Eurograd message

                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.