultural industries, data journalism)
Data and the production of subjectivity and identity
Theorising data
The politics of data visualisation
Data labour
Emotional data
The social life of data and data-driven methods
The politics of open and linked data
Data-driven governance, surveillance and control
Data and discrimination
The regulation of data mining
Data citizens
Resistance, agency, appropriation.

Whilst we welcome papers of all kinds, please note that this conference focuses on critical questions about data’s power. Papers which do not address critical, social questions will not be accepted.
Submit 250 word paper proposals to data-power-conference@sheffield.ac.uk by 16th January 2015. Decisions will be communicated by 30th January 2015.
The conference fee is £120 waged (approx. $190 / 150 euro, £80 unwaged/student (approx. $130 / 100 euro).
The conference will launch the special issue of The European Journal of Cultural Studies edited by Mark Andrejevic, Alison Hearn and Helen Kennedy, entitled ‘Data Mining and Analytics’.
DATA POWER is hosted by the University of Sheffield’s Digital Society Network, and the Department of Sociological Studies, both in the Faculty of Social Sciences.




The conference will be hosted by the Institute of Communication and Media Research, Cologne/Germany (26 and 27 February 2015).

Extended abstracts in German language may be submitted to Dr. Mark Ludwig and Dr. Christian von Sikorski for peer review (deadline: 14 November 2014).

Please find the full Call for Papers here:


International Association for the Study of Popular Music
International Association for the Study of Popular Music (Australia-New Zealand Branch) Conference, 2014
- Conference Title: Into the Mix: People, Places, Processes
- Conference Dates: 5-7 December 2014
- Venue: St David Theatre Complex, corner of St David and Cumberland Streets, U of Otago, Dunedin, New Zealand
- Organizing Committee: Jen CattermoleHenry Johnson and Oli Wilson
The theme of this year's conference is "Into the Mix". The "mix" is both literal (referring to various stages in the production of popular music, as well as important creative processes such as sampling, remixing and  DJing) and an analogy for all types of musical hybridities and encounters, the fluid nature of musical meanings and musical experiences, and the fluidity or movement of ideas, sounds and peoples. 
The notion of the "mix" is defined broadly; it might involve popular music production processes, a creative setting, or another space where people, places and processes are foregrounded as part of an interpretive cultural analysis. Contributions might be case-study analyses underpinned by historical, ethnographic or critical enquiry, or focused entirely on theoretical orientations addressing music production, as well as hybridity and related topics.
Papers will be considered that address specifically the theme of the conference in connection with one or more of its broad definitions. 
Questions and themes paper presenters may wish to address include, but are not limited to:
* How are mixes interpreted and valued by different people(s) in different places?
* Which processes (creative, social, economic etc) are involved in creating mixes?
* What aesthetics underpin the production of mixes or cross-cultural musical collaborations?
* What are some of the cultural, social, political and/or economic effects of mixes?
* How are people(s), places and processes represented through the mix?
* How do movement, process and encounter influence popular music production?
* How does mixing enable and/or reflect fluidity, hybridity or eclecticism?
* How might cultural space(s) or place(s) be maintained or (re)constructed in the musical mix?
Keynote SpeakerRoy Shuker.
Conference Activities: A variety of conference activities are planned, including a jam night and conference dinner. Dunedin has established itself as a key eco-tourism destination, hosting unique natural attractions including an albatross colony, penguin colony and a sea lion colony. It also has a number of acclaimed breweries and top-quality restaurants.
Accommodation: Accommodation options to suit a variety of budgets are available within short walking distance of the conference venue. 
Numerous places to stay can be found at: http://www.otago.ac.nz/about/accommodation/otago000807.html. It will be expected that most conference delegates will be able to stay within walking distance to the venue.
- Transport: Dunedin has an international airport with direct flights from major eastern Australian cities, and from Auckland, Wellington and Christchurch. The following public transport options are available to and from the city: a shuttle costs about NZ$25-35 (one way); and a taxi is about NZ$100 (one way).
- Registration: Earlybird (before 1 October); cut-off for late registration (before 1 November). The conference website will be active mid 2014 for registration.
Date for Abstracts: Abstracts should be submitted as an email attachment (Word document, plain text, 12pt Times New Roman font) to oli.wilson@otago.ac.nz, by 31 May 2014. Please use your surname and initial as the document title, as in "Smith_Z.docx". Abstracts will be refereed, and successful speakers advised promptly by email. Please submit your proposal with the following information (in this order):
• Name of author(s) (exactly as you would like it to appear in the program)
• Institution or affiliation
• Contact phone number, including international codes
• Email
• Consideration for 2013 IASPM-ANZ postgraduate prize?* (Yes/No)
• Title of paper
• 3 keywords for your paper (for programming purposes)
• Abstract (300 words maximum)
The IAPSM-ANZ postgraduate prize of AUD$250 is awarded to the best postgraduate presenter at the conference, as determined by a panel of established IAPSM-ANZ members. Only current postgraduate students are eligible. Past winners may not apply.


An area of multiple panels for the 2014 Film&  History Conference: Golden Ages: Styles and Personalities, Genres and Histories

20-24 November 2014

The Madison Concourse Hotel and Governor’s Club Madison, WI (USA)

DEADLINE for abstracts: 1 July 2014

AREA: The Golden Age(s) of Film Noir

Motion picture audiences have long grown accustomed to dramatic narratives in which the protagonist struggles to discover some element of truth among a myriad of circumstances and characters. As suggested by Kaplan, Spicer, Harvey, Place, and others, the style of Film Noir represented a different entity within the history of film; one that drew upon social eclecticism, and the seamy underbelly of popular culture. This style, or to some, film genre, forced audiences into re-examining American values, including traditional gender roles, race, and sexuality.

While the war years of 1941-46 featured the private eye or hard-boiled detective’s trip through the social fantastic, the post-war years drew upon the social malaise that was a large part of American culture, and a war ravaged Europe. A later construct was that of psychopathic behavior and criminal intent in which villains and villainesses harbored dark childhoods, and psychological wounds of war.

What can be said about the effects Film Noir, and the novels from which they derive, have had upon traditional Western societies? What cultural or historical factors affected audience perceptions of these stories, and their subsequent pleasures? How did female spectatorship factor prominently in postwar narratives? How has the anti-hero figured prominently in the deconstruction of patriarchy, if at all? This area, comprising multiple panels, explores the concept of “Golden Ages” across the production systems surrounding Film Noir. Topics might include the following:

• Decoding the Production Codes through Film Noir

• Feminism, female sexuality, and fandom

• Gay, Lesbian characters and Queer considerations

• Racial relations, and social disruption

• The existence, or non-existence, of Neo-Noir

• The Family in Film Noir

• The military man or woman in wartime Films Noir

• The recognizable star vs. the unknown actor in Films Noir

• The Tough Guy guise, and the fascination with the Femme Fatale

• Wet, dangerous, and dark: the visual tropes of the Film Noir city

Proposals for individual papers should include a 200-word abstract and the name, affiliation, and contact email of the presenter. Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter.

Deadline for Abstracts: 1 July 2014. For updates and registration information about the upcoming meeting, see: www.filmandhistory.org/The2013FilmHistoryConference.php

Please send submissions or queries to the area chair:

Darrell M, Newton

Salisbury U


2015 International Conference on Religion & Film

Proposals for paper presentations are invited for the 2015 International Conference on Religion & Film, sponsored by the Journal of Religion & Film and Ensar Foundation, hosted by Marmara University, Istanbul, Turkey, from 21- 24 May 2015. Proposals are welcome on the interpretation of individual films, but also on any topic in the field of religion and film.
Proposals should include a title and a 350 word description of the paper. Papers for inclusion in the program will be selected on the basis of this description. Proposals should be uploaded and registered via Registration page

Transportation and accommodation costs have to make a presentation at the symposium papers will be covered by Ensar Foundation.
Organizing committee is not providing any travel and accommodation for audiences.
Transportation will be provided by the organizers from airport to hotel venue / hotels to symposium venue. After the symposium, presenters will be send back to the Airport according to their ticket information.
Meals will be provided during the symposium for the presenters.

Assistant Professor Dr. Bilal Yorulmaz
Marmara University
Faculty of Theology
Religious Education Department



New book: Making and Remaking Horror in the 1970s and 2000s

Roche, David. Making and Remaking Horror in the 1970s and 2000s: Why Don't They Do It Like They Used To? Jackson, MS: UP of Mississippi, 2014. ISBN 978-1617039621


In Making and Remaking Horror in the 1970s and 2000s author David Roche takes up the assumption shared by many fans and scholars that original horror movies are more "disturbing," and thus better than the remakes. He assesses the qualities of movies, old and recast, according to criteria that include subtext, originality, and cohesion. With a methodology that combines a formalist and cultural studies approach, Roche sifts aspects of the American horror movie that have been widely addressed (class, the patriarchal family, gender, and the opposition between terror and horror) and those that have been somewhat neglected (race, the Gothic, style, and verisimilitude). Containing seventy-eight black and white illustrations, the book is grounded in a close comparative analysis of the politics and aesthetics of four of the most significant independent American horror movies of the 1970s--The Texas Chain Saw Massacre, The Hills Have Eyes, Dawn of the Dead, and Halloween--and their twenty-first-century remakes.

To what extent can the politics of these films be described as "disturbing" insomuch as they promote subversive subtexts that undermine essentialist perspectives? Do the politics of the film lie on the surface or are they wedded to the film's aesthetics? Early in the book, Roche explores historical contexts, aspects of identity (race, ethnicity, and class), and the structuring role played by the motif of the American nuclear family. He then asks to what extent these films disrupt genre expectations and attempt to provoke emotions of dread, terror, and horror through their representations of the monstrous and the formal strategies employed? In this inquiry, he examines definitions of the genre and its metafictional nature. Roche ends with a meditation on the extent to which the technical limitations of the horror films of the 1970s actually contribute to this "disturbing" quality. Moving far beyond the genre itself, Making and Remaking Horror studies the redux as a form of adaptation and enables a more complete discussion of the evolution of horror in contemporary American cinema.

The latest issue of Philosophy of Photography (Vol. 4, No. 2) will be available soon. It includes:


Jose Cuevas & Laurence Heglar, Photography and the Discovery of the
Double Helix Structure of DNA

Helen Petrovsky, Document: Fact and Fiction

John Lechte, The Photographic Image: the ‘Face of Sydney’ and August
Sander’s Typologie

Kelly Wood, In Favour of Heroines: Lincoln Clarkes’s Vancouver Photographs

Shepherd Steiner, Photography at a Crossroads: Studio as Genealogy,
Dispositif, Spur


Elodie Hiryczuk and Sjoerd van Oevelen, Seeing, of course, is also an Art


Tom Slevin on Technology


Lisa Stein on Francois Laruelle’s Photo-Fiction

Jenee Mateer reports on a recent Society for Photographic Education


Andrew Fisher
Goldsmiths, London

Daniel Rubenstein
Central Saint Martins, London

Associate Editor

Sandra Plummer
Sotheby’s Institute, London

For more details see:

If you are interested in making a submission to Philosophy of
please see the notes for contributors and style guide for
authors at:




  • Melissa A. Click, Chair
  • Stephen Harrington, Vice-Chair
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