Call for papers for KACA’s 40th Anniversary Conference Panelists
The Korean Wave in the 21st Century: From an Asian Sensation to a Global Culture
In the early 21st century, Korea has emerged as one of the most significant non-Western cultural centers for the production of transnational popular culture and digital technologies. The Korean cultural industries have developed many of their cultural products, such as television programs and films, and expanded the export of these products to the global markets. Consequently, Korean popular culture as consisting of non-Western based cultural genres has rapidly become a global sensation wherein Western audiences as well as non-Western audiences enjoy several local cultural forms, including K-pop, films, television programs, and digital games. The Korean Wave—known as Hallyu—has especially diversified its exported cultural genres in the midst of changing media ecology surrounding digital technologies, which means that the Korean Wave has experienced a fundamental change with social/digital media, such as YouTube, Facebook, Netflix, and smartphones in the 2010s.
More significantly, the Korean Wave has become one of the most significant parts of communication studies and Korean studies as it passed its 20th anniversary in 2017. In this panel session, we will discuss not only the historical change and evolution of Hallyu, but also the future of the Korean Wave. This panel critically and historically contextualizes the nascent development of Korean popular culture and digital technologies, while investigating the possibility of the advancement of new theoretical perspectives in the fields of globalization studies, Korean studies, and communication studies.
Potential topics for this panel include (but are not limited to):
- Historical change of the Korean Wave
- Social media embedded Hallyu
- Future directions of Hallyu
- Theoretical Interpretations of the Korean Wave
- Comparison studies of Hallyu and Asian cultural industries
If you are interested in participating in the panel, please submit title, author information, and abstract (more than 150 words) to Dr. Dal Yong Jin (email@example.com) by May 15, 2018.
This panel session is sponsored by Korean Foundation for International Cultural Exchange (한국국제문화교류진흥원).
Brooke Erin Duffy, firstname.lastname@example.org
Call for Submissions: Special Collection on "The Platformization of Cultural Production" in SM+S
We are pleased to announce a call for submissions to a special themed collection of Social Media + Society on “The Platformization of Cultural Production.” The deadline for 750-word abstracts is May 15, 2018. As you will see below, authors of accepted abstracts are invited to attend a workshop at the University of Toronto on October 8-9, 2018; Day 1 will feature a workshop hosted by the McLuhan Centre.
The full call is pasted below or available online here. Please contact the editors with questions at email@example.com
Brooke Duffy, David Nieborg, & Thomas Poell
CALL FOR PAPERS
Special collection of Social Media + Society (Open Access Journal)
The Platformization of Cultural Production
Abstract submission deadline: May 15, 2018
Full paper submission deadline: September 15, 2018
Editors: Brooke Erin Duffy (Cornell University), David B. Nieborg (University of Toronto), Thomas Poell (University of Amsterdam)
This thematic issue explores the platformization of cultural production against the backdrop of wider transformations in the technologies, cultures, and political economies of digital media. Platformization describes the process by which major tech companies—GAFAM (Google, Apple, Facebook, Amazon, and Microsoft) in the West, and the so-called “three kingdoms” of the Chinese internet (Baidu, Alibaba, and Tencent) in Asia—are reconfiguring the production, distribution, and monetization of cultural products and services. The logic of platformization is impacting traditional cultural industries (e.g., music, news, museums, games, and fashion), as well as emergent digital sectors and communities of practice, such as livestreaming, podcasting, and “Instagramming.” Accordingly, new industrial formations and partnerships are constantly being wrought; for example, newspapers increasingly host their content on Facebook, and game developers offer their products in app store!
s operated by Apple and Google.
Given the acceleration and intensification of digital platforms in the cultural circuit, there is a pressing need to interrogate the stakes of platformization for content producers and for the cultural commodities they circulate among digitally networked audiences. We invite theoretical and/or empirical contributions addressing platform power and political economies vis-à-vis cultural production. Owing to the relative recency of research on platformization, this topic warrants an interdisciplinary focus including scholarship from such fields as media and communication studies, platform studies, software studies, political economy of communication, (media) production studies, and business studies. Platformization exacts widely variable costs across different spheres of life, and regional and sectoral boundaries. We therefore invite scholars to contribute papers which advance our understanding of how the platformization of particular sectors and practices takes shape within s!
pecific geo-national contexts, as well as how this involves new modes of content moderation and algorithmic curation, evolving forms of labour exploitation, and app-based systems of distribution and monetization.
We are especially interested in articles that shed new light across these themes:
-Theoretical approaches to platformization and the social, cultural and technological contexts of platform-dependent modes of cultural production.
-Intersectional approaches that are sensitive to the gendered, classed, and racial specificity of platform-dependent modes of cultural production.
-Political economic approaches to platformization, including the implications for cultural producers and labor relations, as well as relationships among different institutional actors in platform ecosystems.
-Regional approaches to platformization. For example, the impact of the platformization of cultural industries in particular countries, or regions, such as the European Union.
-Sectoral studies of specific industry sectors and modes of cultural production and circulation such as journalism, game and music production, museums, or emerging ‘platform-native’ practices such streaming and vlogging.
-Historical approaches to platformization. Contributions that investigate the transformation of specific production practices as they become integrated with, or dependent on digital platforms.
-The policy implications of platformization on a local, national or regional level, or studies of policy interventions.
-Formal and informal efforts to resist platformization, such as the development of platform independent subscription-based distribution and monetization models.
-Infrastructural approaches that are sensitive to the material dimensions of platform-based modes of cultural production.
-Methodological interventions, which reflect on the methodologies employed when researching cultural production in platform ecosystems.
-750-word abstracts should be emailed to firstname.lastname@example.org by May 15, 2018. The abstract should articulate: 1) the issue or research question to be discussed, 2) the methodological or critical framework used, and 3) indicate the expected findings or conclusions. Decisions will be communicated to the authors by June 1, 2017.
-Full papers of the selected abstracts should be submitted by September 15, 2018 to be discussed at the workshop.
-On October 8-9, 2018 (right before AoIR2018), the special collection editors will organise a 2-day event hosted by the University of Toronto. Day 1 will feature a workshop hosted by the McLuhan Centre <http://www.chi.utoronto.ca/>. Workshop participation is not a condition for being included in the special collection. The workshop provides all thematic issue contributors an opportunity for debate and an initial round of feedback on the papers. Accommodation and catering during the event will be covered for accepted contributors. There is limited travel support for junior scholars.
-The deadline for submitting the revised paper for double blind peer-review is December 1, 2018.
-The planned publication date of this special collection of Social Media + Society is in the second half of 2019.
Call for Papers: LGBTQ-Television Panel
Together, the Television area and the LGBTQ Studies area of the Mid-Atlantic Popular and American Culture Association seek proposals for a co-sponsored panel at the 2018 conference in Baltimore, Maryland.
We invite papers that examine any aspect of the relationship between television and the LGBTQ community. Potential topics include but are not limited to:
* Will & Grace, revivals
* Pose, the Ryan Murphy empire
* Riverdale, queerbaiting and youth culture
* When We Rise, social movements on television
* Queer Eye, makeover shows in the Trump era
* Black Lightning, intersections of race, gender and sexuality
* RuPaul’s Drag Race, intersecting femininity and masculinity
* Historical perspectives of LGBT representation on television
* Mainstream trends and media “gaystreaming”
* Television advertising and LGBT audiences
* The impact of streaming on the LGBT genre
* Queer characters and narratives
* Representation and stereotypes
All theoretical viewpoints and methodologies are welcome.
Deadline: June 30, 2018
To submit your proposal, visit mapaca.net.
You may submit your paper to either Television or LGBTQ Studies (not both) for your paper to be considered for inclusion in the co-sponsored panel. Please note your desire to submit to the co-sponsored panel in your submission.
For questions, contact: Candice Roberts, email@example.com