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



The editors of the book series Palgrave Entertainment Industries are seeking to commission books on a number of specific topics (specified below) and are calling for expressions of interest.

The Entertainment Industries are a distinct sector of the Creative Industries, with particular business models, relationships with audiences and aesthetic systems. The Palgrave Entertainment Industries series – edited by Professor Alan McKee (University of Technology, Sydney), Associate Professor Christy Collis and Dr Stephen Harrington (Queensland University of Technology) – examines the processes and products of the Entertainment Industries, the ways they are used and the purposes they serve. The series addresses questions including:

  • What is distinctive about the Entertainment Industries?
  • What are the relationships between the Entertainment Industries and their audiences?
  • What are the political and cultural uses and impacts of Entertainment products?
  • What is the future of the Entertainment Industries?

The series editors are currently seeking to commission books in the following areas:

  • Sports and entertainment: This book will provide an overview of the way in which sports works as entertainment. It could include historical, business or cultural perspectives. It could be organised around a particular case study, or draw on a series of examples.
  • The history of the entertainment industries: This book will give a sense of how the entertainment industries emerged as a distinct cultural category. It could focus on a single national or cultural context, or could provide a comparative perspective. It could include business or cultural perspectives.
  • Experiential entertainment: This book will examine the nature of ‘experiential’ entertainment: a category distinct from mediated entertainment or live performance, which commodifies physical, or interactive experiences (including, but not limited to, theme parks, thrill rides and fairs). It will demonstrate how such products fit into the category of entertainment. It will explain the importance of this category for understandings of entertainment.

If you’re interested in writing any of these titles, please contact in the first instance Professor Alan McKee on alan.mckee@uts.edu.au, sending your CV and a single paragraph outlining your ideas for the book you would like to write. Please note that we are not seeking full book proposals at this stage.

If you would like any more information please contact Professor McKee at the above email address.

Please feel free to distribute this email as widely as possible through your own networks.




Abstracts Sought for a special issue of Feminist Media Studies

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, Editors

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 (apress@virginia.edu, amc7jc@virginia.edu and k.sender@auckland.ac.nz) 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: http://www.tandfonline.com/action/authorSubmission?journalCode=rfms20&page=instructions#.U-BUKYCSzew.

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


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



Capitalism, Culture and Media

A two day international conference at the University of Leeds

7-8 September 2015

Keynote and plenary speakers include

Alison Hearn (University of Western Ontario), Bev Skeggs (Goldsmiths), David Hesmondhalgh (University of Leeds), Des Freedman (Goldsmiths), Jeremy Gilbert (University of East London), Richard Sennett (NYU/LSE – subject to teaching commitments),

The conference is organised by the School of Media and Communication, University of Leeds, in conjunction with the following:

  • The ECREA (European Communication Research and Education Association) Media Industries and Cultural Production Working Group
  • The IAMCR (International Association for Media and Communication Research)
  • The SCMS (Society for Cinema and Media Studies) Media Industries Scholarly Interest Group
  • The Carsey-Wolf Center at University of California Santa Barbara

For many decades, capitalism was a concept largely ignored in the social sciences and humanities. Things have changed since the continuing global financial crisis began. Capitalism is now taken seriously not only by Marxists, but also by non-Marxian feminists, social democrats and conservatives. Yet research on how we might understand relations between capitalism, media and culture has remained relatively limited. The rise of approaches to capitalism that emphasise the need to understand it in broad terms, including but not confined to the economic, potentially provide an inspiring basis to reinvigorate analysis of capitalism/media/culture relations. So too does the interest of cultural studies and other researchers in the nature of relations between culture and economy.

This conference brings together international scholars and activists from a range of disciplines and perspectives, to share research and ideas about the relations between capitalism, media and culture. It aims to combine contemporary and historical perspectives, and to bring theoretical, empirical and action research into dialogue. It will provide a forum for the conceptual and empirical analysis of relations between capitalism, media and culture, regardless of the tradition and perspective in which analysis is grounded (Marxian or otherwise) and regardless of the disciplinary background of the analyst.

Topics and approaches on which we would welcome proposals for papers and panels include the following but are not confined to them, and are in no particular order:

  • Phases, varieties and modes of capitalism and their relevance to media and culture
  • Intersections between capitalism and key dynamics of social identity and power: for example gender, sexuality, ethnicity and class
  • How might cultural production research throw light on capitalist media and vice versa?
  • Anti-capitalist movements and the media
  • Media labour, exploitation and class
  • Alienation and media labour
  • Power, inequality and capitalism
  • The problem of commodification
  • Capitalism and subjectivity
  • Alternatives to capitalist systems of cultural production
  • Gift, commodity and capitalism
  • Moral economies of media and culture
  • Political economy of media and culture – its contributions and limitations
  • Cultural economy, and relations between culture and economy under capitalism
  • The profit motive and the media
  • Cultural capitalism, cool capitalism, cognitive capitalism, digital capitalism etc
  • Intellectual property as an aspect of contemporary capitalism
  • Markets, their benefits and limitations – and their relation or otherwise to capitalism
  • Capitalism, the internet, social media
  • The concept of “creative industries” and the knowledge economy
  • Any individual media industry (music, film, journalism, television) in relation to capitalism
  • Theories and theorists of capitalism and their relations to culture and media: Anderson, Badiou, Boltanski, Bourdieu, Castells, Chiapello, Fraser, Garnham, Gibson-Graham, Habermas, Hall, Harvey, Hirschman, Marx, Piketty, Ranciere, Rubin, Sen, Weber, Williams, Zizek

Leeds is the third biggest city in England, the main city of Yorkshire, and a major cultural and business hub. Immediately to its north are hundreds of miles of beautiful countryside, including the Yorkshire Dales and the Lake District. It is extremely well served by transport links. It has an international airport with five daily flights from Amsterdam. It is 200 miles/320 kilometres north of London, just over two hours by train. Manchester Airport, the major airport of the north of England, is an hour away by train. The University of Leeds campus is superbly located in the centre of this historical city, a short walk away from numerous hotels.

Please send panel proposals or abstracts to Liz Pollard at e.v.pollard@leeds.ac.uk by 2 February 2015 as an email attachment in Word. Abstracts should be 250 words maximum and should explain the connection to the conference theme. Panel proposals should provide an outline of the panel idea and its relations to the conference theme (200 words max), and provide abstracts of the 3-4 speakers (250 words maximum per abstract), and the name of a person who will chair the panel.

Conference fee: 150 pounds/180 euros (80 pounds/96 euros for students), includes lunch and refreshments for the duration of the conference. Researchers from countries where it is difficult to fund research travel should consult the conference organisers.

Local organising committee: David Hesmondhalgh, Giles Moss, Anna Zoellner, Jason Cabanes, Leslie Meier, Lee Edwards, Kate Oakley, David Lee, Andreas Rauh Ortega, Jennifer Carlberg, Luca Antoniazzi, Ellis Jones, Jeremy Vachet

Advisory committee: Janet Wasko (University of Oregon, IAMCR), Rodrigo Gomez Garcia (Metropolitan Autonomous University, Mexico City, IAMCR), Kevin Sanson (Carsey-Wolf Center, University of California Santa Barbara), Michael Curtin (Carsey-Wolf Center, University of California Santa Barbara), Paul McDonald (University of Nottingham/SCMS Scholarly Interest Group), Alisa Perren (University of Texas/SCMS Scholarly Interest Group), Hanne Bruun (University of Aarhus/ECREA Working Group), David Fernandez Quijada (European Broadcasting Union/ECREA Working Group).


Call for Proposals
Stuart Hall and the Future of Media and Cultural Studies
ICA 2015 – San Juan, Puerto Rico
21 May 2015, 8:30am-4:30pm
Organizers: Melissa Click, Jonathan Gray, and Adrienne Shaw

Stuart Hall is a household name for all who do critical/cultural work on communication; his influence is abundantly evident on second, third, and fourth generation work; and he is a revered public intellectual who dedicated his career as much to civic society around him as to the academy. He is the leading figure in Cultural Studies, and his work is canonical in the study of media representations, identity, audiences, cultural theory, class, postcolonialism, youth and criminality, ideology, ethnic studies, and diaspora. Hall has received countless honors, is the subject of books and films, and has a library named after him. His death in February 2014 was widely—and deeply—felt. Hall won ICA’s Steven H. Chaffee Career Achievement award in May 2014, and this preconference will reflect upon Hall’s contributions to and his relevance for contemporary and future communication scholarship.
Leaving Jamaica for the UK on a Rhodes Scholarship in 1951, Hall was among the first-wave of large scale immigration from the West Indies. Positioned as an “outsider” in his home country and the UK undoubtedly made him particularly sensitive to the way power operates in, on, and through culture. In turn, his work addresses the intersections of power, politics, and identity in the production and reception of popular culture. Hall never assumed a determinist effect of mass-produced images on audiences. He took seriously the possibility of resistance in consumption, envisioning ideology as always contested. As Director of the Centre for Contemporary Cultural Studies at Birmingham University, and later Professor at the Open University, he influenced generations of cultural and media theorists.
The preconference will begin with a discussion of Hall’s influences and key concepts from a keynote speaker who worked closely with Hall over the course of his career. The following two invited panel sessions will present and discuss scholarship that engages two of Hall’s enduring foci: ideology and culture, and identity, representation, and diaspora. The final session of the day will consist of informal concurrent workshop sessions (topics to be determined by participant submissions) that focus on the continued relevance of Hall’s work. These informal workshops will focus on how future work will make use of Hall’s scholarship. Given Hall’s Jamaican heritage, we plan to incorporate ICA 2015’s Caribbean location into this final session by taking our exploration of Hall’s continued relevance to the beach (weather permitting)!
Participation fee: $60
A limited number of fee waivers are available. To request a waiver, please include a statement of your specific need in your proposal.
Proposals: Submissions should include a brief biographical sketch and a 300-word statement describing how you believe Hall’s work should be used to influence or challenge future work in communication studies. Organizers will identify areas of shared interest in submissions to organize breakout groups for the concurrent workshop sessions. Scholars at all stages of their careers are encouraged to apply. All proposals must be emailed to ICAPopComm@gmail.com. The deadline for submissions is 11:59 PM CST on February 2, 2015. Submissions will be judged on relevance, originality, and fit with the preconference theme. Notifications of acceptance will be emailed in February 2015.
Proposed Schedule:
8:30-9:00 Welcome and introductions

9:00-10:15 Keynote: Lawrence Grossberg, University of North Carolina
10:15-10:45: Coffee Break
10:45-12:00:  Panel 1: Ideology and Culture
Barbie Zelizer, University of Pennsylvania
Jo Littler, City University London
Adrienne Shaw, Temple University
12:00-1:30: Lunch on your own
1:30-2:45:   Panel 2: Identity, Representation, and Diaspora
Miyase Christensen, Stockholm University
Myria Georgiou, London School of Economics
Jocelyn Géliga Vargas, University of Puerto Rico—Mayagüez
2:45-4:15: Concurrent workshop sessions, topics TBD by submissions
4:15-4:30: Closing remarks
Co-sponsoring ICA Divisions:
Popular Communication
Lesbian, Gay, Bisexual, Transgender and Queer Studies
Ethnicity and Race in Communication
Visual Communication Studies
Philosophy, Theory and Critique
Additional Sponsors:
Annenberg School for Communication at the University of Pennsylvania
School of Media and Communication at Temple University
Department of Communication at the University of Missouri, Columbia
Department of Communication at the University of Massachusetts, Amherst
Please direct questions to: ICAPopComm@gmail.com



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:



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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