Mapping the Magazine 6: CFP New Deadline

Mapping the Magazine 6: CFP New Deadline

The sixth Mapping the Magazine conference will be held at Lusófona University in Lisbon, Portugal, on July 2-3 2020. The abstract submission deadline has been postponed to January 26th 2020. Successful applicants will be contacted by February 28 and full papers will be due to the conference organizers by May 11.
We are inviting submissions on the theme (Trans)Forming Magazines. The complete Call for Papers of Mapping the Magazine 6 is online at and more information is available on the website
Bringing academia and industry together, MtM6 will have James Hewes as the opening keynote speaker debating the “10 Key Trends in Magazine Media”. James Hewes is the President and CEO of FIPP – the network for global media that represents more than 5,000 titles, which include almost all of the world’s leading magazine media brands. Joy Jenkins is closing the conference sharing insights on her recent research on local and place-based magazines and on magazine scholarship as a whole. Joy Jenkins is an Assistant Professor at the School of Journalism & Electronic Media at the University of Tennessee, USA.

The organizers seek proposals for individual papers on topics related to magazine research from many disciplines: Media and Communication, Journalism, Critical and Cultural Studies, Gender Studies, Sociology, Linguistics, English, History, Visual Communication, and others.
For more information, please contact[Texto enviado pela organização]

9º Congreso Iberoamericano de Investigación Cualitativa (CIAIQ2020)

Chamada de Trabalhos / Llamada de Trabajos
Português / Español

A Comissão Organizadora convida a comunidade a submeter artigos ao 9º Congresso Ibero-Americano em Investigação Qualitativa (CIAIQ2020), a realizar em A Coruña (Espanha), de 14 a 17 de julho de 2020.

Os autores poderão submeter propostas de apresentação de trabalhos que se enquadrem nos objetivos e nas temáticas do Congresso, nomeadamente artigos científicos originais abordando revisões do estado da arte e novas perspetivas de investigação, soluções e/ou aplicações para problemas reais, trabalhos empíricos e/ou de avaliação, entre outros.

Submissão de artigos aberta até 2 de março.

Mais informação

[Texto enviado pela organização do congresso]

RCL — Revista de Comunicação e Linguagens / Journal of Communication and Languages


Photography, Cinema, and the Ghostly – RCL n. 53 (Autumn/Winter)

José Bértolo (CEC, U. Lisbon)
Margarida Medeiros (ICNOVA — NOVA U. Lisbon)

Throughout the nineteenth century, the camera was believed to be a diabolical machine that could steal human souls. In one of the most notorious texts included inWhen I Was a Photographer (1899), Félix Nadar famously described how Honoré de Balzac thought that “each body in nature is composed of a series of specters”, and that each “Daguerreian operation” would retain one of these spectral layers until the human body of the photographed person amounted to nothing.

If on the one hand there was this general idea that photography was a “killing instrument”, on the other hand it was clear from the beginning that photographs also granted new lives to human beings, animals, objects, etc. Being the “perfect” double of what was once seen in the visible world, the photograph becomes the space where that which is no longer alive can continue to exist. With this in mind, Roland Barthes wrote on his Camera Lucida: Reflections on Photography (1980) that this relatively new and mostly mechanical art form is responsible for the “return of the Dead”. Likewise, Susan Sontag (1977) also posited that “all photographs are memento mori”.

The correlation between photography and death is particularly striking in the last decades of the nineteenth century with the emergence of spirit photography. Through the extensive use of double exposures, William Mumler, William Hope, and others, demonstrated that photography not only dealt with physical reality, but could also place itself within the realms of imagination, magic and illusion.

Like photography, cinema has since its beginnings been associated with spectrality. As early as 1896, Georges Méliès was already directing films such as Le manoir dudiable, where editing tricks were used in order to create a supernatural world inhabited by fantastic creatures. At the same time, the supposedly realistic films of brothers Lumière were also being perceived by some spectators as much more than direct and lifelike representations of the world. After watching a Lumière program in 1896, Maxim Gorky famously wrote: “Last night I was in the Kingdom of Shadows […] It is not life but its shadow, not motion but its soundless spectre”.

In the following decades, film critics, film theorists and philosophers as different as Ricciotto Canudo, Jean Epstein, Gilles Deleuze or Jean-Louis Leutrat explored ghostly metaphors in their inquiries on the nature of film. The prime example of this critical tendency occurs in an interview published in the Cahiers du Cinéma (2001), in which Jacques Derrida, almost a decade past the publication of Specters of Marx, characterized cinema as a “spectral technique of apparitions”.

In addition, scriptwriters and directors pertaining to different historical and cultural contexts are evidently interested in stories in which the ghostly, the oneiric and the immaterial play a special part. The exploration of such elements is not limited to German Expressionism, the American Gothic (Film) tradition of the 1940s, or the ItalianGiallo, also playing an important role in the works of filmmakers as distinct and unique as Yevgeni Bauer, Luis Buñuel, Jacques Tourneur, Kaneto Shindo, Alain Resnais, Apichatpong Weerasethakul, or Pedro Costa.

Borrowing from several important studies on the ghostly published in the wake of the “spectral turn” popularized by Jeffrey Andrew Weinstock in Spectral America(2004), this thematic issue aims to depart from and contribute to an ongoing debate which shows that many areas of spectrality in art are yet to explore. This special issue aims to reconsider the close link between photography, cinema and the ghostly, bringing together traditional and new historical, theoretical and philosophical approaches.


Papers can address, but are not limited to, the following topics:

  • The nineteenth century, the emergence of new media, and the ghostly imagination
  • Photography, memory, and death
  • Spirit photography
  • The ghostly in modern and contemporary photography
  • Key issues related to the ontology of the photographic image: (un)reality, (im)materiality, (in)visibilitiy and the (un)seen
  • Ghostly metaphors in film writing (criticism, theory, philosophy)
  • The spectres of digital media and/or film (in photography and/or cinema)
  • Experience, perception, subjective images and imagination
  • The representation of dreams and hallucinations
  • Special effects aiming to enhance the spectral dimension of photography and/or film (e.g. double exposure, superimposition, stop trick, rear projection, acousmatic sound)
  • Ghostly or haunted media in fiction film (photography, radio, the Internet)
  • Ghosts across different genres (e.g., horror, melodrama, comedy, war film)
  • Critical and contemporary approaches to the concept of spectrality


The articles can be written in English, French, or Portuguese, and will be subject to a double-blind peer review. They must comply with the journal’s submission guidelines and be sent through the OJS platform until May 10th, 2020.


For queries, contact the editors José Bértolo ( and/or Margarida Medeiros (


Guidelines for submission and Instructions for authors:

[Texto enviado pela organização]

Conference of the International Journal of Creative Media Research: Emerging Technologies and Creative Industries


One-Day Conference: 29 June 2020

Co-organised by Centre for Cultural and Creative Industries
& Centre for Media Research

Funded by Bristol+Bath Creative R+D Partnership

Held at Bath Spa University, Newton Park Campus, Newton Park, Newton St
Loe, Bath, BA2 9BN

Confirmed keynotes:

Professor Graham Thomas, Section Lead for
Immersive Content, BBC R&D
Professor Mandy Rose,
Director of DCRC, University of the West of England
Professor Darren Cosker, Director
of CAMERA, University of Bath

We invite proposals from a range of researchers, makers, designers and
producers to showcase their research and creative practice, critically and
creatively exploring how the uniqueness of emerging technologies is
reshaping approaches to research across the creative industries.

Today’s emerging technologies present a unique proposition for the creative
industries. Often characterised as disruptive innovations against the
backdrop of enduring creative processes, emerging technologies such as
virtual reality (VR), augmented reality (AR), robotics, artificial
intelligence (AI), projection mapping, location-based content, motion
capture and spatial audio present rich avenues for the creative industries,
gradually transforming media experiences. However, they also pose new kinds
of methodological challenges for researchers and makers.

Academia and industry alike are now working towards developing an innovative
set of aesthetic categories, terms, concepts, practices and methodologies to
make sense of the uniqueness of emerging technologies in and across the
creative landscape. With much research across the disciplines of media,
performance, art, computing and beyond increasingly exploring the creative
potential of emerging technologies and platforms, it is key that we also
better understand the necessary approaches to researching these kinds of
technologies and platforms.

How, for example, can we best engage with the innate hybridity of immersive
technologies, given the way that VR or AR experiences incorporate elements
from performance, games, film, gallery installations and even theme parks?
What is the impact of this hybridity on our ability to define immersive
technologies as an object of study?
If AI is re-imagining relationships with daily life, then how is this
technology reshaping research practices? More broadly, how do emerging
technologies such as motion capture and projection mapping impact our
interpretation of audience or user responses across the creative industry
landscape? And is now the time to develop new kinds of hybridised research
methods that better reflect emerging technologies?

This conference aims to engage with these questions by exploring the ways in
which different disciplines and different corners of the creative industries
are approaching the task of researching emerging technologies and their
audiences, spanning VR films, experiential AR games and live experiences, AI
and robotics, location-based transmedia productions, and so on.

Proposal topics may address, but are not limited to:

* Platform-specific research into emerging technologies (e.g. VR film,
AR games/apps, AI platforms, creative robotics, motion capture
technology, spatial audio works, etc.)
* Sector-specific research into emerging technologies (e.g.
performance industry, film and television industry, games industry,
computing industry, etc.)
* Creative/practice-based approaches to working with emerging
technologies (e.g. how can AI/automation practices enhance or
facilitate forms of creativity?)
* Theoretical approaches to researching emerging technologies (e.g.
new frameworks)
* Innovations in industry approaches to researching emerging
technologies and their audiences (e.g. current trends and tensions
in R&D contexts, start-ups, etc.)
* Emerging and cross-disciplinary forms of audience research in the
context of emerging technologies (e.g. across media studies,
performance studies, psychology, etc.)

The conference is funded by the Bristol+Bath Creative R+D Partnership, a £6.8 million AHRC-funded collaboration
between the University of the West of England, Bath Spa University,
University of Bath, University of Bristol and Watershed, Bristol’s digital
creativity centre. The partnership aims to connect the worlds of university
research and creative business to collectively imagine and develop the
future of the creative industries.

All creative work or papers presented at the conference will be considered
for publication in a Special Issue of the International Journal of Creative
Media Research (IJCMR), edited by
the event organisers. IJCMR is an interdisciplinary, peer-reviewed and open
access journal devoted to pushing forward the approaches to and
possibilities for publishing creative media research.

Please send proposals of no more than 300 words (accompanied by a short
biography) to Matthew Freeman (
< by no later than *March 15, 2020*.

/About the keynote speakers:/

Professor Graham Thomas is Section Lead, Immersive & Interactive
Content at BBC R&D, where he leads a team of 20 engineers developing
next-generation audio and video systems in ways that can offer new
interactive opportunities for audiences. Graham helped establish the
BBC Audio Research Partnership He
was a key player in the development of the award-winning Piero sports graphics system and
the free-d camera tracking system for virtual studios. His earlier
work included motion-compensated standards conversion, which led to
the Emmy-award-winning Alchemist standards converter.

Professor Mandy Rose is Professor of Documentary & Digital
Cultures at the University of the West of England, where she is
Director of the Digital Cultures Research Centre. She is
Co-Investigator on the EPSRC Virtual Realities: Immersive
Documentary Encounters
project, a £1.2m 2.5 year project that interrogates the application
of virtual reality for nonfiction. She is also co-convenor of the
i-Docs Symposium. Mandy’s background is in TV
and film production, sound recording, producing, and directing
documentary and factual television.

Professor Darren Cosker* is Professor in Computer Science at the
University of Bath, where he is currently the Director of the Centre
for the Analysis of Motion, Entertainment Research and Applications
(CAMERA), funded by EPSRC/AHRC. His
research cuts across different disciplines, such as Computer Vision,
Graphics, AI and Psychology, including work on human motion
analysis, recognition and synthesis, and data modeling. Applications
of Darren’s research have been across the creative industries
(including partnerships with the BBC and Aardman), the healthcare
sector, and sport.

Full information about the conference can be found here
General enquiries can be sent to Matthew Freeman (