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**[Journal of Media Practice and MeCCSA Practice Network Annual
Symposium
2017]{style="font-family: tahoma,sans-serif; font-size: large;"}**

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**[  
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***[ 'Practice and/as Media Industry
Research']{style="font-family: tahoma,sans-serif; font-size: large;"}***

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**[  
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**[Hosted by the Media Convergence Research Centre, Bath Spa
University]{style="font-family: tahoma,sans-serif;"}**

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**[One-Day Symposium: Thursday 8th June
2017]{style="font-family: tahoma,sans-serif;"}**

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***[Confirmed Keynotes:]{style="font-family: tahoma,sans-serif;"}***

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***[Prof Kerstin Stutterheim, Bournemouth
University]{style="font-family: tahoma,sans-serif;"}***

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***[John Mateer, University of
York]{style="font-family: tahoma,sans-serif;"}***

[The Media Convergence Research Centre at Bath Spa University is proud
to be hosting the 2017 Journal of Media Practice and MeCCSA Practice
Network Annual Symposium. The symposium explores the theme of *'Practice
and/as Media Industry Research'* and will take place on Thursday 8th
June 2017.]{style="font-family: tahoma,sans-serif;"}

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[  
The study of media industries is now a focal point at many universities,
promising rich dialogues between academia and industry. Media,
communications and cultural studies (including film, television,
publishing, radio, music and online platforms) are central to the
pursuits of media industry research, with scholars seeking to
investigate and to theorise the industrial workings of these media -- be
it their macro social, economic and political influences or their micro
production cultures, distribution practices and professional ideologies
(Caldwell 2008; McDonald 2013; Freeman 2016). While the study of media
industries itself indicates a bridging between theory and practice --
between the study of media forms and the pragmatics of media making --
far less attention has been paid to what the study of media industries
looks like as practice-based or practice-led research, or how
collaboration between academia and the media industries actively shapes
practice.]{style="font-family: tahoma,sans-serif;"}

As such, the symposium theme provides the opportunity for MeCCSA to
focus on questions of practice and/as media industry research and aims
to showcase both scholarly and practice-based research that considers
the complex relationships between the theoretical study of media
industries and creative forms of practice and practice-based
research. The symposium will feature lectures with leading academics
exploring questions of practice and/as media industry research and also
methodological workshops about ways in which collaboration between
academia and the media industries can shape creative practice.

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[We invite proposals for either practice presentations, scholarly
papers, media artworks or short film screenings across the full range of
interests represented by MeCCSA that are relevant to the symposium
theme. We are particularly interested in proposals for practice works
that have benefitted from collaboration with academics and
industry.]{style="font-family: tahoma,sans-serif;"}

Proposal topics may address, but are not limited to:

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- [Practice-based or practice-led forms of media industry
  research]{style="font-family: tahoma,sans-serif;"}
- [Creative interdisciplinary works about the media
  industries]{style="font-family: tahoma,sans-serif;"}
- [Sector-specific studies of practice-based media research (e.g.
  digital industry, film and television industry, journalism industry,
  publishing industry)]{style="font-family: tahoma,sans-serif;"}
- [Scholarly or practical insights into academia-industry
  collaboration]{style="font-family: tahoma,sans-serif;"}
- [Modes of shaping practice and creativity across the media
  industries]{style="font-family: tahoma,sans-serif;"}
- [Blending media theory and media practice in higher
  education]{style="font-family: tahoma,sans-serif;"}

[Alongside papers and practice-based presentations, we will also be
hosting a MediaWall competition. Bath Spa's MediaWall is an
architectural scale portrait format gallery, consisting of ten 55"
panels and standing 4 meters wide and rising 7.5 meters from floor
level. The MediaWall competition seeks submissions for practice-based
media works (e.g. films, exhibitions, artworks, etc.) that creatively
examine and interrogate questions related to the workings of the media
industries. The winning work will be exhibited during the symposium's
evening reception and will also be showcased on the Media Convergence
Research Centre website. Since its launch in June 2014, the MediaWall
has exhibited a number of artworks including those by international
artists Julian Opie and Bruce
Munro.]{style="font-family: tahoma,sans-serif;"}

Please send proposals (300 words approx.) for all presentations, papers,
artworks or screenings -- outlining its aim and form -- along with a
short biography to the symposium coordinators: Matthew Freeman
([m.freeman@bathspa.ac.uk](mailto:m.freeman@bathspa.ac.uk){target="_blank"
rel="noopener noreferrer"}) and Charlie Tweed
([c.tweed@bathspa.ac.uk](mailto:c.tweed@bathspa.ac.uk){target="_blank"
rel="noopener noreferrer"}) by no later than **Friday 24th March 2017**.

We will also be offering three travel bursaries for PhD students
confirmed to present at the symposium (up to a maximum of £50 each).
Please indicate in your proposal if you would like to be considered for
one of these bursaries.

The symposium, hosted by the Media Convergence Research Centre and
supported by the Journal of Media Practice and MeCCSA Practice Network,
will take place in Commons building located at Bath Spa University's
Newton Park campus, taking full advantage of its interactive digital
spaces and state-of-the-art studios and teaching facilitates.

The Media Convergence Research Centre interrogates the creativity,
culture and enterprise of the media in the changing landscape of
convergence, re-thinking the potentials of merging media practices,
representations, technologies, industries and audiences everywhere. The
Centre operates around four research clusters: Digital Materialities,
Film & Social Context, Play, and Transmedia Industries.

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[  
The MeCCSA Practice Network champions practice within the Media,
Communications and Cultural Studies Association, ensuring that those
that teach and research practice have a strong voice within the subject
association and beyond. We are dedicated to maintaining and developing
links with the creative industries and relevant national and
international networks and
associations.]{style="font-family: tahoma,sans-serif;"}

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**Dr Matthew Freeman, FHEA**

[**Senior Lecturer in Media and Communication**  
**Director, Media Convergence Research
Centre**]{style="color: #000000;"}

[**The Digital Academy**]{style="color: #000000;"}

**[Bath Spa University]{style="color: #000000;"}**

[T: +44 (0)1225 876708]{style="color: #000000;"}  
[Visit]{style="color: #000000;"}[ ]{style="color: #434343;"}[[www.bathspa.ac.uk]{style="color: #0b5394;"}](http://www.bathspa.ac.uk/){target="_blank"
rel="noopener noreferrer"}  
[Join us
on:]{style="color: #000000;"}[ ]{style="color: #434343;"}[[Facebook]{style="color: #0b5394;"}](https://www.facebook.com/bath.spa.university){target="_blank"
rel="noopener noreferrer"}[ ]{style="color: #434343;"}[\|]{style="color: #000000;"}[ ]{style="color: #434343;"}[[Twitter]{style="color: #0b5394;"}](https://twitter.com/BathSpaUni){target="_blank"
rel="noopener noreferrer"}[ ]{style="color: #434343;"}[\|]{style="color: #000000;"}[ ]{style="color: #434343;"}[[YouTube]{style="color: #0b5394;"}](https://www.youtube.com/user/BathSpaUniversity){target="_blank"
rel="noopener noreferrer"}[ ]{style="color: #434343;"}[\|]{style="color: #000000;"}[ ]{style="color: #434343;"}[[LinkedIn]{style="color: #0b5394;"}](http://www.linkedin.com/company/bath-spa-university){target="_blank"
rel="noopener noreferrer"}  
[Newton Park, Newton St Loe, Bath, BA2 9BN.]{style="color: #000000;"}

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CFP: ‘Practice and/as Media Industry Research’, 8 June 2017, Bath Spa University

Journal of Italian Cinema and Media Studies

Innovations and Tensions

Italian Cinema and Media in a Global World

The American University of Rome

9-10 June 2017

Journal of Italian Cinema and Media Studies, published by Intellect Ltd.
since 2012, is a peer-reviewed triannual journal. JICMS is the leading
English-language forum for theoretical, methodological and critical
debate on Italian film and media production, reception and consumption.
It provides a platform for dialogue between academics, filmmakers,
cinema, and media professionals. Within the realm of a trans-cultural
debate, the purpose of JICMS is to refer to Italy as the unifying
geo-cultural site for a contemporary discussion of translocal cinema.
The journal aims to elaborate a multifaceted definition of Italian
cinema, shifting the critical paradigm outside the inwardly focused
field of Italian film studies and exploring how Italian cinema and media
expand beyond the boundaries of their (pen)insularity. The journal also
intends to explore the hybridization of film and media as well as the
permeability and versatility of new media.

In 2017, JICMS celebrates its 5th anniversary (2012-2017) with an
international conference. This conference will provide a forum for
developing innovative directions for the journal. We will exchange ideas
about trans-national approaches to Italian cinema and media and foster
debate on the role of Italian cinema and media in the complex tapestry
of global societies in the twenty-first century.

With this CFP, the conference organizers invite proposals for single
papers, pre-constituted panels and roundtables that would identify
innovations and tensions shaping contemporary Italian cinema and media
productions in a global world.

Keynote Speaker

Professor Milly Buonanno, La Sapienza University

Possible topics include, but are not limited to:

\* Italian cinema and international co-productions

\* LGBTQ cinema

\* Borderlands and the changing geographies of liminal spaces

\* Filmmakers of diverse ethnic, religious, national background

\* Diasporic and accented filmmakers/filmmaking

\* Digital diaspora and electronic migrant communities

\* Digitalized cultures for participating, citizenship, and
intercultural communication

\* Postcoloniality in various media

\* Digital cinema

\* Italian film festivals in the world

\* Television serial narratives

\* Presence-absence of Italians of various ethnic background in the
media

\* Web series

\* New media and intermediality

\* Networked activism

\* Transmedia and social activism

\* Transmedia narratives and productions in film and television

\* Video-games

\* Animation

\* Subtitling and dubbing

\* How or if Italy is rethinking or renegotiating its situation in the
EU

\* Who owns/controls the media in Italy, and what are the ramifications
of this political economy of the media

\* Future Memories: Anniversaries of Cinema and Media Institutions

Please send an abstract of 250 words plus a short bio of 100 words for
single papers, or 350 words with individual titles and bios for
pre-constituted panels or roundtables in Italian or in English in a
word.doc format, no pdf. We invite proposals for 20-minute presentations
(inclusive of film clips). We welcome presentations using both
conventional tools and video-essay commentaries.

The languages of the conference are English and Italian

Abstracts for consideration should be submitted to the conference
organizer Flavia Laviosa at flaviosa@wellesley.edu

The deadline for the submission of abstracts is 15 October 2016
Notification of acceptance of abstracts will be sent out to authors by
15 December 2016

Participants will receive a complimentary copy of JICMS, generously
offered by Intellect.

Selected papers will be considered for publication for a special edited
volume or issues of JICMS.

This conference is organized by Flavia Laviosa (Wellesley College) in
collaboration with Catherine Ramsey Portolano (The American University
of Rome) and co-sponsored by The American University of Rome, Wellesley
College, and Intellect.

Additional activities

A guided visit to the Cinecittà Studios will be offered on Thursday June
8th: 20 euro

A choice of two tours will be offered on Sunday June 11th

1\) Southern Lazio: Ninfa, Valvisciolo and Sermoneta: 60 euro

2\) Bomarzo and Viterbo: 60 euro


Journal of Italian Cinema and Media Studies  Innovations and Tensions  Italian Cinema and Media in a Global World  The American University of Rome  9-10 June 2017  Journal of Italian Cinema and Media Studies, published by Intellect Ltd. since 2012, is a peer-reviewed triannual journal. JICMS is the leading English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption.

Journal of Italian Cinema and Media Studies, Italian Cinema and Media in a Global World, 9-10 June 2017

Conference Report

This year's [*Console-ing
Passions*](http://www.console-ingpassions.org/conference-program/) took
place on the Dublin quayside in the Marker Hotel, a luxury setting for
some cutting debate about television, new media and feminist politics. 
The weather was particularly un-Irish; it was warm and mostly sunny,
allowing delegates to explore the lively quayside area.  This is a part
of Dublin which developed during the Celtic Tiger years and is now once
again the site of new buildings and media start-ups as the Irish economy
begins its recovery.  The glass and steel setting is far removed from
the Georgian Dublin of popular imagination; an appropriate venue for
panels addressing new media, reality formats and post-feminism.

There were a dozen panel sessions (with five options to choose from in
each) and three plenaries.  As ever, a conference of this size is a test
of stamina and one's capacity to absorb information (and caffeine!).  It
was deftly programmed, my only complaint being that the television
comedy panel in which I presented with Roberta Mock and Linda Mizejewski
was scheduled against another comedy panel where the respondent was
Kathleen Rowe Karlyn.  It always seems that the session where you are
presenting features most of the other panels you want to attend...   The
conference featured high profile academics in ordinary panel sessions
rather than plenaries, indicating the importance and status of this
annual gathering.

The first panel I attended was a game of two halves, featuring papers on
women in the Irish gangland drama *Love/Hate* (Deirdre Quinn, Maynooth)
and the precarity of women's careers in Irish television production
(Anne O'Brien, Maynooth), followed by Felicity Kendall and aging
(Frances Bonner, Queensland) and Lesley Sharp's television work in
relation to Northern Englishness (Beth Johnson, Keele).  Commonalities
between the papers were drawn out in the ensuing discussion, with
particular reference to women aging in front of and behind the camera. 
The next panel also provoked comparative debate as it focussed on
contemporary transnational thrillers and their aesthetic roots in
'Scandi-*noir*'.  Kathleen McHugh (UCLA) read Saga Norén in
Danish/German/Swedish  drama *The Bridge (Bron/Broen)* as 'affectless'
and thus destabilizing the 'normal' behaviours of her feckless partner
Martin Rohde.  Barbara Klinger (Indiana) employed Barthes' hermeneutic
of 'delay' to examine female protagonists in *Hinterland*, *The Fall,
Happy Valley,* and *The Killing (Forbrydelsen)*.  Klinger noted the
Gothic trope of the bloodied victim in these dramas and that Gothic
theme was continued in Lisa Coulthard's (British Columbia) examination
of uncanny difference in *Top of the Lake* and *The Fall*, where female
detectives reject domestic environments but male killers appear entirely
at home in them. Tanya Horeck (Anglia Ruskin) concluded the panel on a
similarly Gothic note with an examination of grieving mothers and
detectives, proposing that such dramas offer a 'new emotional realism'.

The panel on 'Celebrity Lives/Celebrity Production' ranged across film
histories.  Donald Crafton (Notre Dame) documented the remarkable career
of Edna L Williams (1887-1965) a songwriter and producer who set up her
own distribution company, Ednella, with her lover and life partner,
Nella Walker.  Karen Boyle (Stirling) examined the playful aesthetic of
DVD extras for Agnes Varda's *Tout Varda*, where Varda complements her
feature work with material that also undercuts the authoritative voice
of the *auteur*.  Steve Cohan (Syracuse) critiqued the scandalous style
of Hollywood television biopics as a means of remystifying the studio
system, making stars such as Marilyn Monroe 'legible by papering over
her agency as an actress'.  Susan Ohmer (Notre Dame) recounted the
history of the Courvoisier Gallery in San Francisco which first
exhibited Disney animation cels, together with the career of Edith
Wakeman Hughes who acted as a sales agent, offering the cels to the rich
and famous of Hollywood at exclusive social events.

The plenary session on Thursday evening offered inspiring witness to
feminist activism in Ireland, including a hilarious presentation by
artists Jesse Jones and Sarah Browne on their project [*Burn in Flames:
A Post-Patriarchal Archive*](https://vimeo.com/131208517) .  Karla
Healion is a Dublin MA student who established the [Feminist Film
Festival in Dublin
2014](http://feministfilmfestivaldublin.com/?page_id=28), using the
profits to support [SASANE](http://sasane.org.np/), a Nepalese women's
group who work to prevent sex trafficking.  Stephanie Lord spoke
movingly of her work with [Choice
Ireland](http://choiceireland.org/about), reminding participants of
women's continuing struggle for reproductive rights in the Republic. 
Elizabeth Madden was the last speaker but offered a rousing end to the
session with a first-hand account of feminist direct action with
[CorkFeminista.com](http://corkfeminista.com/), in particular their work
with survivors of the [Magdalene
Laundries](http://www.magdalenelaundries.com/), institutions for 'fallen
women' which were established in Ireland in the late 18^th^ century. 
The last of these closed in 1997 and the Catholic church has refused to
contribute to the compensation scheme set up by the Irish government
following a state apology in 2013.

Hannah Hamad (King's College London), Shelley Cobb (Southampton) and
Neil Ewen (Winchester) delivered some timely papers on *Friends*; as
Hamad noted, this series is a useful research and teaching text for
debate about postfeminism.  The session called for more work on this hit
show as it remains current in reruns and students' viewing habits.  In
the session on 'New Media Labour' Ros Gill (City University London)
discussed the growth in beauty apps which encourage extreme forms of
self-surveillance and endorse the beauty myth in a terrifying manner,
while Laurie Ouellette (Minnesota) examined the role of the stylist in
reality television as a means of eliding race and class in favour of
'aspiration'.  Sean Redmond, Su Holmes and Deborah Jermyn addressed
'Age, Aging and the Gendered Temporalities of Fame'; Holmes' paper on
Lena Zavaroni and 'the contradictory aetiology of popular narratives'
around her celebrity and anorexia offered new insights on an
under-researched field.

In the panel on 'Television Meets Social Media' Tania Lewis (RMIT)
reported on a research project which has involved interviews with
television audiences in India, noting that reality shows such as *Bigg
Boss* \[sic\], the Indian version of *Big Brother* depict a
'performative secular modernity' that bears little relation to the lived
experience of most viewers.  Helen Wood (Leicester) presented a paper on
work she is doing with Bev Skeggs on 'the Magaluf Girl', noting the
viral trajectory of the Youtube video with regard to 'how people are
made visible in ways not of their own choosing'.  In the panel I was
part of Roberta Mock (Plymouth) addressed the contradictory landscape of
Joan Rivers' body as it aged and was integrated into her routines, while
Linda Mizejewski (Ohio State) noted how Carol Burnett's role as 'Eunice'
on her television show in the 1960s and 1970s addressed and critiqued
the American family just as second wave feminism was entering popular
consciousness.  My paper on the final season of *Roseanne* offered a
similar argument, proposing that it critiqued postfeminist popular
culture.

This was a marathon of a conference but a very productive experience,
with plenty of debate during and around each session.  *Console-ing
Passions* demonstrates how much great work there is going on in feminist
media studies, but also indicates how much more there is to be done.

 

**Rosie White** is Senior Lecturer in Contemporary Literature, Theory
and Popular Culture at [Northumbria
University](http://www.northumbria.ac.uk/sd/academic/sass/about/humanities/englishhome/staff/englitstaff/r_white/).
Her first book, *Violent Femmes: Women as Spies in Popular Culture* was
published by Routledge in 2008 and she is currently writing a second
book on women and television comedy for I B Tauris.


Conference Report  This year’s
<em>
 Console-ing Passions
</em>
took place on the Dublin quayside in the Marker Hotel, a luxury setting for some cutting debate about television, new media and feminist politics.  The weather was particularly un-Irish; it was warm and mostly sunny, allowing delegates to explore the lively quayside area.

Messaggi di Rogue Scholar

CFP: ‘Practice and/as Media Industry Research’, 8 June 2017, Bath Spa University

Journal of Italian Cinema and Media Studies, Italian Cinema and Media in a Global World, 9-10 June 2017

Console-ing Passions: International Conference on Television, Audio, Video, New Media, Feminism, Dublin, 18th-20th June 2015