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Message posted on 22/01/2022

CFP || Global Media and China Special Issue: Feminist Media Production and Beyond

Hello everyone. We are pleased to share the Call for Papers for a special i= ssue of Global Media & China on Feminist Media Production and Beyond. We in= vite you to consider submitting an abstract proposal for this special issue= by May 1, 2022, and to share the CFP with your colleagues and students. Th= ank you!

Global Media and China CFP

Special Issue: Feminist Media Production and Beyond

https://journals.sagepub.com/pb-assets/Call%20for%20Papers%20-%20Feminist%2= 0Media%20Production%20and%20Beyond%20-%20revised%2015%20Jan-1642506989.pdf

Guest Editors: Dr. Tracy Ying Zhang (Communication and Media Studies, York= University)

                   Dr. Alison Harvey (Communications, Glendon College, =

York University)

Overview:

The underrepresentation of women in media-making, as well as their marginal= ization and discriminatory practices faced within the working environment h= ave been well-documented across history in traditionally-studied industries= ranging from broadcast television (Meehan, 2002, Ball & Bell, 2013) to fil= m (Banks, 2009, Hill, 2016, Reynolds, 1998) to video game development (Cons= alvo, 2008, Prescott & Bogg, 2011). The obfuscation of women=92s participat= ion in cultural, creative, and technical fields, including in assembly and = other forms of work typically overlooked in the literature (Nakamura 2011, = 2014, Mayer, 2011) cannot be disentangled from the historical association o= f femininity with consumption and the private, domestic sphere (Kearney, 19= 98), and the devaluation of women=92s production activities (White, 2015). = Feminist scholarship of media production activities, both within profession= al industrial contexts and in spaces beyond this such as new digital econom= ies (Duffy, 2015), have highlighted the role of women in media work as well= as the social, technical, economic, and political structures that contribu= te to the ongoing devaluation of women=92s work.

This special issue seeks to extend this conversation and open up new horizo= ns for research on feminist media production. At a time where the few high = profile women in media making are held up as examples of change when the #M= eToo movement and its ripple effects have highlighted ongoing pervasive iss= ues, the moment is ripe for critical, intersectional, and transnational dis= cussions of feminism and media-making. This is all the more pressing given = the global fight against workplace-based sexism has waned in light of the e= xigencies of the Covid-19 pandemic. Paradoxically, within this context and = an ever-expanding digital cultural economy, gendered inequality and employm= ent precarity have become even more acute. At a virtual conference hosted b= y Women in Television and Film Canada in 2021, speakers noted the dispropor= tionate impact of crises like COVID-19 on women and people of color in the = media. Evidence shows that women are struggling with not only a shortage of= employment opportunities but also challenges related to care responsibilit= ies, mental health, and/or domestic violence (Boserup, McKenney, & Elkbuli,= 2020, Bradbury-Jones & Isham, 2020, Power, 2020, Seedat & Rondon, 2021). = In tandem with this, scholars have noted how the proliferation of digital p= latforms offer content creators, including women, new avenues and tools to = disseminate their works and connect with new audiences (Lauzen, 2021). This= special issue seeks to explore women=92s production cultures and practices= , the subject-positions they entail, and the labour relations and policies = they are entangled with.

We seek submissions from scholars in diverse fields to advance interdiscipl= inary dialogues on feminist media production. We are interested in empirica= l, theoretical, and historical contributions that address long-standing and= emerging questions regarding the relationship between media production, ge= nder, race, labor, embodiment, nationalism, surveillance capitalism, platfo= rm politics, neoliberalism, and reactionary politics.

Submissions that deploy intersectional feminist, decolonial, and anti-colon= ial approaches are especially welcome. We are also very interested in paper= s that explore approaches and methods for examining feminist media producti= on in emerging and digital media. We encourage those considering submission= to take a broad view of media production and a local perspective on these = practices, as we are interested in case studies from different parts of the= world. Relevant topics include, but are not limited to:

  • Feminized and feminist media production activities

  • Aspirational, affective and immaterial labor and precarity in media p= roduction

  • Care, intimacy, and social reproduction in the context of media-makin= g

  • Racialization of women's cultural work

  • Inclusions and exclusions in media production training

  • Internships, mentorship, and professionalization activities in media = production

  • Global mobility, migration, and women's media production

  • Craft, handmade, amateurism, and vernacular practices of media produc= tion

  • Independent production, do-what-you-love, and passion discourse

  • Female entrepreneurialism and the hustle in media-making

  • Algorithmic shaping and data feminism approaches

Schedule:

  • 1 May 2022: abstract proposals (title, 500 words outlining argument, = theoretical framework, and methods with short bibliography)

Please submit to Dr Tracy Ying Zhang (tracyyzh@yorku.ca) and Dr Alison Harv= ey (alison.harvey@glendon.yorku.ca)

  • June 2022: notification of acceptance of accepted abstracts

  • 30 November 2022: full paper submission

  • December 2022 - March 2023: double-blind peer review

  • April - June 2023: revision

  • July - August 2023: second round of double-blind peer review

  • August 2023: revision

  • September - December 2023: editorial final review

References

Ball, Vicky & Bell, Melanie (2013.) =93Working Women: Women=92s Work: Produ= ction, History, Gender.=94 The Journal of British Cinema and Television, 10= (3), pp. 547-562.

Banks, Miranda J. (2009.) =93Gender Below-the-Line: Defining Feminist Produ= ction Studies.=94 In Production Studies: Cultural Studies of Media, edited = by Vicki Mayer, Miranda J. Banks & John Thornton Caldwell. Routledge, pp. 8= 7-98.

Boserup, Brad., McKenney, Mark, & Elkbuli, Adel. (2020). =93Alarming Trends= in US Domestic Violence during the COVID-19 Pandemic.=94 The American Jour= nal of Emergency Medicine, 38(12), pp. 2753-2755. https://doi.org/10.1016/j= .ajem.2020.04.077

Bradbury-Jones, Caroline., & Isham, Louise. (2020). =93The Pandemic Paradox= : The Consequences of COVID-19 on Domestic Violence.=94 Journal of Clinical= Nursing, 29(13-14), pp. 2047=962049. https://doi.org/10.1111/jocn.15296

Consalvo, Mia. (2008). =93Crunched by Passion: Women Game Developers and Wo= rkplace Challenges.=94 In Beyond Barbie & Mortal Kombat: New Perspectives o= n Gender and Gaming. Edited by Yasmin B. Kafai, Carrie Heeter, Jill Denner = and Jennifer Y. Sun. Cambridge and London: MIT Press, pp 177-191.

Duffy, Brooke Erin. (2015). =93The romance of work: Gender and aspirational= labour in the digital culture industries.=94 International Journal of Cult= ural Studies, pp. 1-17.

Hill, Erin. (2016.) Never Done: A History of Women's Work in Media Producti= on. Rutgers University Press.

Kearney, Mary Celeste. (1998). =93Producing Girls: Rethinking the Study of = Female Youth Culture.=94 In Delinquents and Debutants: Twentieth Century Am= erican Girls=92 Culture, ed. Sherrie Inniss, New York: New York University = Press, pp. 285-310.

Lauzen, Martha M. (2021). =93Indie Women in a Pandemic Year: Behind-the-Sce= nes Employment of Women in U.S. Independent Film, 2020-21.=94 A report publ= ished by the Center for the Study of Women in Television & Film, San Diego = State University. https://womenintvfilm.sdsu.edu/indie-women-in-a-pandemic-= year-behind-the-scenes-employment-of-women-in-u-s-independent-film-2020-21/

Mayer, Vicky. (2011). Below the Line: Producers and Production Studies in t= he New Television Economy. Duke University Press.

Nakamura, Lisa. (2011). =93Economies of Digital Production in East Asia: iP= hone Girls and the Transnational Circuits of Cool.=94 Media Fields Journal,= 2.

Nakamura, Lisa. (2014). =93Indigenous Circuits: Navajo Women and the Racial= ization of Early Electronic Manufacture.=94 American Quarterly, 66(4), pp. = 919-941.

Power, Kate. (2020). =93The COVID-19 Pandemic has Increased the Care Burden= of Women and Families.=94 Sustainability: Science, Practice and Policy, 16= (1), pp. 67-73. https://doi.org/10.1080/15487733.2020.1776561

Prescott, Julie & Bogg, Jan. (2011). =93Segregation in a Male-Dominated Ind= ustry: Women Working in the Computer Games Industry.=94 International Journ= al of Gender, Science and Technology, 3, pp. 206-227.

Reynolds, Si=E2n. (1998). =93The Face on the Cutting-Room Floor: Women Edit= ors in the French Cinema of the 1930s.=94 Labour History Review, 63(1), pp.= 66=9682.

Riordan, Ellen. (2002). =93Intersections and New Directions: On Feminism an= d Political Economy.=94 In Sex & Money: Feminism and Political Economy in t= he Media, edited by Eileen R. Meehan & Ellen Riordan. University of Minneso= ta Press, pp. 3-15.

Seedat, Soraya & Rondon, Marta. (2021). =93Women=92s Wellbeing and the Burd= en of Unpaid Work.=94 BMJ, 374:n1972. https://doi.org/10.1136/bmj.n1972

White, Michele. (2015). Producing Women: The Internet, Traditional Feminini= ty, Queerness, and Creativity. New York and London: Routledge.

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